GE 7 ART APPRECIATION

REPORTERS: GROUP 6
KENT PEÑANO, JHOBERT CALSIS, BRYAN LANGI, BIAN
GREGORIO, JOSHUA MARTISANO, JONAS ZAMENIO & RONEL
GREGORGIO

PREPARED BY: JHOBERT B.

CALSIS
 ELEMENTS
OF ART
REPORTER: KENT PEÑANO
 LINE ELEMENTS
THE PERCEPTION OF THE LINES IS SOME OF THE
THINGS WE DO EVERYDAY. YOU SEE LINES ALONG THE
ROADSIDE, IN THE CORNER OF YOUR ROOMS, IN THE
GUIDELINES OF YOUR NOTEBOOK SHEETS, ETC. LINES ARE
EVEN UTILITARIAN THAT YOU USE THEM WHEN YOU
WRITE, WHEN YOU NAVIGATE THROUGH DIRECTIONS,
SLICE YOUR FAVORITE MEAT OR VEGETABLES, ETC.
BUT MOST IMPORTANTLY, LINES ARE ESSENTIAL
ELEMENTS TO ART. LINES CREATE ART AND THEY PROVIDE
THE IMPRESSION OF PATH AND MOVEMENT ALONG A
SPACE.
 NATURE OF LINES
LINES CREATE THE IMPRESSION OF
MOVEMENT. AS SUCH, WHEN YOU SEE ART
WORKS WITH THE LINES, YOUR EYES MAKE A
MOVEMENT IN THE FOLLOWING ITS
DIRECTION OR PATH. SO, WHEN GIVEN A
VISUAL IMAGE, LINES LEAD YOUR EYES INTO
SEVERAL DIRECTIONS THAT ALLOW YOU TO
NAVIGATE THE GENERAL SPACE.
LINE CAN ALSO BE DIFFERENTIATED BASED ON
LENGTH AND WIDTH. LINES CAN BE SLIM OR THICK
DEPENDING ON YOUR APPROACH. ESSENTIALLY, LINES
PROVIDE A ONE-DIMENSIONAL THEME TO THE PIECE
OF ARTWORK. DIMENSION, IN THIS REGARD, IS THE
AMOUNT OF SPACE THE LINE TAKES UP IN A
PARTICULAR ART. TO MAKE LINES TWO-DIMENSIONAL,
THEY NEED TO HAVE AN IMPRESSION OF HEIGHT AND
DEPTH. LINES CAN ALSO BE DRAWN USING DIFFERENT
MEDIA LIKE PENS OR PENCIL, USING STICKS OR EVEN
TECHNOLOGICAL MEDIA.
 EVEN SOLIDLY PERCEIVED OBJECTS LIKE
THREADS, WIRES, SPIDER WEBS, TREE TRUNKS
ARE CONFIGURED TO PROVIDE PERCEPTIONS OF
LINE. WHILE ALL OF THEM CAN BE PERCEIVED AS
LINES, THEY DIFFER IN TERMS OF THE LEVEL OF
DIMENSION THEY GIVE TO THE VIEWERS.
SOME LINES ARE EVEN IMPLIED IN APPLICATION.
WHEN YOU PERCEIVED EDGES OF OBJECTS, THERE
ARE ESSENTIALLY OUTLINES BUT NOT INTENDED
TO BECOME EXPLICIT LINES.
SO, THERE MAY BE APPROACHES IN THE USE OF
LINES THAT INTEND TO STIMULATE THE GESTALT
IN THE HUMAN MIND BY INTERPRETING IMPLIED
LINES AS REAL. FOR EXAMPLE, WHEN YOU SEE A
SERIES OF DOTS OR DASHES, STICHES OR SEWN
OR A TRAIL OF FOOTPRINTS CREATE
IMPRESSIONS OF IMPLIED LINES.
TYPES OF LINE
 TYPES OF LINE
VERTICAL LINES
HORIZONTAL LINES
DIAGONAL LINES
ZIGZAG LINES
CURVED LINES
 VERTICAL LINES
THEIR MOVEMENT DIRECTION IS UPWARD OR
DOWNWARD. COMMON APPLICATIONS ARE UPRIGHT
TREES OR STANDING BODY OF HUMANS, BUILDINGS
OR INFRASTRUCTURE.
 HORIZONTAL LINES
THE MOVEMENT DIRECTION IS FROM THE LEFT TO
RIGHT OR VICE-VERSA. COMMON APPLICATIONS ARE
BODY LYING DOWN AND THE HORIZON.
 DIAGONAL LINES
THESE ARE SLANTED LINES. THEY CREATE THE
IMPRESSION OF RISING OR FALLING. THE LEANING
TOWER OF PISA COVEYS A DIAGONAL OR SLANTED LINE.
 ZIGZAG LINES
THESE ARE CONNECTED COMBINATION OF DIAGONAL
LINES. THEY CREATE ANGULAR PERSPECTIVE OF LINES.
COMMON EXAMPLE ARE THUNDERS OR ANIMATED
DRAWING OF STARS.
 CURVED LINES
THESE ARE LINES THAT DO NOT APPEAR LINEAR;
HENCE, DIRECTION ARE NOT CLEARLY ESTABLISHED.
EXAMPLES OF WHICH ARE THE OUTLINES OF CLOUD,
LEAVES AND EDGES OF FLOWER (RAGANS,2005).
 USING LINE TO
CREATE VALUE

REPORTER: JHOBERT B. CALSIS

 EXPRESSION OF LINE

You may have known in basic fashion technique that

wearing longitudinal stripes can make you look slimmer than
latitudinal ones. Hence lines have different capacities in
terms of expression an idea or an emotion. Essentially, lines
speak a language that artists can comprehend.
 MOVEMENT OF LINES
Vertical and Horizontal lines convey static and at rest
impressions. It may mean the lack of activity and stability, artist may
use them to show dignity, formality or stiffness. Horizontal lines,
specifically, show the feelings of permanence and solid foundation such
as that of the ground or floor.
Horizontal lines provide foundation to vertical lines and it may
provide artistic impressions of strength. Sometimes, it portrays the
feeling of calmness or relax such as the horizontal lines created by the
sea surface.
 Curve lines, on the other hand, may show expression of
relative activity. This may depend in the amount of curves it
makes. the less active curve may indicate more calm or repetitive
feelings. Spiral line required you to focus on a central point and
may have the tendency to be hypnotic.
Diagonal lines are used by artists to express the feelings of
instability, tension or excitement. Their instability provides
feelings of being uneasy or discomfort. But their expression can
be altered when done with emmetry . For example, two diagonal
lines that converge to create the roof of a house may instead
mean stability.
 Zigzag lines have been used to create feelings of
confusion. Due to combination of diagonal lines, they may
evoke feelings of too much excitement or anxiety.
 CONTOUR LINES

These are applications of lines to create edges or

ridges of an object. These provide a certain degree of
separation from one object to another.
 GESTURE DRAWING

Gestures are usually expressive movements which are

intended to capture motion, activity and the feeling found in
it. In artwork that emphasize the lines of the hand, touching
the face can convey feelings of anxiety or worry. Or hands
raising that are emphasized by lines can be done to manifest
feelings of excitement and activity.
 CALLIGRAPIC DRAWING
Calligraphy means beautiful handwriting. It is often
associated with writing asia characters usually with chinese,
japanese, korean and thai language. In their culture, writing is not
just about knowing the alphabet. For them writing is a process of
creating art using lines and different strokes to represent
character languages. In the philippines , there are different
version of baybayin with different ethno-linguistic bases. The
philippine calligraphy is rooted on india sulawesi and kawi, indo,
arabic and islamic writing arts.
MAXIMIZING IMAGNATION TO SINGLE
ELEMENT OF ART

REPORTER: BRYAN LANGI

 SHAPE, FORM & SPACE

The world maybe considered as an art piece. It is a piece

composed of several shapes, sizes, forms and even depth that are
naturally existing in this space. Understanding the nature and use of
shapes, forms and space, an art piece may have an important meaning
to express (Ragans, 2005).
 SHAPE

A shape conveys a defined two-dimensional area. It has an outline

around and it is recognizable through is form. In a sense, by just using an
outline, shapes can be formed. But shapes can be created without a
boundary line. For example, they can be created using a blot of yellow
paint to create a circle like the imagery of a sun. They are two-dimensional,
as well, because of the flat surface they create. You can see them in the
shapes that are defined by the floor tiles, TV screens, walls, table tops etc.
usually, these are man-made shapes (Ragans, 2005).
 GEOMETRIC SHAPES
Shapes can either be geometric or free-form . Geometric shapes are
accurately measured shapes, hence, having mathematical bases. The variations
are square rectangle triangle, circle, oval, trapezoid, pentagon, hexagon, etc.
They are use to express feelings of uniformity and organization . In a
decorative sense, they a show balance and structure in one’s perception. This
may be apparent in the shapes of flat television, long and round tables, room,
doors etc. usually, these are man-made shapes (Ragans, 2005).
 FREE-FORM SHAPES

These are the types of shapes that are irregular in structure. They
may be characterized by some combination of curves and angles. They
are not structural and man-made, per se. most of them are organically
existing in nature such as flowers, animals, humans, island, trees, etc.
(Ragans, 2005).
 GEOMETRIC AND FREE FORM

Reporter: Bian Gregorio

 FORMS
Forms are the three-dimensional aspects of space and shapes. While
shapes have length and width or diameter, a characterizing component of
form is its depth. example , a box or a cube is a form. However , there is an
inherent relationship between shape and forms. So, if you are presented
with a box, each side of the box is represented by a square or rectangle
shape. Or when you visit the pyramids in Egypt, you will still be
identifying shapes of triangle along its sides (Ragans, 2005).
 SPACE
Space is an essential element to understanding art as it involves the
outer and inner spaces of an artwork. This refers to a hypothetical area in
which the subject of art and other elements of art operate. Like shapes and
form, the impression of space can be two- or three dimensional. For example,
with a window as your subject of an art piece, it can provide a sense or two
dimension it portrays a flat representation.
But this can become three dimensional when the window has been
cleared and has shown a view of the outside. This may be the mountains,
the river, or the grasslands. In this sense, the space of the art has
expanded as different layers of areas are now included (Ragans, 2005) in
relation to shapes and form, space allow them to exist in space. So, space
is assumed to be empty canvass where work and the art can be
accomplished (Ragans, 2005).
 POSITIVE AND NEGATIVE SPACE
The shapes and forms of art are the positive space of an art. the empty
spaces, on the other hand, are the negative space. In gestalt psychology,
they are called figure and ground, respectively. The distinction between
figure and ground are essential as they may dictate certain interpretation of
art. One of the common issues that an artist is faced with is the ambiguity of
the figure which is the ground relationship. There may be instances where it
would be difficult to determine which is the figure and ground in a visual
art. This may have happened as artist themselves gave the same emphasis to
figure and ground. In gestalt psychology, they may become visual and
optical illusion that puzzle the viewers interpretation of an artwork (ragans,
2005).
 CREATING SHAPES AND FORMS IN SPACE

Shapes and forms can be naturally sourced or manufactured by

humans. for instance, animals, humans, flowers and mountains are examples
of naturally occurring shapes. But there are shapes that are manufactured by
humans through hand crafts, machine-assisted or clay forms. But the
challenge with most artist is that they must create the shape and form to make
them appear as real as possible. Hence, artist must operate on illustrations that
provide meaning in a certain amount of art space.
ESTABLISHING POINT OF VIEW THROUGH
SHAPES AND SIZES

Reporter: Joshua Martisano and Jonas Zamenio

ILLUSION OF FORM BY USING THE PRINCIPLE
OF VALUE
While the meaning of lines can change by changing their value,
shapes and forms can also change their meaning and expression by
utilizing altered values. For example, to magnify an object, certain
techniques can be used such as employing light and dark values. This
techniques called chiaroscuro. It is an Italian word that means bright
(chiaro) and dark (oscuro). Introduced during the renaissance period, this
techniques signifies and identifies shapes and forms clearly as the
highlighted figure of positives space of the art piece by shading the
negative space dark (Ragans, 2005).
In some basic application of a cube for example, to represent the cube
as it form accurately, there may be a need to vary the shades of the
square shapes surrounding it. Or in some applications, to identify a
certainty of a life form in humans, shadows surrounding him my give a
sense of a real human form (Ragans,2005).
 ILLUSION OF DEPTH USING GESTALT
PRINCIPLES OF PERCEPTION

Depth can be defined as relative distance. with several objects defining

the artwork, it may be necessary to give it some depth to visualize the
story behind it. From the gestalt principles of perception, there are
techniques that can be used to create the impression of depth
(Ragans,2005).
• Overlapping – the first object covers a second object. in effect, the first object
becomes closer or nearer to the viewer.
• Size – large objects often are perceived to be nearer than the relatively smaller
ones.
• Placement – objects place in the lower plane of the space create impression of them
being nearer. the more distant are those at the eye or top level of the space.
• Detail – objects with clearer details are usually nearer while those with finer and
less details seem to be farther.
• Color – brightly or vividly colored objects seem nearer than the dull ones.
• Converging Lines – as parallel lines move away from your point of view; they
move closer to the horizon which makes a perception of distance farther away from
you. the farthest convergence can be called the vanishing point (ragans,2005).
IDENTIFYING THE ILLUSIONS OF SPACE AND
ITS PERSPECTIVE

Reporter: Ronel Gregorgio

EXPRESSIVE QUALITIES OF SHAPE, FORM AND
SPACE
A. OUTLINE AND SURFACE
OUTLINES AND VARIATIONS IN THE SURFACES MAY BRING DIFFERENT
KINDS OF MESSAGES. FOR EXAMPLE, USING FREE-FORM SHAPES MAY EXPRESS
THE PRESENCE OF LIFE AND FLUIDITY. THESE COULD ALSO SYMBOLIZE CALMNESS
AND COMFORT. ESPECIALLY, WHEN THE OBJECTS DEFINED BY THE FREE-FORM
SHAPES ARE THOSE COMING FROM NATURE, THE ART CAN CONVEY THAT SENSE OF
PLEASANTNESS AND COULD EVEN INVITE THE VIEWER TO IMAGINE HIMSELF OR
HERSELF WITHIN THE STORY OF THE ART (RAGANS,2005).
ANGULAR SHAPES, ON THE OTHER HAND, PROJECT THE SHARP AND
JAGGED REALITIES OF THE WORLD. THESE COULD MEAN PAIN, ANXIETY, OR
TENSION. FOR EXAMPLE, YOU SEE BROKEN GLASSES IN A PICTURE, THEY MAY
TRANSLATE INTO VICARIOUS INTERPRETATION OF PAIN OR HURT (RAGANS,2005).
B. OUTLINE AND SURFACE
DENSITY REFERS TO THE COMPACTNESS OF THE OBJECT. DENSE MATERIALS TEND TO BE
SOLID AND HEAVY LOOKING. IN SCULPTURES FOR EXAMPLE, DENSE MATERIALS MAY BE
DIFFICULT TO ALTER IN TERMS OF FORM UNLESS TECHNOLOGY OR SOME MACHINES ARE
AVAILABLE. IN TWO-DIMENSIONAL ART, DENSITY CAN BE EXPRESS USING DIFFERENT VALUES
SUCH AS SHADING AND MAGNIFYING CONTOUR LINES.
C. OPENNESS
OPEN SHAPES PROJECT INVITATION. FOR EXAMPLE, IF YOU DRAW AND EMPTY CHAIR,
MOST VIEWERS MAY TEND TO VICARIOUSLY IMAGINE SITTING ON THAT CHAIR. IF YOU SEE AN
ART PIECE WITH AN OPEN DOOR, IT MAY GIVE YOU A SENSE OF WONDER OF WHAT COULD BE
INSIDE OR BEHIND THE DOOR. SOME HANDCRAFTED ART SUCH AS WEAVING EMPLOY OPENNESS
IN THEIR CLOTHS. THIS ALLOWS THEM TO LOOK THROUGH THE FABRIC AND EXPERIENCE THE
INTRICATE WEAVING PATTERNS OF IT.
CLOSE SHAPES AND FORMS, ON THE OTHER HAND, PROJECT MORE SOLID AND
SELF-CONTAINED FIELD OF PERCEPTION. CLOSE DOORS AND WINDOWS TEND TO
BE MORE RESTRICTIVE TO INTERPRETATION. A PERSON WITH FOLDED ARMS TIGHT
TO HIS BODY PORTRAYS EMOTION OF TENSION, MYSTERY, OR PRIVACY. LIKE
EGYPTIAN CASKETS, CALLED SARCOPHAGUS ARE USUALLY DEFINED BY ARMS
CLOSE OR FOLDED ONTO THE BODY. DEATH FOR THEM SHOULD BE AFFORDED
WITH DIGNITY BUT AT THE SAME TIME MUST BE IMPRESSED WITH PRIVACY AND
PROTECTION LIKE CLOSED OR RESTRICTIVE (RAGANS,2005).
C. ACTIVITY AND STABILITY
ACTIVE SPACE ARE THOSE THAT DEFY GRAVITY SUCH AS SLANTING OR FALLING OR
RUNNING SHAPES. IN FENG SHUI, EIGHT (8) RUNNING HORSES ARE LUCKY IN PROPER
PLACEMENT. TO PROJECT RUNNING HORSES, THE SCULPTURE OR PAINTER PROJECTS THE
VARIATIONS OF MOVEMENTS BY OVERLAPPING HEADS AND FEET. SOME HEADS SHOULD
SLANT UPWARD WHILE SOME ARE MOVING DOWN TO SHOW THE MOVEMENT. ACTIVITY CAN
ALSO BE SHOWN THROUGH THE ANGLES OF THE FEET AND THE FLOW OF HAIR AND TAILS
AMONG THE HORSES. ESSENTIALLY, MOVEMENT IN SHAPES CAN BE DONE BY PORTRAYING
THEM IN DIAGONAL POSITIONS. STATIC SHAPES, ON THE OTHER HAND, SEEM TO BE
MOTIONLESS AND STABLE.
THE DIRECTION GOING THROUGH IS HORIZONTAL. THEY TEND TO EVOKE CALM AND FIXATED
FEELINGS. IT PROJECTS QUIETNESS AND STABLE PEACE. THIS COULD PROBABLY BE THE
REASON THAT HOUSES TEND TO HAVE PAINTINGS DECORATED IN THEIR HOMES THAT EVOKE
PEACE BY USING SUBJECTS IN STABLE HORIZONTAL POSITIONS SUCH AS LANDSCAPES
(RAGANS,2005).
 THANK YOU FOR
LISTENING!!!!!
PREPARED BY: JHOBERT B. CALSIS