12
Arts & Design
Quarter 1 – Module 1:
Introduction to the
Elements and Principles
of Organization in
the Arts
Subject Area – Grade Level
Self-Learning Module (SLM)
Quarter 1 – Module 1: Introduction to the Elements and Principles of Organization in
the Arts
First Edition, 2020
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[email protected] 12
Arts and Design
Quarter 1 – Module 1:
Introduction to the Elements
and Principles of Organization in
the Art
Introductory Message
For the facilitator:
Welcome to the Arts and Design Grade 12 Self-Learning Module (SLM) on
Integrating the Elements and Principles of Organization in the Arts!
This module was collaboratively designed, developed, and reviewed by educators
both from public and private institutions to assist you, the teacher, or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
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as they do the tasks included in the module.
For the learner:
Welcome to the Arts & Design Grade 12 Self-Learning Module (SLM) on Integrating
the Elements and Principles of Organization in the Arts!
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this module.
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What I Need to Know
This module was designed and written with you in mind. It is here to help you master
the Integrating the Elements and Principles of Organization in the Arts. The scope of
this module permits it to be used in many different learning situations. The language
used recognizes the diverse vocabulary level of students. The lessons are arranged
to follow the standard sequence of the course. But the order in which you read them
can be changed to correspond with the textbook you are now using.
Content Standards The learner demonstrates an understanding of the
different elements of art, how they are seen in the
everyday, and how they create meanings.
Performance The learner evaluates the different elements seen in
Standards everyday objects and their meanings.
Most Essential The learners should be able to identify different
Learning elements and principles of an organization in the arts,
Competency its potential to express one’s feelings and ideas, and
to create meanings in everyday objects. AD_EPA12-
Ia-d-1
The module is divided into five lessons, namely:
Lesson 1: In Objects AROUND US
Lesson 2: In Objects IN OUR HOME
Lesson 3: In Our BUILT ENVIRONMENT: The Multi-Purpose Public Space
Lesson 4: In Our NATURAL ENVIRONMENT: From Balanghai to Bahangka
Lesson 5: In Our MEDIA ENVIRONMENT: Popular Culture
What I Know
Pre-Assessment.
A. Matching Type. Match the elements of art in Column B to the best definition
in Column A. Write the chosen letter on a separate sheet of paper.
Column A Column B
1. Is an identifiable path created by a point moving in a. Rhythm
space. It is one-dimensional and can vary in width,
direction, and length. It often defines the edges of a
form. It can be horizontal, vertical, or diagonal, straight
or curved, thick or thin.
The outward form of an object defined by its outline.
2. Can be geometric, like squares and circles, or organic, b. Texture
like free- form or natural shapes.
3. An area that an artist provides for a particular c. Shape
purpose. Includes the background, foreground and
middle ground, and refers to the distances or area(s)
around, between, and within things.
The process of relocation of objects in space over
4. time. We can speak of it as literal, compositional, or d. Line
implied.
This refers to a regular repetition of elements of art to
5. produce the look and feel of movement. Often achieved e. Form
through the careful placement of repeated components
that invite the viewer's eye to jump rapidly or glide
smoothly from one to the next.
It is the surface quality of a shape - rough, smooth, soft
6. hard glossy, etc. It can be physical (tactile) or visual. f. Space
At its most basic, it is a three-dimensional geometrical
7. figure (i.e.: sphere, cube, cylinder, cone, etc.), as g. Movement
opposed to a shape, which is two-dimensional, or flat.
B. Matching Type. Match the principles of art in Column B to the best definition
in Column A. Write the chosen letter on a separate sheet of paper.
Column A Column B
8. The relationship between the elements of a visual that h. Emphasis
helps all the elements function together. It gives a
sense of oneness to a visual image. In other words, the
words and the images work together to create
meaning.
9. All parts of the visual image relate to and complement i. Proportion
each other, pulling the pieces together, which can be
achieved through repetition and rhythm.
10. It refers to the distribution of weights in the art form, j. Variety
seen in the use of the elements, or on stage in the
weight of the spoken lines or the distribution of
movement.
11. This needs to be considered in balancing weights, for k. Dynamism
example, in deciding how many elements and how
much of them should be used in creating a particular
form.
12. It is a principle of design that refers to a way of l. Harmony
combining visual elements to achieve intricate and
complex relationships.
13. It refers to the arrangement of opposite elements (light m. Unity
vs. dark colors, rough vs. smooth textures, large vs.
small shapes, etc.) in a piece to create visual interest,
excitement, and drama.
14. It is defined as an area or object within the artwork that n. Balance
draws attention and becomes a focal point.
15. This refers to the excitement created by the interaction o. Contrast
of the elements, providing tension, or the push and pull
forces the elements exert upon each other.
Lesson The Elements of Artistic Expression
1 and the Principles of Artistic Organization
In Objects AROUND US
We begin the fundamental premise that there are two interrelated aspects of the
study of art. The first is that art has its specificity: that is, its particular language or
vocabulary that has to do with the mediums, techniques, and visual elements of art.
That constitutes it as a distinct area of human knowledge and signifying practice.
This lesson is not just what is known as the formal aspect of art. Still, it is what
constitutes art as a particular human activity different from the others.
The other aspect is that art, while it has its specificity, is at the same time historically
situated and shaped by social, economic, and political forces. Both of these aspects
need to be taken into account to be able to understand and appreciate artfully.
Studying the formal elements alone will not lead to a full understanding of the work,
in the same way that the independent study of the social determinants risks
collapsing the artistic into the sociological.
A visual work as an iconic or pictorial sign has a unique and highly nuanced meaning.
This uniqueness and semantic richness arise from the first use of the elements and
resources of art.
The meaning, signification, or system of significations of work is not statemental, nor
is the understanding of a work. A reductive process that reduces sensitivity to a
summary, statement, or unique insight.
Meaning in art is a complex of intellectual, emotional, and sensory significations.
That the work conveys and to which the viewer responds, bringing in the breadth of
his cultural background, artistic exposure and training, and human experience in a
dialogic relationship the artwork.
One may speak of a work’s “horizon of meaning” (Eagleton), which implies a range
of possible significations that work may accommodate; at the same time that it
suggests semantic parameters.
The analytic study of how the various elements and material features of the work
should be more stable and consensual. Field of meaning, away from the erratic,
whimsical, purely subjective and impressionistic readings.
What’s In
In this unit, you will have reviewed what the elements of the arts are and what are
their principles of organizations. These are present in objects that we see everyday
in our vicinity and a deeper and incisive regard for them will disclose our paths of
understanding about the world around us.
◦
What’s New
Activity 1
Elements of the Arts
Line. Is an identifiable path created by a point moving in space. It is one-dimensional
and can vary in width, direction, and length. Lines often define the edges of a
form. Lines can be horizontal, vertical, or diagonal, straight or curved, thick or thin.
(www.getty.edu/education/teachers/building_lessons/formal_analysis.html)
Shape. Outward form of an object defined by its outline. Can be geometric, like
squares and circles, or organic, like free-form or natural shapes.
(http://study.com/academy/lesson/what-are-the-seven-elements-of-art-definition-
examples.html)
Space. An area that an artist provides for a particular purpose. Includes the
background, foreground and middle ground, and refers to the distances or area(s)
around, between, and within things. There are two kinds of space:
negative space and positive space. (https://en.wikipedia.org/wiki/Elements_of_art)
Movement. The process of relocation of objects in space over time. We can speak
of movement as literal, compositional, or implied.
(http://char.txa.cornell.edu/language/element/move/move.htm)
Rhythm. Refers to a regular repetition of elements of art to produce the look and feel
of movement. Often achieved through the careful placement of repeated
components that invite the viewer's eye to jump rapidly or glide smoothly from one to
the next.
(http://www.artflex.com/Artlex/r/rhythm.html)
Texture is the surface quality of a shape - rough, smooth, soft hard glossy, etc.
Texture can be physical (tactile) or visual.(http://www.johnlovett.com/test.htm)
Color Element reflected off of objects. Has three main properties: Hue, the name of
the color value, its lightness or darkness; and Intensity, its brightness or
dullness (www.getty.edu/education/teachers/building_lessons/elements_art.pd)
Form
At its most basic, a form is a three-dimensional geometrical figure (i.e.: sphere, cube,
cylinder, cone, etc.), as opposed to a shape, which is two-dimensional, or flat. In a
broader sense, form, in art, means the whole of a piece's visible elements and the
way those elements are united. In this context, the form allows us as viewers to
mentally capture the work, understand it, and attempt to analyze it.
(http://arthistory.about.com/cs/glossaries/g/f_form.htm)
ACTIVITY 2
The Principles of Artistic Organization or Composition
Unity
The relationship between the elements of a visual that helps all the elements
function together. Unity gives a sense of oneness to a visual image. In other words,
the words and the images work together to create meaning.
http://www.educ.kent.edu/community/VLO/Design/principles/unity/index.html)
The elements of the artwork converge in one inspiring piece. In great art, there is
Unity in the Message conveyed and wholeness in the Impact created. (Morato)
Harmony
All parts of the visual image relate to and complement each other, pulling the pieces
together, which can be achieved through repetition and rhythm.
(http://www.educ.kent.edu/community/VLO/Design/principles/harmony/index.html)
Harmony is a synchronized flow. There is no jarring piece or discordant note. There
is a pleasant jelling of the elements, which sing out in chorus in one voice. (Morato)
Proportion and Balance
Balance is a psychological sense of equilibrium. As a design principle, balance
places the parts of a visual in an aesthetically pleasing arrangement. In visual
images, balance is formal when both sides are symmetrical in terms of the
arrangement. Balance is informal when sides are not exactly symmetrical, but the
resulting image is still balanced. Balance is informal when sides are not exactly
symmetrical, but the resulting image is still balanced.
http://www.educ.kent.edu/community/VLO/Design/principles/unity/index.html)
Balance refers to the distribution of weights in the art form, seen in the use of the
elements, or on stage in the weight of the spoken lines or the distribution of
movement. Proportion needs to be considered in balancing weights, for example, in
deciding how many elements and how much of them should be used in creating a
particular form.
(Fajardo Brenda, Velasco Joven et al., PETA’s Basic Integrated Arts Workshop
BITAW Manual)
Variation and Contrast
Variety is a principle of design that refers to a way of combining visual elements to
achieve intricate and complex relationships. Artwork that makes use of many
different hues, values, lines, textures, and shapes reflects variety. Keeping the same
size while changing the color can also show variety.
(https://605.wikispaces.com/Variety)
The counterweight to harmony and creates visual interest by slightly changing or
using different elements together in a composition. It can be created with contrast,
change, elaboration, or diversifying elements. With variety, it is important to consider
how the elements are working together so that you still have harmony and unity
within a composition.
http://study.com/academy/lesson/what-are-the-principles-of-art-definition-
examples.html)
Contrast refers to the arrangement of opposite elements (light vs. dark colors, rough
vs. smooth textures, large vs. small shapes, etc.) in a piece to create visual interest,
excitement, and drama.
(https://sites.google.com/site/principlesofdesignsite/home/contrast)
Emphasis Subordination and Focus
Emphasis is defined as an area or object within the artwork that draws attention and
becomes a focal point.
Subordination is defined as minimizing or toning down other compositional elements
to bring attention to the focal point.
Focal point or Focus refers to an area in the composition that has the most
significance, an area that the artist wants to draw attention to as the most important
aspect.
https://www.sophia.org/tutorials/design-in-art-emphasis-variety-and-unity)
Dynamism
This refers to the excitement created by the interaction of the elements, providing
tension, or the push and pull forces the elements exert upon each other.
(Fajardo Brenda, Velasco Joven et al., PETA’s Basic Integrated Arts Workshop
BITAW Manual)
ACTIVITY 3
Reading the Image through the Language of the Arts-
Read “Mga Elemento ng Sining” a portion of Yunit 1 Ang Anyo Ng Sining from the
book SINING AT LIPUNAN written by Philippine Arts Studies scholars and critics
Cecilia S. de la Paz and Patrick D. Flores (2014).
“Mga Elemento ng Sining”
Bilang isang anyo, nakabatay ang pagtalakay ng sining sa mga elemento ng
paglikha at palinang na tumatayo bilang prinsipyo ng organisasyon ng expresyon at
persepsiyon.
Kinakasangkapan natin ang mga pormal na elemento tulad ng linya, hubog, kulay,
galaw, salat, liwanag, komposisyon, espasyo, sukat, at perspektiba bilang batayan
ng bagbuo at pagbago.
Mahalagang malaman na kasangkapan lamang ang mga elementong tinutukoy na
makakatulong sa ating estetikong pambatid kasabay sa pag-unawa sa kaalamang
pangkasaysayan ukol dito.
Reading the Image: Summary of the four (4) planes of analysis in
the arts
Alice Guillermo in her seminal essay “Reading the Image”, the Introduction to her
book IMAGE TO MEANING (2001) provides a multi-faceted approach to the
analysis and deeper understanding of artistic expression namely: semiotic, iconic,
contextual, and axiological or evaluative planes.
Semiotic
Covers the elements and the general technical and physical aspects of the work with
their semantic meaning-conveying potential. It includes (1) visual elements, (2)
choice of medium and technique, (3) format of the work, and (4) other physical
properties and marks. These are to be viewed in a highly relational manner and not
isolated or compartmentalized.
⚫ What meanings do the elements present or used in the art piece convey?
What interpretations do the principles of organization used by the artist
manifest?
Iconic
It has to do with the particular features, aspects, and qualities of the image, which
are unique signs with highly nuanced meanings. This includes relationship to the
viewer, positioning of the figures, the gaze of the subject, cropping of figures,
relationship of the figures to one another, and style of figuration.
⚫ What symbols or symbology has the artist applied to enrich his/her
creation? What do the symbols mean? Do the symbols relate and
connect to other symbols in the work creating a language or
iconographic statement?
Contextual
It deals with the dialogic relationship of art and society and the context of a piece of
art with the artist’s entire body of works.
⚫ What historical, cultural, political, economic, social conditions affect or
influence the shaping of the art piece?
Evaluative
It reckons with the standards of excellence in the use of the medium and its related
techniques, based on criteria of artistic skill, creativity, and insight.
⚫ How are the principles of an artistic organization like harmony, balance,
proportion manipulated to create a work of art?
What is It
A. Describe the elements in the objects using the Filipino language or your
mother tongue language as a medium of communication in the same manner
that Flores and de la Paz demonstrated.
B. Using the planes of analysis provided by Guillermo, re-analyze the objects,
and describe how these planes might be applied to them.
C. Evaluate a chosen object employing some of the principles offered by Ed
Morato.
D. What new narratives arise from this discussion on the principles of
organization which further overlay previous insightful discoveries? Explain.
What’s More
1. Observe several objects around you. Pick one which catches your attention
as possessing several elements of arts. Describe these elements of how they
manifest themselves on your chosen purpose. These questions may guide
you:
2. Which element is most dominantly present in the object? How does it take
importance over all the other elements? Describe its characteristics.
3. What ideas emerge from your observation of the object? What do the
dominant elements say about the nature of the object?
4. Inspect different objects that scatter around your school environment. Once
more, inspect carefully and choose an object that could be investigated with
the principles of artistic composition. It can be anything. It might be a bulletin
board, a school uniform, a desk, a trash can, notebooks, bags, etc. Describe
how the principles operate in any of them, with the following guide questions:
5. What principle was used to manipulate the elements thus creating a singular
strong impression on you?
6. If you had the chance, what principles will you utilize to enhance the object
further? Why and How?
What I Have Learned
● An object may be approached, perceived, analyzed, and appreciated from
various perspectives or planes as Alice Guillermo did.
● Using the multidimensional approach, you should be able to unravel the
object of appreciation from its aesthetic/ formalistic, historical, or production
aspects. Or using Guillermo’s lens, an object from everyday life as an
expression of creativity may be scrutinized from its semiotic, iconic, or
contextual and evaluative aspects—as a relational set of criteria which cannot
be separated from each other.
● Whatever your approach may be, it is best to know that art exists for you with
a multitude of manifestations and meanings. This way, we can READ THE
IMAGE.
● Objects around us reflect materials and processes coming from specific
environments predicated by history, geography, politics, and time. But they
also display the level of craftsmanship of individuals, a community, or industry
and their views of life and its meanings.
● You must slowly be more sensitive to the products presented to you through
the media, the market, community, and your family and ascertain its multiple
values.
● Many things of significance are not readily open for us for the taking. We need
to look again and again, trace back its provenance, probe its genealogy so to
speak, establish its functions and scrutinize why for once it is an object to
behold.
What I Can Do
ACTIVITY 4
Reading a Philippine Cultural Object
OBJECT IN FOCUS: BANIG
a) Analyze the Filipino Banig, or sleeping mat. This comes in different types,
colors, materials, and patterns.
b) Explore the elements and principles of an organization in art. Apply in your
discussions some of the concepts laid down by Flores, dela Paz, and
Guillermo.
c) Improvise on creating your mats and invest them with your themes or ideas.
Poor Fair Good Excellent
1 pts 2 pts 3 pts 4 pts
Elements/ I showed little I did the project The artwork I planned
Principles/Key evidence of adequately shows that I carefully and
Concepts understanding of demonstrating applied elements, showed a grasp of
the elements, some principles, or key the elements,
principles, or key understanding of concepts of the principles, or key
concepts of the elements, topic effectively; concepts of the
topic; no evidence principles, or key showed an topic; the project
of planning. concepts of the awareness of the was executed to a
topic. creative and high quality.
production
process; planning
evident.
Creativity/ I fulfilled the I tried an I tried a few ideas I explored several
Originality project but gave adequate idea, before selecting choices before
no evidence of but it lacked one; made selecting one;
trying anything originality; decisions after tried unusual
unusual; might solution or referring to more combinations;
have copied work. output can be than one source; made connections
termed “cliché”. found or pursued to previous
an unusual way knowledge;
of achieving the showed problem-
output. solving skills to
come up with an
innovative
solution.
Effort/ My project was I finished the I worked hard The project was
Perseverance completed with project, but it and completed continued until it
minimum effort. could have been the project, but was complete as I
improved with with a little more could make it;
more effort; chose effort it might effort given was
an easy project have been far beyond the
and did it outstanding. requirement.
indifferently.
Craftsmanship/ I showed below- I showed average With a little more The artwork was
Skill average craftsmanship; effort, the work beautiful and
craftsmanship; adequate, but not could have been patiently done; it
lack of pride in as good as it outstanding, was as good as
finished work. could have been, lacks the hard work could
a bit careless. finishing touches. make it.
Assessment
A. Identify if the questions are Semiotic, Iconic, Contextual, or Evaluative . Write
your answers on a separate sheet of paper.
_______ 1. What meanings do the elements present or used in the art piece
convey?
_______ 2. What interpretations do the principles of organization used by the artist
manifest?
_______ 3. What symbols or symbology has the artist applied to enrich his/her
creation?
_______ 4. What do the symbols mean?
_______ 5. Do the symbols relate and connect to other symbols in the work
creating a language or iconographic statement?
_______ 6. What historical, cultural, political, economic, social conditions affect or
influence the shaping of the art piece?
_______ 7. How are the principles of an artistic organization like harmony,
balance, proportion manipulated to create a work of art?
B. Choose the letter of the correct answer. Write your answers on a separate sheet
of paper.
8. The process of relocation of objects in space over time. We can speak of it as
literal, compositional, or implied.
a.Shape b. Movement c. Form d. Color
9. This refers to a regular repetition of elements of art to produce the look and
feel of movement. Often achieved through the careful placement of repeated
components that invite the viewer's eye to jump rapidly or glide smoothly from
one to the next.
a.Rhythm b. Line c. Space d. Form
10. An area that an artist provides for a particular purpose. Includes the
background, foreground and middle ground, and refers to the distances or
area(s) around, between, and within things.
a.Rhythm b. Line c. Space d. Form
11. It is the surface quality of a shape - rough, smooth, soft hard glossy, etc. It can
be physical (tactile) or visual.
a.Shape b. Movement c. Texture d. Color
12. All parts of the visual image relate to and complement each other, pulling the
pieces together, which can be achieved through repetition and rhythm.
a.Unity b. Balance c. Harmony d. Contrast
13. This refers to the excitement created by the interaction of the elements,
providing tension, or the push and pull forces the elements exert upon each
other.
a.Unity b. Dynamism c. Harmony d. Proportion
14. This needs to be considered in balancing weights, for example, in deciding
how many elements and how much of them should be used in creating a
particular form.
a.Variety b. Dynamism c. Harmony d. Proportion
15. It is defined as an area or object within the artwork that draws attention and
becomes a focal point.
a.Emphasis b. Balance c. Unity d. Variety
Additional Activities
1. What is the immediate use, function, or popular understanding of the object
chosen for analysis? How does this object vary from culture to culture, from
era to era? (Contextual -ARTS HISTORY)
2. Who created or made the object? What have you researched about this
maker? What is his background and the background of his times and cultures?
(Contextual-ARTS HISTORY)
3. What elements are more pronounced in the object? What principles of
organization do you think have been in use? Do you think the maker
consciously, intuitively, intentionally applied the manipulation of these
principles? Is there a tradition in the community where this way of organizing
the artistic elements is in practice? (Semiotic/ Iconic-ARTS CRITICISM)
4. What is the worldview that the object reflects? Or its interpretation of the world?
(Evaluative-AESTHETICS)
5. Do you regard the object as an object of art, a thing of beauty? Why?
(Evaluative-AESTHETICS)
6. If you would be asked to make a similar object, how would you do it as a
personal form of expression? (ARTISTIC PRODUCTION)
Answer Key
What I Know
Assessment
D
C Semiotic
F
Semiotic
G
A Iconic
B
E Iconic
M
Iconic
L
N Contextual
I
J Evaluative
O
B
H
K A
C
C
C
B
D
A
References
⚫ Fajarado, B., & Topacio, S. (1989). PETA Theater Workshop Manual
Series 1 Basic Integrated Theater Arts Workshop. Quezon City:
Philippine Educational Theater Association.
⚫ Labad, L. L., & Garrucho, C. B. (1973). First Integrated Arts Workshop
for High School Teachers and Students [Pamphlet]. Quezon City:
Philippine Educational Theater Association.
⚫ Morato, E. A. (Writer). (2011, November 17). TEN UNIVERSAL
PRINCIPLES OF GREAT ART [Video file]. Retrieved from
https://www.youtube.com/watch?v=FrGgPFEvm40
⚫ De la Paz, C., & Flores, P. D. (2014). Sining at Lipunan. Quezon City:
Sentro ng Wikang Filipino, Unibersidad ng Pilipinas.
⚫ Guillermo, A. (2001). Image to Meaning. Quezon City: Ateneo de Manila
University Press.
DISCLAIMER
This Self-learning Module (SLM) was developed by DepEd – Division of
General Santos City with the primary objective of preparing for and
addressing the new normal. Contents of this module were based on DepEd’s
Most Essential Learning Competencies (MELC). This is a supplementary
material to be used by all learners in General Santos City in all public
schools beginning SY 2020-2021. The process of LR development was
observed in the production of this module. This is version 1.0. We highly
encourage feedback, comments, and recommendations.
For inquiries or feedback, please write or call:
Department of Education – General Santos City
Learning Resource Management System (LRMS)
Tiongson Street, Lagao, General Santos City
Telefax: (083) 552-8909
