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THE ELEMENTS AND PRINCIPLES OF ART

Adedayo Jeremiah Adeyekun1*
1
Jagannath University, Delhi – NCR HR (India)

*Corresponding Author: theonlyicd4life@yahoo.com

Keywords: Elements, Art, Design, Composition, Principles

ABSTRACT

The elements and principles create composition in artwork. Composition is an orderly arrangement of
visual structures (elements and principles) to create a mood, add meaning and direct the viewers' attention to
the purpose of the artwork. Compositions are said to be 'designed' according to the specific intent of the artist.
In any work of art, there is a thought process for composition. The artist who works with the rules will create a
more interesting piece of art with strong visual brightness. Design which is the structure of art, elements of art
and principles of design bringing together all the different parts that gives artwork visual unity. The elements
of art and principles of design are always used together, and therefore work together to create a composition
with good design. The aim of this research paper is to explore the elements and principles of art in relation to
design and to give a proper explanation of visual unity and how it can create an attention.

INTRODUCTION
The design elements and principles described here can be an analysing frame for web page design. They
can inform us where to begin, what to probe, and how to analyse. For example designer who knows the design
elements and principles can analyse the page in terms of line, colour, movements, balance, harmony, and so
forth, while others are just thinking that it is appealing for them or not. This information can also give an
expressing tool to the web designer. A novelist can express his or her thought using language. A web page
designer also expresses their thought or a certain intention with elements of design and does it effectively
along with the design principles. If a designer want to say something through the web page, than he must use
the elements (line, colour, etc) as a communication tool. So it is very important to know the kinds and
meanings of the design elements and principles.

OBJECTIVES OF STUDY
1. To study the principles of art and how it can be used to create a composition in art.
2. To study the orderly arrangement of visual structures of art.
3. To identify the relationship of colours and its application to design.
4. To give a proper explanation of visual unity and how it can create an attention
5. To obtain the detailed elements of art as a tool for visual communication.
6. To assess professionals perception on the principles of art.

SIGNIFICANCE OF THE STUDY

This research will help to provide students and professionals in the field of arts on how to organize the
elements within the work of art. It will be a standard for an artist to apply colours in an art work. The principle
of art also referred to as the principles organization or design principles is a process applied in the field of
architecture to organize the shape of a building design. This research will give detailed samples of colour
application and the process implied. It is a study that will help an architect to enhance aesthetics during
rendering. It will expose a student or professional to become a master in a variety of techniques learning how
to use different mediums with greater success. It is a research that will allow a student to his or her centre of
interest, harmony, unity, balance and other principles of art in a finished composition.

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METHODOLOGY
In order to achieve the main objectives of this research, it is of utmost importance to understand the
elements and principles of art mentioned in this study. Therefore the study initiates with a thorough survey
which includes the followings:
Oral Interview: Some professionals in the field of art were interviewed to get more useful
information in this research.
Data Collection: Data’s were collected through some means such as past projects, textbooks, lecture
notes, journals, seminar papers, magazines and others.

THE ELEMENTS OF ART

Colour (hue) is one of the elements of art. Artists use colour in many different ways. The colou
colours
rs we see
are light waves absorbed or reflected by everything around us. In nature, a rainbow is white light that is
broken apart by the moisture in the air. People discovered that white light can be broken apart using tools like
prisms or spectroscopes.

Figure 1:
1 Hue Colour as an Element of Art Figure 22:: The Colours of the Visible Light Spectrum

The colours of the visible light spectrum are red, orange, yellow, green, blue, indigo and violet. White
light consists of all of the colours mixed together. The colour of an object depends on how it absorbs and/or
reflects light. If an object absorbs all of the light wavelengths, it will appear black. If it reflects all of them, it
will appear white. If an object absorbs all wavelengths except red, for example, it will look red.

Colour has three properties:

1. Hue – The name of a colour, such as red, blue, or yellow.
2. Value – The lightness or darkness of a colour.
3. Intensity – The brightness or dullness of a colour.
4. Colours are arranged in a circular format on a colour wheel. Red, yellow, and blue are the primary
colours. Violet, green and orange are the secondary colours.

Artists make use of different types of colour schemes to create different effects.
 Complementary – Colours urs opposite of one another on the colour wheel
 Monochromatic – Different values of a single colour
 Analogous – Colours that are side by side on a colour wheel and share a hue
 Warm – Red, yellow, orange
 Cool – Blue, green, violet

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VALUE
Value is the lightness or darkness of a colour. You can get different values of a colour by mixing its
shades (adding black to a colour) and tints (adding white to a colour). A tone is created when gray is added to
a colour.

Figure 3: Value of Colours

LINE
Line is one of the elements of art. You can find lines everywhere you look. Line can vary in width,
direction, and length. There are many different kinds of lines. Here are some common lines:
 Horizontal lines – Lines that run parallel to the ground, appear to be at rest.
 Vertical lines – Lines that run up and down, seem to show dignity, formality, and strength.
 Diagonal lines – Lines that signal action and excitement.
 Zigzag lines – Lines that are made from co combined
mbined diagonal lines, can create a feeling of confusion or
suggest action.
 Curved lines – Lines that express movement in a graceful, flowing way.

Figure 4: Value of Colours

SHAPE
Shape is one of the elements of art. When lines meet, shapes are formed. Shapes are flat and two two-
dimensional - height and width. Some shapes are geometric, such as squares, circles, triangles, rectangles, and
ovals and using created using a ruler or drawing tool. Other shapes are organic or irregular and free
free-form.

These are geometric shapes.

Figure 4: Geometric
etric Shapes Figure 5: Organic Shapes
Shapes look like things from Nature

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FORM
Form is one of the elements of art. Forms are three
three-dimensional
dimensional with an height, width and depth. Shapes
are flat; forms are not.

Here are some common forms:

Figure 6: Types of Forms

TEXTURE
Texture is one of the elements of art. Texture is the way something feels when you touch it – actual
texture; examples, rug, clothes, wood, etc. Artists also create the illusion of texture in artworks such as
paintings, drawings and prints – implied texture; created with elements such as pattern and line.

SPACE
Space is one of the elements of art. Space is an empty place or surface in or around a work of art. Space
can be two-dimensional,
two dimensional, three-dimensional,
three dimensional, negative and/or positive.

Figure 7: Positive and Negative Space in the Sculpture.

Artists also create positive and negative space in two

two-dimensional
dimensional artworks.
artworks

 Positive Space – The shapes or forms

 Negative Space – The empty spaces between the shapes or the background

PRINCIPLES OF DESIGN
BALANCE

Balance is one of the principles of art which describes how artists to create visual weight. Artists think
about how
ow to make their works balanced by using elements such as line, shape, or colour. There are several
ways to balance an artwork:
 Symmetrical (formal) balance means both sides of an imaginary line are the same.
 Asymmetrical (informal) balance means each side of an imaginary line is different yet equal.
 Radial balance means lines or shapes grow from a centre point.

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Figure 8: Types of Balance as a Principle of Art

CONTRAST
Contrast is one of the principles of art which creates excitement and interest in artworks. The white and
black colours have the greatest contrast. Complementary colours also have high contrast. Artists use high
contrast to make something show up. In Wheat fields with Ravens, Vincent van Gogh used high contrast
colours to make the yellow wheat fields stand out against the dark blue sky.

Fig 9: Wheat fields created by Ravens, Figure 10: Painting of a bridge showing the Contrast
Vincent van Gogh

PATTERN
Pattern is one of the principles of art. Artists create pattern by repeating a line, shape or colour over
and over again.

Figure 11: Pattern as a Principle of Art

Lines create patterns on the headdress of the Golden Effigy of King Tutenkhama
Tutenkhaman.
n. In "Water Lilies,"
Claude Monet repeats the pattern of water lilies floating on the pond.

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RHYTHM
Rhythm is one of the principles of art. Visual rhythm makes you think of the rhythms you hear in music
or dance. Artists create visual rhythm by repeating art elements and creating patterns. In Okazaki, Ando
Hiroshige's bridge supports create a rhythm that leads your eyes through the landscape.

Figure 12: Rhythm showing the Flow of Colours

EMPHASIS
Emphasis is one of the principles of art. Artists use emphasis to make certain parts of their artwork stand
out and grab your attention. The centre of interest or focal point is the place the artist draws your eye to first.
In this painting, "The Letter," Mary Cassatt emphasized the envelope by painting it wh white
ite against the dark
patterns of the woman's dress. She also placed the envelope in the centre of the painting to draw your eye to it.

Figure 13: Rhythm showing the Flow of Colours

UNITY
Unity is one of the principles of art. Unity is the feeling that everything in the work of art works
together and looks like it fits. Gustave Caillebotte used shape to create unity. Repetition of shape and colour
can make an artwork unified.

Figure 14: The Unity of Fruits in Different Colour Combination

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VARIETY

Variety is one of the principles of art. Variety occurs when an artist creates something that looks
different from the rest of the artwork. An artist may use variety to make you look at a certain part or make the
artwork more interesting. Jasper Cropsey painted
painted a large tree to create variety in his landscape, "In the
Valley."

Figure 15: The Unity of Fruits in Different Colour Combination

THEME IN ART
In the visual arts, a theme is a broad idea or a message conveyed by a work, such as a performance, a
painting,
inting, or a motion picture. This message is usually about life, society or human nature. Themes are the
fundamental and often universal ideas explored in a work. Themes are usually implied rather than explicitly
stated. Deep thematic content is not requir
required
ed in a visual work; however, some observers would say that all
visual work inherently projects some kind of outlook on life that can be taken as a theme, regardless of
whether or not this is the intent of the author.
Analysis of changes (or implied chang
change)
e) in dynamic characteristics of the work can provide insight
into a particular theme. A theme is not the same as the subject of a work. For example, the subject of Star
Wars is "the battle for control of the galaxy between the Galactic Empire and the RebeRebell Alliance". The themes
explored in the films might be "moral ambiguity" or "the conflict between technology and nature". Themes
differ from motifs in that themes are ideas conveyed by the visual experience as a whole, while motifs are
repeated symbols fou found
nd inside an overarching theme. Simply having repeated symbolism related to chess,
does not make the story's theme the similarity of life to chess. Themes arise from the interplay of the plot, the
characters, and the attitude the author takes to them, and the same story can be given very different themes in
the hands of different authors.
While thematic analysis is a primary concern of art critics, a minority viewpoint holds that explicitly
stating the theme of a work universalizes it in an inappropriate wa way.
y. For example, many love stories end
happily when the hero and heroine marry, thus the theme "Marriage equals happiness." Critics would point out
that marriage rarely does simply equate to happiness and that marriage and happiness are individual and
cultural
ral intangibles that may or may not relate.

NINE THEMES OF ART

1. Visual Delight and the Arts of Daily Life
2. Sacred Realm
3. Politics and the Social Order
4. Stories and Histories
5. Looking Outward: The Here and Now
6. Looking Inward: The Human Experience
7. Invention and Fantasy
8. Art and Nature
9. Art and Art

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EXAMPLES OF THEMES OF ARTS

Figure 16: The Theme of Art and Nature Figure 17: Oil Painting

ARTIST AND THEIR ART WORK

The Mona Lisa is quite possibly the most well well-known
known piece of painted artwork in the entire world. It
was painted by the Leonardo Da Vinci, the famous Italian artist, between 1504 and 1519, and is a half body
commission for a woman named Lisa Gherardin
Gherardini. i. Her husband, Francesco Del Giocondo requested the work
by Da Vinci just after the turn of the century. It is perhaps the most studied piece of artwork ever known. The
subject’s facial expression has brought about a source of debate for centuries, as her face remains largely
enigmatic in the portrait. Originally commissioned in Italy, it is now at home in the French Republic, and
hangs on display in the Louvre in Paris. The work was requested by subject’s husband, Francesco Del
Giocondo. Lisa was from a well well-known
known family known through Tuscany and Florence and married to
Francesco Del Giocondo who was a very wealthy silk merchant. The work was to celebrate their home’s
completion, as well as a celebration of the birth of their second son. Not until 2005 was the identity of Mona
Lisa‘s subject fully understood, though years of speculation have suggested the true identity of the painting’s
subject.

Figure 18: Leonardo da Vinci Painting of Mona Lisa (c. 1503

1503––1519)

THE TECHNIQUES APPLIED

The Mona Lisa is an oil painting, with a cottonwood panel as the surface. It is unusual in that most
paintings are commissioned as oil on canvas, but the cottonwood panel is part of what has attributed to the
fame of the painting. Because of the medium used for the image, the Mona Lisa has survived for six centuries
without ever having been restored a trait very unusual when considering the time period of the piece.

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While most of the artwork of the Renaissance period depicts biblical scenes, it was the style and
technique of the
the paintings of this period which make them distinguished from other eras of artwork.
Anatomically correct features are one of the identifiable marks of this period of history in art, and the Mona
Lisa stands out amongst the great paintings for the detail in her hands, eyes, and lips. Da Vinci used a
shadowing technique at the corners of her lips as well as the corners of her eyes which give her an extremely
lifelike appearance and look of amusement. Her portrait is such that to an observer, they are standi
standing
ng right
before Lisa Del Giocondo, with the arms of her chair as the barrier between the observer and the subject of the
painting.
Da Vinci also created a background with aerial views and a beautiful landscape, but muted from the
vibrant lightness of the subject’s
subject’s face and hands. The technique Da Vinci used in executing the painting left
behind no visible brush marks, something that was said to make any master painter lose heart. It is truly a
masterpiece.

THE LAST SUPPER (LEONARDO DA VINCI)

The Last Supper is a late 15th
15th-century
century mural painting by Leonardo da Vinci in the refectory of the
Convent of Santa Maria delle Grazie, Milan. It is one of the world's most famous paintings. The work is
presumed to have been commenced around 14951495-1496
1496 and was commissioned as part of a plan of renovations
to the church and its convent buildings by Leonardo's patron Ludovico Sforza, Duke of Milan. The painting
represents the scene of The Last Supper of Jesus with his disciples, as it is told in the Gospel of John, 13:21.
Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced
that one of them would betray him.

Figure 19: Leonardo da Vinci’s Image of the Last Supper

Location: Santa Maria delle Grazie, Milan

THE TECHNIQUES APPLIED

Leonardo sought a greater detail and luminosity than could be achieved with traditional fresco. He
painted The Last Supper on a dry wall rather than on wet plaster, so it is not a true fresco. Because a fresco
cannot be modified as the artist works, Leonardo instead chose to seal the stone wall with a double layer of
dried plaster. Then, borrowing from panel painting, he added an undercoat of white lead to enhance the
brightness of the oil and tempera that was applied on top. This was a method that had been described
previously, by Cennino Cennini in the 14th century. However, Cennini had recommended the use of secco for
the final touches alone. These techniques were important for Leonardo's desire to work slowly on the painting,
giving him
im sufficient time to develop the gradual shading or chiaroscuro that was essential in his style.

EQUESTRIAN STATUE OF GATTAMELATA

The Equestrian statue of Gattamelata is an early piece that made its way in during the Italian
Renaissance. The statute depi
depicts
cts Erasmo de Narni, who served under the Republic of Venice. His death in
1443 sparked his family to request for a sculpture to be made in his honour, and it was the first renaissance
equestrian statute that was displayed at the time.

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The statue is situated on an elliptical base, and Erasmo is dressed in military gear. He is wearing armour
and has his sword by his side. His body is in natural proportion to his horse (something that is not always true
with other equestrian statues), which
which indicates that Donatello was trying to achieve a high level of naturalism
here. Erasmo is not shown as a deity, but instead as someone who conveys intelligence, courage, and
confident – a rather triumphant figure who rides on a horse with its hoof on aan
n orb, a symbol of power.

Figure 20: The Art of Donatello Opened in 1453

THE APOLLO BELVEDERE

The Apollo Belvedere or Apollo of the Belvedere also called the Pythian Apollo is a celebrated marble
sculpture from Classical Antiquity. It was rediscovered in central Italy in the late 15th century, during the
Renaissance. From the mid-18th 18th century, it w was
as considered the greatest ancient sculpture by ardent
neoclassicists and for centuries epitomized ideals of aesthetic perfection for Europeans and westernized parts
of the world. It is now found in the Gabinetto delle Maschere of the PioPio-Clementine
Clementine Museum of the Vatican
Museums complex.

Figure 24: Apollo Belvedere Sculpture created by Leochares (350

(350–325 BC)
Location: Vatican Museums, Vatican City

The Greek god Apollo is depicted having just shot a deathdeath-dealing

dealing arrow. The episode represented
may be the slaying of Python, the primordial serpent guarding Delphi making the sculpture a Pythian Apollo.
Alternatively, it may be the slaying of the giant Tityos, who threatened his mother Leto, or the episode of the
Niobids.

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The large white marble sculpture 2.24 m (7.3 feet) high depicts the Greek god Apollo as a standing
archer. The complex contrapposto of the work has been much admired; it appears to position the figure both
frontally and in profile. Although there is no agr
agreement
eement as to the precise narrative detail being depicted, the
conventional view has been that the god has just overtaken the serpent Python, the chthonic serpent of Delphi.
The arrow has just left his bow and the effort impressed on his musculature still lingers. His hair, lightly
curled, flows in ringlets down his neck and rises gracefully to the summit of his head, which is encircled with
the strophium, a band symbolic of gods and kings. His quiver is suspended across his left shoulder. He is
entirely nude
nude except for his sandals and that his robe (chlamys) is clasped at his right shoulder and is turned
up only on his left arm and thrown back.

THE LAMENTATION OF JESUS CHRIST

The Lamentation of Christ (also known as the Lamentation over the Dead Christ
Christ,, or the Dead Christ
and other variants) is a painting of about 1480 by the Italian Renaissance artist Andrea Mantegna
Mantegna.. While the
dating of the piece is debated, it was completed between 1475 and 1501, probably in the early 1480s. It
portrays the body Christ supine on a marble slab. He is watched over by the Virgin Mary and Saint John
weeping for his death.

Figure 25: The Theme of the Lamentation of Jesus Christ

Created in 1480 by the Italian Renaissance Artist Andrea Mantegna

The theme of the Lamentation of Christ is common in medieval and Renaissance art, although this
treatment, dating back to a subject known as the Anointing of Christ is unusual for the period. Most
Lamentations show much more contact between the mourners and the body. Rich contrasts of light and
shadow abound, infused by a profound sense of pathos.. The realism and tragedy of the scene are enhanced by
the violent perspectiveve, which foreshortens and dramatizes the recumbent figure, stressing the anatomical
details: in particular, Christ's thorax
thorax.. The holes in Christ's hands and feet, as well as the faces of the two
mourners, are portrayed without any concession to idealism or rhetoric.
rhetoric. The sharply drawn drapery which
covers the corpse contributes to the dramatic effect. The composition places the central focus of the image on
Christ's genitals - an emphasis often found in figures of Jesus
Jesus,, especially as an infant, in this period, which has
been related to a theological emphasis on the Humanity of Jesus by Leo Steinberg and others.
Mantegna presented both a harrowing study of a strongly foreshortened cadaver and an intensely
poignant depiction of a biblical tragedy. This painting is one of many examples of the artist's mastery of
perspective.
perspective. At first glance, the painting seems to display an exact perspective. However, careful scrutiny
reveals that Mantegna reduced the size of the figure's feet, which, as he must have known, would cover much
of the body if properly represented.
Mantegna probably made this painting for his personal funerary chapel. It was found by his sons in his
studio after his death and sold off to pay debts. The painting is now in the Pinacoteca di Brera of Milan,, Italy

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CONCLUSION
This research shows that colour could be used as a tool of visual spatial order. The Elements of Art
and Principles of Design are the building blocks used to create a work of art. The Elements of Art can be
thought of as the things that make up a painting, drawing, design etc. The Prin
Principles
ciples of Design can be thought
of as what we do to the elements of art. How we apply the Principles of Design determines how successful we
are in creating a work of art.
According to the pictures of art displaced in this res
research
earch shows that colour in its usage is able to
control what will be perceived by the viewer. This is due to colour's ability to control mood in the space based
on the intensity of light and the brightness of the colour. The contrast of light and darkness in the space can
create dynamic environment between active and passive stimulation for the users of the space. This is the
reason why colour has to be highly considered in its application in children' spaces as children need both
stimulation and calmness inin their growth.

ACKNOWLEDGEMENTS
The author specially wishes to express a deep appreciation to the distinguished Prof. Prabhubhai K.
Patel, a Professor Emeritus of Architecture from Indian Institute of Technology, Roorkee (Oldest Technical
Institution of Asia), Prof. Olubode Olumuyiwa Ajayi of Chemistry Department, Federal University of
Technology Akure (FUTA), The author also gratefully acknowledges the support given by distinguished Prof.
H.L. Verma, the vice chancellor of Jagannath University, Bahadurg
Bahadurgarh,
arh, Delhi – NCR, Haryana to complete
my PhD studies, I say a special thank you sir.

REFERENCE
 Leonardo Da Vinci (2014) "The Last Supper' reveals more secrets". sciencedaily.com. Retrieved
March 3.
 Vosbeck R. R. (2009), Colour in Architecture
Architecture,, Color Resea
Research
rch & Application, Pg 103
103-105.
105.
 Porter T. (1982), Colour outside, Architectural Press, London, Pg. 14

About the Author

Dr. Adedayo Jeremiah Adeyekun is a Nigerian Architect, Artist, Urban Planner, Educator and a
Preacher of the Word of God. He is registered with Council of Architecture, New Delhi and a corporate
member of the Indian Institute of Architects. He studied Architecture at the Federal Univer
University
sity of
Technology, Akure (NIGERIA) and graduated with the degree of B. Tech in Architecture with
Honours (5years) in October, 2008. He proceeded in his career in India with the degree of Master of
Planning (Hons) from MDU, Rohtak securing a Silver Medal. He received a Ph.D. in Civil Engineering
with specialisation in Building Technology and Construction Management from Jagannath University,
Delhi NCR, Haryana, India. He was an associate professor in the faculty of Architecture, Savera
College of Architecture,
Architecture, Gurugram affiliated to MDU, Rohtak. He received a medal in April 2018 for the presentation of
a paper titled: Technology and Management Options towards the use of Fly Ash in Civil Engineering. His research
interest is spread across the discipline of ArArchitecture,
chitecture, Planning and Civil Engineering and as a researcher; he has
published more than 17 research papers and 7 published academic books to his credit.

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Publisher:
Departmen Teknologi Industri Pertanian Fakultas Teknologi Pe
Pertanian
rtanian Universitas Gadjah Mada
Flora No. 1 Bulaksumur, Yogyakarta
Yogyakarta- Indonesia 55281 Tel
Telp and Fax: (0274) 551219 Email:
Email: tip@ugm.ac.id
http://tip.ugm.ac.id/

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