Lesson 6: Elements and Arts Art Appreciation PDF

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Lesson 6 Elements and Principles of Art Learning Outcomes By the end of this lesson, you should be able to: 1. numerate the different elements of visual and auditory art; 2. differentiate the principles of art; 3. provide examples of the interrelatedness of some of the elements and principles of art; 4. explain the relevance of the elements and principles of art in the study of art and its products (artworks); and 5. illustrate examples of hybrid art and dissect what art forms ate combined therein.

In the chapter on Subject and Content, it was mentioned that arts have a specialized language. And to be able to understand this language, the familiarity with some of the elements and principles that make it legible is required. Think of it as the letters-the stringing of letters to formulate words, and perhaps even the different pronunciations and enunciations that assist comprehension. The next chapter endeavors to take art and break it into its smaller parts. Like a scientist who take a splice or a sample and places it under a microscope, the next lesson will allow for a better view, not of the final picture, rather, the parts that complete it.

Let's Get Down to Business Elements of Art: Visual Taking off from the scientific reference, elements of art are akin to the atoms that are defines as the units or "building blocks" of matter. Together, in a variety of combinations and formations, they have the ability to create molecules such as water, or the more complex sucrose. These formulations are almost the same with elements of arts when they are joined together, in a variety of ways. In the same line of reasoning, the elements of art are the aspects of an artwork that can be isolated from each other. These elements of art are generally produced when something is done to the medium after the technique is carried out. It must be underscored, however, that all works of art require all elements to

be present. Some art forms also necessitate some of the elements as they are inherent in the very nature of them. For example, sculptures automatically have the following elements with or without the decision of the artist to include them: shape, form, and space. Without these elements, there is no sculpture to begin with. Elements are the necessary preconditions for the creation of art. To enumerate, the elements of art and design are the following: line, shape and form, space, color, and texture. 1. Line A line refers to a point moving at an identifiable path-it has length and direction. It also has width. It is one-dimensional, however, it has the capacity to either define the perimeters of the artwork (edges) and/or become a substantial component of the composition. Although a line is "simple," it has variations in view of its orientation/direction, shape, and thickness. These variations import not only the visual elements into the artwork, but suggest meaning or message being conveyed by the artist. Known for using lines to provide the outline or contour of the figures he portrays in his work, Keith Haring first executed the public mural "Todos juntos podemos parar el sida" (Together We Can Stop AIDS) in Barcelona in 1989. In 2014, it was recreated at the foyer of the Museu d'Art Contemporani de Barcelona (Barcelona Museum of Contemporary Art) to commemorate it. Haring battled with HIV/AIDS to which he succumbed to in 1990

A quality that is ascribed to lines is its ability to direct the eyes to follow movement or provide hints as to a work's focal point. The orientation in which we are most accustomed to such as the assertive force of gravity grounding objects, or the sideways or up-and-down vibration that informs us of an earthquake, the gustiness of wind from the window, or the direction of the rainfall conjures different images of lines. a. Horizontal and vertical lines – refers to the orientation of the line. Horizontal lines are normally associated with rest or calm. Landscapes often contain these elements as works like these often connote a visual sense of being parallel to the ground. It also alludes to position of the reclined body at rest. Vertical lines, on the other hand,

connote elevation or height, which is usually taken to mean exaltation or aspiration for action. Together, these lines communicate stability and firmness. b. Diagonal and crooked lines – diagonal lines convey movement and instability, although the progression can be seen. Crooked or jagged lines, on the other hand are reminiscent of violence, conflict, or struggle. c. Curved lines – these are lines that bend or coil. They allude to softness, grace, flexibility, or even sensuality. One of the most important Spanish artists is Francisco de Goya. Known for his prints, he is a master of etched works and use of aquatint. He made use of this medium to articulate his political views about the ills of society, war scenes, and even the dreamlike and grotesque while still engaging with what was happening around him. As with most etchings and other types of prints, lines are dominant visual components. Lines may not necessarily be explicit or literally shown. As what many examples will portray, implied lines may be just as powerful, if not more. In “The Raft of Medusa,” the position and orientation of the bodies that are aboard the raft are predominantly diagonal in direction. This creates not only movement but also tension in the scene. Based on an actual event, the painting depicts the 1816 wreckage of the French government ship called Medusa.

2-3. Shape and Form These two are related to each other in the sense that they define the space occupied by the object of art. Shape refers to two dimensions: height and width, while form refers to three dimensions: height, width, and depth. Even if shapes are part of a bigger picture, each can be identified by breaking the visual components apart and making distinctions based on what we know and what we have seen. Two categories can be used as a broad distinction. a. Geometric – these shapes find origin in mathematical propositions. As such, its translation and use are often man-made. These include shapes such as squares, triangles, cubes, circles, spheres, and cones, among others.

b. Organic – organic shapes are those readily occurring in nature, often irregular and asymmetrical. The design of the vase in Figure 55 is foliage, a sample from a series that made use of morning glories. Shapes may also be implied. For instance, Raphael’s famous painting “The Madonna of the Meadows” depicts three figures. Mary, the young Jesus (right), and the young John the Baptists (left). The positions in which the group takes allude to a triangular shape reinforced by the garb of Mary.

4. Space Related to shape and form is space. It is usually inferred from a sense of depth, whether it is real or simulated. Real space is three-dimensional. Like what has been previously mentioned, sculptures are a perfect example of artworks that bear this element. However, this can only be manifested in two-dimensional artworks through the use of different techniques, or the use (or non-use) of area around a drawing or picture. In the middle of AT&T Plaza at the Millennium Park in the Loop Community area in Chicago, the iconic “Cloud Gate” occupies a considerable space. Shaped like a bean, hence its other referent, the public sculpture was unveiled in 2004. The dent in the middle offers a gap in which people can pass through and gaze at the sculpture in a different perspective. However, not all works are sculptures. In two-dimensional artworks, they may be implied: a. Positive and negative space – usually identified with the white space is the negative space. The positive space, on the other hand, is the space where shadow is heavily used. b. Three-dimensional space – can be simulated through a variety of techniques such as shading. An illusion of three-dimensionality can be achieved in a two-dimensional work.

5. Color Color is perhaps one of the elements that enhances the appeal of an artwork. Its effect has range, allowing the viewer to make responses based on memory, emotion, and instinct,

among others. This element is a property of light, as it is reflected off the object. Color is not intrinsic to an object and without light, one cannot perceive color. Much of what we know about colors begins with the notion of a Color Theory that was first unraveled by the experiments undertaken by Sir Isaac Newton I 1666. A ray of sunlight passing through a prism reveals an array of colors akin to that of a rainbow. An upshot of this color theory is the creation of a color wheel,

The color wheel corresponds to the first property of color, hue. a. Hue – this dimension of color gives its name. It can be subdivided into 

Primary colors – red, yellow, and blue

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Secondary color – green, orange, and violet

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Tertiary color – six in total, these hues are achieved when primary and secondary colors are mixed

b. Value – this refers to the brightness or darkness of color. Often, this is used by artists to create the illusion of depth and solidity, a particular mood, communicate a feeling, or in establishing a scene (e.g. day and night). 

Light colors – taken as the source of light in the composition

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Dark colors – the lack or even absence of light However, we can identify the color even when a range is presented to us Expectations

are also established based on the notion that yellow is within the light value, whereas, violet is in the dark. Each primary color has a range of values based on the addition and diminishing quantity and quality of light. 

Tint – this is a lighter color than the normal value (e.g., pink for red)

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Shade – this is a darker color than the normal value (e.g., maroon for red)

c. Intensity – this is the color's brightness or dullness. It is identified as the strength of color, whether it is vivid or muled. To achieve a specific intensity of a color, one may add either gray or its complementary color. 

Bright or warm colors – positive energy

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Dull or cool colors – sedate/soothing, seriousness or calm

To better understand intensity of color, color harmonies are to be considered In interior design, we often hear designers refer to color schemes-a guide for selecting not only wall paint but also furniture and decor However, color harmonies are also integral considerations not only for pictorial arts but also for other art forms. 

Monochromatic harmonies – use the variations of a hue. An example is Claud Monet's "Houses of Parliament."

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Complementary harmonies – involve two colors opposite each other in the color wheel. Since they are at contrary positions, the reaction is most intense. Notice the altar piece featuring Saint Anthony Abbot and Saint Roch (Figure 60). Along

with them is Saint Lucy, patron of the blind, whose red and green garb beautifully showcases an example of complementary harmonies. 

Analogous harmonies – make use of two colors beside each other in the color wheel. Other harmonies have emerged such as triadic harmonies, which make use of three

colors from equidistant sites within the color wheel. This however, does not mean that artists will limit themselves to these kinds of harmonies. These are but jump-off points that artists and other creative use. All in all, color presents a multitude of possibilities that affects how works of art are taken in by the viewer Just taking a look at fiery and passionate reds of the clouds and the sky in Edvard Munch's “The Scream”, would bring oneself to ask Did Munch depict a romantic sunset or a warning of coming horrors? A clue is not in the colors alone, but rather, in the face of the man himself that is prominent in the painting His shriek would point to the latter. What is illustrated is that colors and imagery work together to deliver a message, whether the one intended by the artist, or what is facilitated by our own experiences.

7. Texture Like space, texture can be either real or implied. This element in an artwork is experienced through the sense of touch (and sight). This element renders the art object tactile. Often, texture is commonly associated with textiles. In the portrait rendered by court painter Frans Pourbus the Younger, Princess Margherita's garb is adorned in opulent bead and

stitch work that are befitting her rank. This was achieved using the techniques employed by the artist in creating the work.

a. Textures in the two-dimensional plane texture can be implied using one technique or a combination of other elements of art. By creating this visual quality in the artwork, one can imagine how the surface will feel if it was to be touched Some of the words used to describe texture are the following rough or smooth, hard or soft, hairy, leathery, sharp or dull, etc. To be able to simulate the texture of a surface in a flat, two dimensional plan is one important skill that an artist must be familiar with, especially if his idea or concept necessitates it. b. Surface texture refers to the texture of the three-dimensional art object. The elements of art make it possible to engage with the visual and tactile qualities of the artwork through a "common language" that may be widely understood. Through these elements, there is something from which the idea, concept, message, or intended mood of the artist may be inferred. It offers a starting point or a baseline from which analysis may take place. This kind of analysis is called formal analysis of art.

Planes and Perspective Some art forms work with actual spaces, such as sculptors, architects, and stage designers. However, with pictorial art that is two-dimensional, notions of depth and hence perspective requires the implementation of principles and techniques in creating an illusion that will fool the eye to threedimensionality when in reality there is none. Picture plane is the actual surface of the painting or drawing where no illusion of a third dimension exists. Here, the elements lay flat, as if one was looking through a window into what lies on the other side of the glass. During the Renaissance, specifically in the fifteenth century, chiaroscuro was developed. It made use of light and dark contrasts and tones in which paintings not only looked three-dimensional, but also more dramatic. Aside from this technique, linear perspective changed the way pictorial representation was done. Credited to Renaissance artists, its early proponents include Leon Battista Alberti, Paolo Uccello and architect Filippo Brunelleschi in the early fifteenth century, who were published in Alberti's On Painting in 1435.

Its use was based on the following observations: a. As forms and objects recede, the smaller they become. b. We were taught that parallel lines never meet. However, when they, too, seem to converge when they recede into a distance, at a point they both disappear. This point of disappearance is called the vanishing point. An example often used to illustrate linear perspective is the railroad where tracks disappear off at a distance.

A viewpoint may also be construed as normal (view standing up), low (view from a lower angle), or high (view looking down on a scene) depending on the position the viewer takes. There are three types of perspective, grounded on the number of vanishing points used by the artist: a. One-point perspective – often used in depicting roads, tracks, hallways or rows of trees; this type of perspective shows parallel lines that seem to converge at a specific and lone vanishing point, along the horizon line. b. Two-point perspective – pertains to a painting or drawing that makes use of two vanishing points, which can be placed anywhere along the horizon line. It is often used in depicting structures. Such as houses or buildings in the landscape that are viewed from a specific corner. c. Three-point perspective – in this type of perspective, the viewer is looking at a scene from above or below. As the name suggests, it makes use of the three vanishing points, each corresponding to each axis of the scene.

Elements of Art: Auditory Together with literature, music as an art form is classified as auditory art. However, some would argue that it is under the broad category of performance art. Either way music, much like the visual arts, has its own building blocks or elements.

Perhaps one of the most widespread forms of art, whose intersection in daily life is most perceptible, is music. Music is sound organized in a specific time. It is considered an implement to cultural activities, answering a specific role or function. During the times when man had to hunt for food, music was used as a corral to herd animals, or as an element of specific rituals or rites. Singing or dancing to music was also often included in opportunities for members of society to gather and interact. Some are adept with the skill and sense to produce music, while others consume it as listeners, audiences, and even performers If there is an important quality that music has, it is having the capacity to transcend barriers, even that of differences in language or conventions in sound. Different demographics, groups, and individuals may have specific preferences as to the genre of music. However, in order to establish this preference, listeners often take to its elements for its evaluation. Some of the common elements of music are the following rhythm, dynamics, melody, harmony, timbre, and texture. 1. Rhythm Often associated to the terms beat, meter and tempo, rhythm is the element of music that situates it in time. It is the pulse of the music. Beat is the basic unit of music while tempo refers to its speed (beats/second). Beats can be organized into a recognizable recurrent pattern, which is called the meter. Classical terms are used to refer to the variations in tempo, some of which are: 

Largo – slowly and broadly

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Andante – walking pace

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Moderato – at moderate speed

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Allegro – fast

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Vivace – Iively

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Accelerando – gradually speeding up

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Rallentado – gradually slowing down

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Allargando – getting slower, broadening

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Rubato – literally “robbed time,” rhythm is played freely for expressive effect

2. Dynamics The element of music that refers to the loudness or quietness of music is dynamics. Classical terms are used to refer to the different levels pertaining to this:

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Pianissimo [pp] – very quiet

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Piano [p] – quiet

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Mezzo-piano [mp] – moderately quiet

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Mezzo-forte [mf] – moderately loud

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Forte [f] – loud

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Fortissimo [ff] – very loud When composers indicate an increase, or decrease in loudness, they use the terms

crescendo for the former, and decrescendo or diminuendo for the latter.

3. Melody Melody refers to the linear presentation (horizontal) of pitch. By horizontal, it means that in musical notation, it is read in succession from left to right. Pitch is the highness or lowness of musical sound.

4. Harmony If melody is horizontal, harmony is vertical. It arises when pitches are combined to form chords. When several notes are simultaneously played this refers to a chord. Harmony can be described in terms of its "harshness” dissonance is the harsh-sounding combination while consonance is the smooth-sounding combination.

5. Timbre Timbre is often likened to the color of music. It is a quality that distinguishes a voice or an instrument from another. Dependent on the technique, the timbre may give a certain tone or characteristic to music much like how a painter evokes different effects or impressions onto the ...