Art Appreciation -Module-3 PDF

Preview

Summary

Republic of the Philippines UNIVERSITY OF EASTERN PHILIPPINES University Town, Northern SamarGE 6: ARTS APPRECIATIONPrepared and Compiled by:RUTH L. SAYDE PAULA MAE M. CAPARIC####### DANISE ALLYSON PETATECAC, Part Time LecturersNAME OF STUDENT: ___ COURSE & YEAR: _____ PROFESSOR: _____TABLE OF C...

Description

Republic of the Philippines UNIVERSITY OF EASTERN PHILIPPINES University Town, Northern Samar

GE 6: ARTS APPRECIATION

Prepared and Compiled by: RUTH L. SAYDE PAULA MAE M. CAPARIC DANISE ALLYSON PETATE CAC, Part Time Lecturers

NAME OF STUDENT: _______________________________________________________ COURSE & YEAR: _________________________________________________________ PROFESSOR: _____________________________________________________________

MODULE 3: ELEMENTS OF ARTS

TABLE OF CONTENTS UNIT 3: ELEMENTS OF ART................................................................................................. Introduction …………………………………………………………………………………… Learning Outcomes…………………………………………………………………………… Module 3: Elements of Arts ………………………………..…………………...…………...

3 3 3 4

1. Line ………………………………..……………………………….……………………. 1.1 Physical Properties of Line ……………………………………………………… 1.1.1 Measure ……………………………………………………………………… 1.1.2 Type ………………………………………………………………………….. 1.1.3 Direction ……………………………………………………………………... 1.1.4 Location ……………………………………………………………………… 1.1.5 Character …………………………………………………………………….. 1.2 Emotional or Expressive Characteristics of Line ……………………………… 1.3 Line as Related to Other Elements of Design …………………………………. 1.3.1 Line and Shape ……………………………………………………………… 1.3.2 Line and Value.…………………………………………………………….... 1.3.3 Line and Texture ……………………………………………………………. 1.3.4 Line and Color ………………………………………………………………. 1.4 Spatial Characteristics of Line ………………………………………………….. 1.5 Line and Representation …………………………………………………………

4 5 5 5 5 6 6 6 7 7 7 7 8 8 8

2. Shape (and Forms) ………………………………..……………………………..…….. 2.1 Formal Meaning of Shape ……………………………………………………….. 2.2 Uses of Shape …………………………………………………………………….. 2.3 Picture Frame as Shape …………………………………………………………..

9 10 10 11

3. Color ………………………………..…………………………………………………… 3.1 Color Source ……………………………………………………………………… 3.2 Physical Properties of Color …………………………………………………….. 3.2.1 Hue …………………………………………………………………………… 3.2.2 Value …………………………………………………………………………. 3.2. 3.Intensity ……………………………………………………………………... 3.3 Neutrals …………………………………………………………………………… 3.4 Color Relationships ……………………………………………………………… 3.4.1 Warm and Cool Colors …………………………………………………….. 3.4.2 Simultaneous Contrast (Complementary Colors) ………………………. 3.4. 3.Primary Colors …………………………………………………………….. 3.4.4 Secondary Colors …………………………………………………………… 3.4.5 Tertiary Colors ……………………………………………………………… 3.5 Color and its Basic Usage ………………………………………………………... Learning Exercise #1.1 …………………………………………………………………… Learning Exercise #1.2 ……………………………………………………………………

11 11 13 12 13 13 13 14 14 14 15 15 15 15 16 18

Rubrics ……………………………………………………………………………………......... Summary ……………………………………………………………………………………..... References …………………………………………………………………………………......

19 20 20

GE 6: ARTS APPRECIATION MODULE

Page | 2

MODULE 3: ELEMENTS OF ARTS

3: ELEMENTS OF ART INTRODUCTION Hi, Welcome to Module 3! Are you ready for another lesson? Okay, let us get started! In this lesson, we will identify how an artist employs visual qualities in creating a work of art. These visual qualities are known as elements of art or design. The elements include line, shape, form, texture, value, color, and space. The elements of art are the basic components of art-making. It is impossible to create an art without using at least one of the seven elements. In order to be successful in art creation, an artist must be able to intelligently use the elements of art. Artwork can also be analyzed according to the use of the elements in a work of art. Collectively with the principle of design, they will be used to plan and analyze artworks for better understanding and appreciation.

LEARNING OUTCOMES At the end of this lesson, you should be able to:    

Define elements of art, Identify the seven elements of art, Explain the importance of the elements in creating artworks; and, Analyze how the elements of art are employed in an artwork.

Now, let us properly begin our discussion on the Elements of Art!

GE 6: ARTS APPRECIATION MODULE

Page | 3

MODULE 3: ELEMENTS OF ARTS

Module 3:

Elements of Art (Part 1)

FACT: Arthur Wesley Dow is an American artist and art teacher. As an art teacher, he intends to make his students to look, to identify and to generate works of art in methodical way. Thus, in 1899 he wrote the “elements of the visual arts.” In the subsequent years, his vocabulary in appreciating and studying the arts was adopted by many art schools. Over the years, this methodical approach in the arts has evolved and progressively challenged its employed terms by the experts and artists.

I. LINE Line is the fundamental Form of Visual Communication. As a graphic tool, line is invented to act symbolically in creative/ artistic and literary expression. Thus, line, as an expression, is employed in two different levels—objective and subjective levels. In the objective level, line is used to illustrate simple measurements and surface characteristics. Here, line is seen as the path of moving point, that is, a mark made by a tool or instrument as it is drawn across a flat surface or ground. While in the subjective level, lines are translated to suggest varied emotional conditions and reactions. It often suggests active or passive, rough or calm, flowing or still. Pictographs and alphabetical letters (calligraphy) as a basic means of communication utilized by man make use of linear designs. Apparently, artists also employ line to communicate but in a broader communicative manner. In the world of visual arts, line as an element is fundamentally accepted as a form of expression; therefore, it is appropriate to start the study of elements of art with line. As such, let it be recognized that line does not exist in nature. These lines that are seen are simply close observation (or linear feeling, so to speak) of what really line is. Such element is man’s invention; it is an abstraction, translated as an instrument for the graphic simplification and representation of a visual fact. As per observation, nature is made of mass while art uses contour lines to conveniently and visually demonstrate mass. Function wise, line operates in various ways in the visual field. In sculptural works, line is identified when there is an abrupt transition of surface basically known as edge while in two-dimensional art like painting, a juxtaposition of two elements like color or texture creates a delineation (contour line) of a shape. It also suggests space. While in calligraphy, line means to enrich the surface.

GE 6: ARTS APPRECIATION MODULE

Page | 4

MODULE 3: ELEMENTS OF ARTS

1.1 Physical Properties of Line (in the Visual Arts) The physical properties of lines are: measure, type, direction, location, and character. 1.1.1 Measure The division or unity of the pictorial area is accorded by the measurement of line. For example, a line drawn edge-to-edge of the picture frame be in horizontal, vertical, or diagonal in direction may visually unify or divide the picture relative to the intended repetitive use of the said lines. Therefore, it follows that the measure of line is concurrent to the length, width, shortness, breadth or narrowness of a line. It is the scope or size of a line drawn on a flat surface or picture plane. 1.1.2 Type By its own character, lines have various types:   

Straight line, when the line maintains in one direction. Curve line, when the lines direction gradually changes. Angular line, when the movement of the line changes abruptly.

In addition, when measure is involved, the line—straight, curved or angular—may be long or short, thick or thin. Ultimately, straight lines’ continuity is repetition relative to its length and nature. The continuity of curve lines forms an arc, reverse the curve then it generates waves or when there’s a continuous curve within itself then it results to spiral. Lines become visually amusing when its movements vary and when its rhythmical composition becomes physically and perceptively stimulating. Hence, they oftentimes become a source of visual interest. 1.1.3 Directions In viewing a picture, our eye movement is controlled significantly by a large measure of line directions. Serenity, infinity, and perfect stability are generally suggested by a horizontal direction whereas agitation, motion, and instability are identified in diagonal directions. Moreover, vertical line represents aspiration, poise, and potential movement. These directions or movements may bring about sustained connection among the various elements of design and its properties.

GE 6: ARTS APPRECIATION MODULE

Page | 5

MODULE 3: ELEMENTS OF ARTS

1.1.4 Location The line placement on a pictorial plane is another relevant factor to consider. In this particular physical property, line may unify or divide. The balance or unbalance of the picture plane. Say, a diagonal line may be observed soaring or plunging on the picture plane relative to its high or low position in the picture frame. Each line may serve separate roles of expression and design or its various physical properties may act as one in achieving a cohesive work. 1.1.5 Character Character as one physical property of line is a term largely connected with medium with which it is made. It achieves a greater interest when different media or medium conditions are utilized and observed on the picture plane. As a result, monotony is observed from the constant use of line with similar characters unless its unity gained is complemented by the varied use of other physical properties of line. The emotional quality of line is significantly determined through the nature of the drawing or painting instrument. The expressive qualities are easily seen innate on the soft, blurry line of chalk pastel as against to accurate and firm lines of pen and ink or pencil. Instruments like brush, wooden or metal stick, probably fingers, etc. all have unique characteristics that may be exploited by the artist. Thus, the effective line character determinant is the artist who masters the situation through his ability, experience, intention, and mental and physical condition.

1.2 Emotional or Expressive Characteristics of Line There are varied universal states of emotions that are expressed and seen in a work of art through line. These may be seen as joy, anger, loneliness, cheerfulness, somber, sobriety and other forms of expression. And similar with the human mind, emotions are seldom defined clearly. Apparently, a vast amount of emotional situations of varying levels are communicated by the artist. These qualities are acknowledged by the viewers in a matter of feeling. Therefore, the artist in this case must have enough experiences coupled with receptiveness and perceptiveness. In a work of art, lines come into being as they take part of their various roles in the visual field through the factors of composition and expression. Roles like dominance and subordination are felt but all should be seen in equal importance. These elements are best

GE 6: ARTS APPRECIATION MODULE

Page | 6

MODULE 3: ELEMENTS OF ARTS

admired individually but their innate beauty lies in the fundamentally established relationship or connectivity with other elements in creating a form. It can be representational/objective or non-representational/non-objective. Representational or objective forms are known as exact representation of the physical world. While non-representational or non-objective forms are identified with abstraction or forms in no relation with the physical realm.

1.3 Line as Related to Other Elements of Art/Design 1.3.1 Line and Shape The creation of shape basically involves line. It acts as a continuous edge of an object on a flat surface or picture plane. It delineates the area of the said object which is known as contour line. This particular line is further used as a separation between the elements of shapes, values, textures and colors. By observation, a series of closely drawn lines generates textures on gradually or abruptly toned areas. This process is often seen on free hand sketches using graphite pencil as a medium. Furthermore, linking linear areas (presumed in different movement and/or direction) creates borders that transform them to shape. As seen, a series of closely drawn lines generates textures and gradually or abruptly toned areas. Furthermore, the link of the linear areas establishes borders that transform them into shape. 1.3.2 Line and Value The contrast between light and dark is fundamentally known in art world as value. And when contrast is observed in a work of art, say neutral colors black and white juxtaposed, then line is established. Thus it becomes visible through mixture or stress on the flat surface. Any closely drawn individual parallel lines, when grouped and jointly crosshatched, create areas within an object showing value or tone distinctions. 1.3.3 Line and Texture When line is set to establish a flat or two dimensional effects on a work of art, then pattern is present. But by way of sensations of touch thru a suggestive measure of tactility, then texture is observed. As a visual element, texture resides naturally in different media and art equipment/tools that produce unique quality within them. Structural and utility properties resides within these equipment, thus in effect, textures are created and enhanced or diminished depending on the manner of artistically handling them. Consider a Durian fruit

GE 6: ARTS APPRECIATION MODULE

Page | 7

MODULE 3: ELEMENTS OF ARTS

of Mindanao as a subject done into two different modes of expression using two distinct medium. One is done using charcoal pencil while the other used oil in impasto technique. Obviously, the texture generated using charcoal has a distinct tactile impression as against to the medium of oil in impasto, though both still demonstrates texture. Another way to create varied tactile impression is through the tools utilized. Sharp or rough lines are generated through a hard bristle brush relative to the hand pressure, the kind and amount of medium carried, and the quality of execution. In contrary, soft haired brushes creates thin smooth paint and thick spotted paints if the bristle is filled with thick heavy paint. 1.3.4 Line and Color There are wide creative possibilities when color is established with line. The color itself as it is established on an available flat surface accentuates other physical properties of line. Imagine a work with high intensity color juxtaposed with hard drawn shaded value as a result, line creates a dynamic effect. However, with moderate color, then a graduated subtlety is obviously in effect. Therefore artists make use of color to effect various emotional states, sometimes coupled with various types and characters of line.

1.4 Spatial Characteristics of Line The control of the spatial component found in the physical properties of line is always on the artist’s hands. As a result, any observed suggested space on the picture plane is thru the positions of the lines. Advancing and receding lines causes observed value. More so, a juxtaposed color generates lines and space like lines that are seen due to cool and warm colors contrasting. Thus, it results further to sense of space considering that cool colors recede and warm colors advance. Therefore, the artists’ role in generating space on a flat surface is to exploit every facet in making an artwork.

1.5 Line and Representation In representation, line may be perceived objectively or subjectively. It even represents both abstract and realistic levels. Varied roles are associated with line. The visual language of ideas and emotions is translated in this way. It functions as the shapes’ contour and illustrates the form at the same time covering the areas on the picture plane, suggesting meaning. Expressing deep emotion and good idea is not exclusive in the use of line. Often, lines are used with

GE 6: ARTS APPRECIATION MODULE

Page | 8

MODULE 3: ELEMENTS OF ARTS

utilitarian intention especially in applied visual practice such as drawing or rendering of plans of the architect or engineer. Likewise, it is also utilized in characters drawn or written on paper to represent words or idea as seen in alphabets or other traditional writings like alibata. However, in whatever manner of emphasis on line, may it be in emotional expression or factual representation, at the control and disposal of the artist - it is a significant design element.

2. SHAPE (AND FORMS) Circles, squares and triangles are some of the many examples of two-dimensional surfaces that determines shape. While spheres, cubes and pyramids applied with color, tonal value and texture, are of three dimensional surfaces identified as form. In observing shape and form, the human mind and eyes clearly works as one. A figure like a picture of a Philippine Eagle soaring above surrounded with clouds and the vast blue sky is observed. The eagle is the first shape seen otherwise identified as positive shape, whereas surrounding the subject is known as the ground or the negative shape. As such, our eye movement around the flat surface or picture plane is due to arrangement of these units of shape is a result of the artist planning or organizing. Shapes and forms are described according to its fundamental sources. These are natural, abstract, organic and geometric respectively. Generally, natural shape is an obvious popular source since it objectively represents the physical or material world. Commonly, natural shapes are shapes directly identified with the natural environment like the fauna and the flora. Thus, objective representation or visual fact is achieved and appreciated. Abstract shapes are fundamental shapes that are objectified coming form an idea, emotion or experience. A thought processed shaped where it solicits further understanding likewise appreciation of the articulated or emphasized idea. One example is a shape created through a splattered paint on the canvas. Geometric shapes are identified by any precise or regular shape. It is classified in twodimensional and three-dimensional forms. Meaning, they can be either as two-dimensional manner as drawn on a flat surface or in three-dimensional manner as they possess matter.

GE 6: ARTS APPRECIATION MODULE

Page | 9

MODULE 3: ELEMENTS OF ARTS

While organic shape is a shape in constant transformation or in a seeming motion. These are shapes or objects that seems to change but maintains its recognizable shape like a picture of a round stone rolling on a grassy ground. This shape is also known as biomorphic shape.

2.1 Formal Meaning of Shape Shapes are less appreciated if it is devoid of any suggestion or meaning. Thus, the richness of shapes’ meaning is relative and revealed on its association built by the language of art. There are given meanings of shape that are completely comprehendible, some are complex and ambiguous. And other shapes may have varied meaning for different people but it possesses a number of general agreements as enough proof of the universal vibrations shared when viewing the object. Similarly, an immense range of other shapes holds unique meanings. Hence, the shapes meaningfulness is relative to their intricacy, their function and the sensitivity of the observant viewer (Ocvirk et al, 1973:55). While on the part of the artist, psychological suggestions initially stimulate his intended expression affecting his decision in choosing a shape. Hence, abstract shapes materialize in achieving the desired response. Moreover, his knowledge on shapes is obviously associated with experience and situations, creating his pictorial rhetoric.

2.2 Uses of Shape Shapes in art are utilized and easily identified as it objectively represents a visual...