Principles of Designs
Elements of Arts
Quarter 1: Module 1
OBJECTIVES
After going through this lesson, you are expected to:
a. analyzes art elements and principles in the production of work following
a specific art style from the various art movements (A10EL-Ib-1), and
b. identifies distinct characteristics of arts from the various art movements
(A10EL-Ia-2).
Activity 1: Lets start analyzing artworks
Starry Night
Vincent Van Gogh
Description
Interpretation
Analysis
Judgement
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Activity 2: Find and underline all the elements of arts that are hidden in the grid. The words may be hidden in any direction
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ART
DESIGN indicates both the process of
organizing visual elements and the
product of that process.
It is a result of our basic need for
meaningful order.
Art and beauty can be expressed in many
ways- in natural beauty of huge old trees
or in the created beauty of a painting of
those trees like in the work of Van Gogh
“Large Plane Trees”.
Large Plane Trees
Vincent Van Gogh
A. UNITY AND VARIETY
Unity refers to the appearance or condition of
oneness of an artwork. All the elements such
as line, color, texture and others belong together
that result in having a coherent and harmonious
whole. As variety provides diversity yet it acts
as counterbalance to extreme unity.
B. BALANCE
Balance is the condition in which acting influences are held in check by opposing
forces or what is in the left side should appear on the right side also in order to
achieve equilibrium.
ASYMMETRICAL BALANCE
SYMMETRICAL BALANCE
Chariot
Alberto Giacometti
The evening glow
of the Ando
Suzuki Haranobu
C. EMPHASIS AND
SUBORDINATION
To draw our attention to an area or
areas, the artist uses emphasis. To create
emphasis, position, contrast, color intensity,
and size can all be use. Neutral areas of
lesser interest are created by the artist
through subordination to keep us from
being distracted from the areas of emphasis.
Yacht Approaching the Coast
Joseph Mallord William Turner
D. CONTRAST
The juxtaposition of strongly dissimilar elements is called contrast. Dark set
against light, large against small, bright colors against dull are examples of
contrasts. Visual experience becomes monotonous without contrast. Contrast can
be seen also in the thick and thin areas of a single brushstroke.
Luther-Painted Bowl Spain. Tin-glazed earthenware painted in cobalt blue and hustev
E. REPETITION AND
RHYTHM
The repetition of visual elements gives a
composition of unity, continuity, flow, and emphasis.
Rhythm in the visual art, is created through the
regular recurrence of elements with related
variations.
F. SCALE AND
PROPORTION
Scale is the relation of one thing to
another. It is one of the first decisions
an artist makes when planning a work
of art, Proportion is the size relationship
of parts to a whole.
Zapatistas
Jose Clemente Orozco
Lesson 2: Elements of Arts
“
”
’
Eleme
nts of
Arts
❑ Line
❑ Shape
❑ Space
❑ Value
❑ Color
❑ Texture
❑ Perspectives
Line is our basic
means for recording
and symbolizing ideas,
observations, and
feelings; it is a
primary means of
visual communication.
Lines always have
direction. They are
always active.
SHAPE
Shape refers to the expanse within the outline of two-dimensional area or within the
outer boundaries of a three-dimensional object. It may be geometric which tends to be
precise or regular (circles, triangles, squares) or organic which are irregular, often
curving or rounded and seem relaxed and more informal. Most common shapes in
human-made world are geometric while most shapes in nature are organic. Mass is
a physical bulk of a solid body material and it has a three-dimensional area.
SPACE
Space is the indefinable, general
receptacle of all things. It is
continuous, infinite, and ever
present. The visual arts are
sometimes referred to spatial
arts, because most of the art
forms are organized in space.
VALUE
Value refers to the lightness and darkness of surfaces. It ranges from
white to various grays to black. It can be a property of color or an
element independent color.
Value refers to the relative lightness and
darkness from white through grays and
black.
Intensity also called saturation, refers to the purity of a hue or
color. The pure hue is the most intense form of a given color; the
hue at its highest saturation; and the hue in its brightest form.
TEXTURE
The textile qualities of surfaces
or the visual representation of
those qualities is referred to as
texture, in visual arts. Actual
textures are those we can feel by
touching. Simulated textures are
those created to look like
something other than plain on a
flat surface. Painters simulate
texture, while sculptors and
architects make use of actual
texture.
PERSPECTIVE
Perspective is point of view. In Visual arts, it can refer to any means of representing
three dimensional objects in space on a two-dimensional surface. It is a system
designed to depict the way objects in space appear to the eye. In linear perspective
objects appear smaller at a distance, and the last meeting of the lines on the horizon is
called vanishing point.
ART ELEMENTS
AND PRINCIPLES
WITH DISTINCT
CHARACTERISTICS
DIFFERENT KINDS OF ART MOVEMENT
UNDER MODERN ART
I. IMPRESSIONISM
SHORT BRISK STROKES OF BRIGHT
COLORS USED TO RECREATE THE IMPRESSION OF LIGHT ON OBJECTS.
INSPIRATION
Effects of experience
upon the consciousness
of the artist and the
audience
Vividness (clear,
bright)and immediacy
(important, interesting)
of nature and life
TEACHNIQUE
COLOR
Glowing colors
Short brisk strokes of
bright colors
ORIGIN/ARTISTS
Developed in Europe in
the mid-1800
French Art/
Light and color to the
Claude Monet
picture than with
Auguste Renoir
subject matter
Paul Cezanne
Vincent Van Gogh
POST IMPRESSIONISM
Post-Impressionism, represented both an extension of
impressionism and a rejection of that styles’ inherent
limitations.
II. EXPRESSIONISM
NATURAL FORMS AND COLORS ARE DISTORTED AND EXAGGERATED.
HEAVY BLACK LINES, STRONG COLORS
INSPIRATION
TEACHNIQUE
COLOR
Subjective (based on
feelings or opinions)
treatment of thematic
materials
Gives visual form to
inner sensations or
emotions: morbidity
(incidence of disease),
violence, chaos, tragedy
and defeat)
Natural forms and
Heavy black lines,
colors are distorted and strong colors that
exaggerated
define form, sharply
contrasting
ORIGIN/ARTISTS
Developed in Europe early
1900s
Franz Marc
Pablo Picasso
Henri Matisse
Edward Munch
SUB-MOVEMENTS OF
EXPRESSIONISM
A. NEOPRIMITIVISM was an art style
that incorporated elements from the native
arts of the South Sea Islanders and the
wood carvings of African tribes which
suddenly became popular at that time.
Head
Amedeo Modigliani, c. 1913
Stone
SUB-MOVEMENTS OF
EXPRESSIONISM
B. FAUVISM was a style that used bold, vibrant
colors and visual distortions.
Its name was derived from les fauves (“wild
beasts”), referring to the group of French
expressionist painters who painted in this style.
Blue Window
Henri Matisse, 1911
Oil on canvas
SUB-MOVEMENTS OF
EXPRESSIONISM
C. DADAISM was a style characterized by dream
fantasies, memory images, and visual tricks and
surprises—as in the paintings of Marc Chagall and
Giorgio de Chirico below.
I and the Village Marc
Chagall, 1911
Oil on canvas
SUB-MOVEMENTS
OF EXPRESSIONISM
• D. SURREALISM was a style that
depicted an illogical, subconscious
dream world beyond the logical,
conscious, physical one.
Its name came from the
term “super realism,” with its
artworks clearly expressing a
departure from reality
Persistence of Memory
Salvador Dali, 1931
Oil on canvas
SUB-MOVEMENTS OF
EXPRESSIONISM
E. SOCIAL REALISM expressed the artist’s role in social
reform.
Here, artists used their works to protest against the
injustices, inequalities, immorality, and ugliness of the
human condition.
Miners’ Wives
Ben Shahn, 1948
Egg tempera on board
III. ABSTRACTIONISM
ALSO CALLED NON-OBJECTIVE ART OR NON-REPRESENTATIONAL ART, PAINTING,
SCULPTURE, OR GRAPHIC ART IN WHICH THE PORTRAYAL OF THINGS FROM THE
VISIBLE WORLD PLAYS NO PART.
INSPIRATION
TEACHNIQUE
Conceived apart from
realities or specific
objects
Emphasizing lines, colors Arbitrary or random Piet Mondrian, Dutch
and geometric forms
(done without
Distortion of shapes
concern) use of color Wassily Kandinsky, Russian
Extension of cubism
with its fragmentation of
the object.
COLOR
ORIGIN/ARTISTS
SUB-MOVEMENTS OF
ABSTRACTIONISM
• A. CUBISM highly influential visual arts
style of the 20th century that was
created principally by the artists Pablo
Picasso and Georges Braque in Paris
between 1907 and 1914.
The Cubist style emphasized the
flat, two-dimensional surface of the picture
plane, rejecting the traditional techniques of
perspective, foreshortening, modelling, and
chiaroscuro and refuting time-honoured
theories that art should imitate nature.
Three Musicians
Pablo Picasso, 1921
Oil on canvas
SUB-MOVEMENTS OF
ABSTRACTIONISM
• B. FUTURISM Italian Futurismo, Russian Futurism,
early 20th-century artistic movement centred in Italy
that emphasized the dynamism, speed, energy, and
power of the machine and the vitality, change, and
restlessness of modern life.
Armored Train
Gino Severini, 1915
Oil on canvas
SUB-MOVEMENTS OF
ABSTRACTIONISM
• C. MECHANICAL STYLE the result of
futurist movement. In this style, basic
forms such as planes, cones, spheres
and cylinders all fit together perfectly
and precisely with neatness in their
appointed places.
The City
Fernand Léger, 1919
Oil on canvas
SUB-MOVEMENTS OF
ABSTRACTIONISM
• NONOBJECTIVISM
The logical geometrical
conclusion of abstractionism came in the
style known as nonobjectivism. From the
very term “non-object,” works in this style
did not make use of figures or even
representations of figures. They did not
refer to recognizable objects or forms in
the outside world.
New York City
Piet Mondrian, 1942
Oil on canvas
IV. ABSTRACT EXPRESSIONISM
THEY OFTEN USE DEGREES OF ABSTRACTION; I.E., THEY DEPICT
FORMS UNREALISTICALLY OR, AT THE EXTREME END, FORMS NOT
DRAWN FROM THE VISIBLE WORLD (NON-OBJECTIVE).
THEY EMPHASIZE FREE, SPONTANEOUS, AND PERSONAL
EMOTIONAL EXPRESSION AND THEY EXERCISE CONSIDERABLE
FREEDOM OF TECHNIQUE AND EXECUTION TO ATTAIN THIS GOAL
SUB MOVEMENT OF ABSTRACT EXPRESSIONISM
POP ART
ART IN WHICH COMMON PLACE OBJECTS (SUCH AS COMIC STRIPS, SOUP CANS, ROAD SIGNS, AND
HAMBURGERS) WERE USED AS SUBJECT MATTER AND WERE OFTEN PHYSICALLY INCORPORATED INTO THE WORK.
INSPIRATION
TEACHNIQUE
Taken from mass culture
impact on commercial,
graphic, and fashion
design. images reflected
the materialism and
vulgarity of modern
mass culture, they
sought to provide a
perception of reality
Materials of modern
technology, such as
plastic, urethane foam,
and acrylic paint, often
figured prominently
COLOR
ORIGIN/ARTISTS
1950-60’ United States and
Britain
SUB MOVEMENT OF ABSTRACT EXPRESSIONISM
OPTICAL (OP) ART,
ALSO CALLED OPTICAL ART, BRANCH OF MID-20TH-CENTURY
GEOMETRIC ABSTRACT ART THAT DEALS WITH OPTICAL ILLUSION.
INSPIRATION
TEACHNIQUE
COLOR
ORIGIN/ARTISTS
Works are abstract
Hidden images, flashing
and vibrating patterns,
or of swelling or
warping.
Style of visual art that
uses optical illusions
they give the viewer the
impression of
movement
Black and white
(dominant)
traced back to
Neoimpressionism, cubism,
futurism and
constructivism and
Dadaism
OPTICAL
(OP) ART,
V. CONTEMPORARY ART FORM
CONTEMPORARY
ART FORM
Pasyon at Rebolusyon
Santiago Bose, 1989
Mixed media installation
A. INSTALLATION ART has joined the larger
sculptural repertoire, and outdoor settings—
both in open natural spaces and in urban
environments— attracted much interest.
INSTALLATION ART
INSPIRATION
TEACHNIQUE
ORIGIN/ARTISTS
The hanging of pictures or the
arrangement of objects in an
exhibition
Installation is a site-specific
artwork.
Uses scrap, metals, plastic or
any recyclable materials
Pop art–era of the late 1950s and
60s. The most notable are Allan
Kaprow’s
Installations generally are
exhibited for a relatively brief
period and then dismantled,
leaving only documentation
PERFORMANCE
ART
• Performance art is a form of modern art in
which the actions of an individual or a group
at a particular place and in a particular time
constitute the work.
• The performance venue may range from an
art gallery or museum to a theatre, café, bar,
or street corner.
PERFORMANCE ART
INSPIRATION
TEACHNIQUE
ORIGIN/ARTISTS
Presented to an audience, may
be either scripted or
unscripted, random or carefully
orchestrated; spontaneous or
otherwise carefully planned
with or without audience
participation.
The performance can be live or Postmodernist traditions in
via media; the performer can
Western culture.
be present or absent. It can be
any situation that involves four
basic elements: time, space, the
performer's body, or presence
in a medium, and a relationship
between performer and
audience.