UNIVERSITY OF CALOOCAN CITY

Biglang Awa St., Corner Catleya St., EDSA, Caloocan City

COLLEGE OF EDUCATION

ART APPRECIATION
SUBJECT CODE: GEC 006

TOPIC OR LESSON: Elements of Art

WEEK: 6
SUB-TOPIC/S: Visual, Auditory, Combined Arts

 INTRODUCTION TO THE TOPIC

We all appreciate the visual arts. We naturally find pleasure or interest in

looking at illustrations, photographs, and architectural masterpieces. We could be
drawn to them because of the technique used by the artist, because of the brilliant
splash of colors, or probably because of the provocative content of a work.
In analyzing a work of art, we usually inquire what the artist is trying to do or
tell us. We identify the intent of the work and evaluate the processes and techniques
involved during its creation. In doing so, we are exploring its context (contextualism)
and we are examining the formal elements of the works (formalism).

LEARNING
OUTCOMES
At the end of this module, the students are expected to:

1. Identify the elements of art;

2. Analyze the various elements present in visual, auditory, and combined arts;
3. Determine dominant elements used in hybrid arts expressions;
4. Determine the factors influencing artists such as distortion, transformation,
appropriation in an experimental or hybrid art expression;
5. Explain the relevance of the elements and principles of art in the study of art
and its products

LEARNING
OBJECTIVES
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At the end of the lesson, students should be able to:

1. Identify the elements of art;

2. Analyze the various elements present in visual, auditory, and combined arts;
3. Explain the relevance of the elements and principles of art in the study of art
and its products

ENGAGE
Navigate either of the sites below. Compose a music or draw yourself (or any) and
share it in our group chat.

https://www.autodraw.com/

https://www.classicsforkids.com/games/compose_your_own_music.php

Guide questions while doing the activity:

Is it easy to compose a song or draw using technological devices?
What/who did you think first as a subject before you compose or draw?

EXPLORE

Formal analysis, which centers on medium and technique, is concerned primarily

with the visual aesthetics and the organization of the elements. A formal analysis of a
painting, sculpture, or architectural work involves an examination of the work by
interpreting it through the elements of arts and through a scrutiny of the artist’s
technical ability within the medium used. It is not concerned with anything
extraneous to the work itself. In contrast, a contextual analysis concentrates on
aspects outside of the work. This kind of analysis may include who the artist is – his
background, nationality, and intentions. It may also contain reasons on the creation of
the artwork – time and place where the work was created and why it was specifically
created, in response to social, cultural, historical, and political factors.

In a strictly contextual analysis of an artwork, we could get ourselves lost in the

theoretical explorations of context. In a strictly formal analysis, other essential factors
that may contribute to the comprehension of a work may be bypassed, also leaving a
half-baked examination of the work. Given these predicaments, we can say that we
may be more effective in analysis when we combine both approaches since this would
reconcile formal aesthetics with the contexts of the work and its creation. In addition
to this integrated approach, many art scholars and practitioners are also interested in
viewing art from a specific perspective, a set of interest or a way of thinking that
informs and in fluences their interpretations. Common perspectives are religious,
psychological, feminist, historical, economic, and political.
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 EXPLAIN

The Elements of Visual Arts

To understand an artwork using formal analysis, we must be able to examine it with

the knowledge of the elements of arts and the principles of design.

Line

The most fundamental of all the elements is the line. A line is an identifiable path
traced by a moving point. For most of us, we draw lines by moving a pencil tip along
the surface of a piece of paper. Lines vary in types. They can be horizontal, vertical,
diagonal, straight or curved, thick or thin. A line may be drawn as an independent
element in a composition or may be used to define the edges of a shape or a form
( outline ). It may also be used by an artist to create direction and movement in a
work , as directional lines play an important role in leading viewers’ vision toward
certain areas in a composition.

Straight lines may be horizontal, vertical,

or diagonal. Horizontal lines suggest a
feeling of rest, infinity, and perfect
stability because objects parallel to the
earth are at rest. Vertical lines give an
impression of height and dominance as
they are pointing or extending towards
the sky. They can be seen in buildings
and are implied in tall trees. Diagonal
lines convey a feeling of action,
movement, unrest, or uncertainty
because they are neither horizontal nor
vertical. They tend to give a work certain
instability, as if elements are already in motion. Raindrops pushed by a strong wind, a
man sprinting, or almost anything in action assumes a diagonal tendency. Aside from
portraying motion, this kind of lines assist the viewers to perceive what objects may
be near or far, leading their vision to a key point in the work. Parallel rails of railroad
tracks seem to meet at the horizontal. The tip, where the lines meet, is called the
vanishing point.

Curved lines create a sense of smoothness, softness, and continuity. This type of line
seems gentle and is soothing to the eye. In classical sculptures, for example, curved
lines are used to accurately imitate the flow of drapery, giving a silky impression
carved from an original hard medium which may be stone or marble.

Shape and Form

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Shapes and Forms are figures which define objects in a space. A shape is a two
dimensional figure (length and width) and usually defined by lines. It occupies an area
with identifiable boundaries. These boundaries may be created by drawing lines (a
triangle drawn on white paper), through distinction in color, (yellow stars on a white
flag), or through variation in texture (smooth circles on frosted glass). Forms, on the
other hand, exist in three dimensions (length, width, and height) and can be viewed
from more than one side. Examples of forms include cubes, cylinders, and pyramids,
among others. Shapes and forms could either be geometric or organic.

Geometric shapes and forms are precise and these include mathematically named
shapes, such as circles, squares, rectangles, cubes, and cylinders. These are often
man made and are easy to create. Geometric shapes can commonly be seen in
buildings, chairs, tables, and other common items. Organic shapes and forms are
typically irregular or asymmetrical, and complex. These are often found in nature, but
man made figures can also imitate organic forms, such as the interlacing plant like
wood carvings on the doors of the San Agustin Church in Intramuros.

Value or Tone

The visual element of value or tone is the juxtaposition of light and dark. It is defined
as the lightness or darkness in a work. It does not refer to brightness or dullness of a
hue. In a nine—point tonal scale, white is recognized as the highest value and black as
the lowest. The point halfway between them is called “medium”.

Because value is always seen and applied as a gradating spectrum of light (and not as
a nine—point scale), it is also an essential tool in creating an illusion of depth.
Application of shade makes an image seem more realistic.

In any painting or graphic work of art, there may be a singular or multiple light
sources. In composing an artwork, artist must always consider where light is coming
from, its angle, and the amount of light that passes through. These factors contribute
to the overall visual effect that the artist wants to achieve in a painting. Rembrandt, a
prolific Dutch artist during the Baroque period, often concentrated light at his subject,
leaving the rest of the painting drenched in darkness. This technique is known as
chiaroscuro, an Italian term in art for the contrast between light and dark. This
striking contrast intensifies the emotion in a painting and also presents a strong
emphasis on the subject. This technique was also dominantly used in the Renaissance
and Baroque periods.

Color
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 Color is light reflected off objects. To be more precise,
it is the product of light of different wavelengths
reflected off object, and our eyes are able to identify
colors through their different intrinsic qualities. The
sun’s light is made up of different waves which
vibrate at varying speeds, and the rainbow’s prism
effect confirms this. The rays of light are refracted
and the colors red, orange, yellow, green, blue, and
violet, among others, can be seen vividly.

When we study color, we find three qualities or

properties: hue, value, and intensity. Hue refers to
the quality by which we distinguish colors. When people talk about the color of
something, they are referring to the hue of that object. The primary hues are red,
yellow, and blue. All other colors can be produced by combining two, or all of these
three, in different proportions. The secondary hues are orange, green, and violet, each
produced by combining two primary colors of the same amount. The relationships of
colors can be clearly seen in a color wheel or color circle.

Texture

Texture refers to surface quality. We may perceive an object to be smooth or rough,

fine or coarse, bumpy or slippery. All objects possess physical texture. Texture is first
known by actually touching objects. Through our sense of touch, we identify the
surface difference between wood and metal, silk and cotton, marble and cement, paper
and plastic. This physical property of objects is called actual texture. Actual texture is
literally tangible. The sensations we experience are then processed and memorized by
our brain, feeding ideas for our visual perception. When we see polished
marble, even called visual texture. Visual texture influence our perception in viewing
an artwork, especially in sculpture. Even before touching a surface, we have formed
an idea of its texture just by observing.

In sculpture, texture results from the physical properties of the material an artist
uses. Glass or ice sculptures are naturally smooth and stone sculptures rough, but
the artist also has freedom to manipulate a material to achieve the texture he wants

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for the artwork. For instance, glass could be roughened by frosting and the coarsest
stone could be polished to achieve luster.

Space

When we speak of space, we may be referring to something as minute as the proximity

between two small Items or the astonishing vast emptiness of the universe. In visual
art, space places great importance in arranging elements in a composition. In
painting, an artist concentrates on arranging two dimensional space, which can be
viewed from different angles. Space is a dynamic visual element that interacts with all
the other elements (line, shape, value, color, texture) to give them definition. For
example, a triangle may be marked out by drawing an outline of three connected black
lines on a piece of white paper. The lines would then clearly delineate space inside and
space outside of the triangle. If the outlines were omitted and the same triangle is
filled with yellow, the color would still define the space occupied by the shape,
separating it from the unused white space around the shape. The space occupied by
the shape is called positive space, and the space around it is called negative space.
Normally, an artwork’s subject comprises the positive space. The relationship of
positive to negative space can greatly affect the impact of a work of art.

i
Real space is three dimensional. In drawings or paintings, an artist usually creates an
impression of depth, using different means. Aside from the usage of value and lines,
the proper arrangement of spaces on a canvas helps in creating an illusion of depth in
a composition. Architecture and sculpture work with actual space. With drawing,
painting, and other two dimensional art forms, the actual space is the flat surface of
the work itself.
There are different techniques to suggest depth in a work. The most basic is to apply
variation in sizes. Objects close to us appear bigger than objects far from us.
Therefore, a large object in a composition signifies its visual proximity to the viewer.
This technique is used in early medieval illustrations, but proportions between
elements seem rather unrealistic. This issue was addressed in the Renaissance period
through the geometrical method of linear perspective. This technique employs a
mathematical graphing of distances of and between objects. Here, parallel lines
receding into the distance seem to converge until they meet at a specific point on the
horizon. This point is known as the vanishing point.

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Another common technique to suggest depth
is the formation of overlapping planes. A
work typically contains a subject on the
foreground and a supporting background. A
middle ground and additional layers can also
be added to stress the gap between the two
planes. In paintings or photos of nature
consisting of multiple layers (such as tiers of
mountain ranges), it is noticeable that the
father layers become more and more hazy,
complemented with strokes of blue. This is
the effect produced by scattered atmospheric
light and other elements of nature, such as
mist or vapor. Distance affects the clarity
and color tinting of an object. The “blueing”
and slight blurring is called aerial
perspective. It is achieved by using less
focus, along with lighter and duller hues for
the distant elements of the composition. This
is evident in Caspar David Friedrich’s
Wanderer Above the Sea of Fog (1818).

ELABORAT
E
If visual arts have their own elements, do music and combined arts also have
elements? The answer is yes. Watch the videos to learn about the elements of music
and combined arts.

Music: https://www.youtube.com/watch?v=t9Mo-bkl4ko
Dance: https://www.youtube.com/watch?v=UGuD9Geeb2k

EVALUATE

Identify what is described in the following statements.

1. It is the point where parallel lines, that recede into a distance, seem to converge.
Vanishing point
2. It is the surface quality of an object. Texture
3. It is the shape occupied by a shape. Positive space
4. It is an analysis concerned with the visual aesthetics and the organization of the
elements. Formal analysis
5. It is a line use to create sense of smoothness, softness, and continuity. Curved line
6. It is a kind of shape with mathematical name like a square. Geometric shape
7. It is the physical property of an object that usually tangible. Actual texture

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8. It is the relative lightness and darkness of hue. Value
9. It is a line which suggest impression of height and dominance. Vertical line
10. It is an analysis which concentrates on the aspects outside of the work.
Contextual analysis

REFERENC
ES
Cerbo, S. N., Gonong, G., Morales, G. S., Roman, L. (2010). An Introduction to the Humanities: The
Arts. Suatengco Publishing House. Caloocan City
Inocian, R. B. et. al. (2021). Modular Approach to Art Appreciation. Lorimar Publishing, Inc. Quezon
City
Sedgwick, John P. Jr. (1959). Art Appreciation Made Simple. Doubleday and Company, Inc. Garden
City, New York
Sonsona, R., Pamintuan, M., Balabagno, J., Echem, E. (2020). An Eye for Art Appreciation: Perception
and Expression. C and E Publishing. Quezon City

Prepared by:

BINGO L. ALIGO

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