LESSON 6 & 7

Lesson 6
Elements and Principles of Art

Elements of Art: Visual

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.

Example: Todos juntos podemos parar el sida (Together We Can Stop AIDS) by Keith
Haring in Barcelona in 1989.

a. Horizontal and vertical lines - refers to the orientation of the line.

i. Horizontal lines - are normally associated with rest or calm.
ii. Vertical lines - connote elevation or height, which is usually taken to
mean exaltation or aspiration for action.
b. Diagonal and crooked lines
i. Diagonal lines - convey movement and instability, although the
progression can be seen.
ii. Crooked or jagged lines - are reminiscent of violence, conflict, or
struggle.
c. Curved lines - there are lines that bend or coil. They allude to softness,
grace, flexibility, or even sensuality.

● Francisco de Goya is one of the most important Spanish artists.

○ He is known for his print, 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.

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.
● 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.
i. Examples: squares, triangles, cubes, circles, spheres, and cones.
b. Organic - organic shapes are those readily occurring in nature, often irregular
and asymmetrical.
i. Example: asymmetrical image of a vase

● Shape may also be implied.

Example: Raphael’s famous painting “The Madonna of the Meadows” depicts three
figures: Mary, the young Jesus (right), and the young John the Baptist (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.
● In the middle of the AT&T Plaza at the Millennium Park in the Loop
Community area in Chicago, the iconic “Cloud Gate” occupies a considerable
space. Space 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
i. Negative space is usually identified with the white space.
ii. Positive space 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 effects have 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.
● Color begins with the notion of a Color Theory that was first unraveled by the
experiments undertaken by Sir Isaac Newton in 1666.
● A ray of sunlight passing through a prism reveals an array of colors

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:
i. Primary colors - red, yellow, and blue
ii. Secondary colors - green, orange, and violet
iii. Tertiary colors - 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.
i. Light colors - taken as the source of light in the composition
ii. Dark colors - the lack or even absence of light

- 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)
❖ 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 muted. To achieve a specific intensity of
a color, one may add either gray or its complementary color.
i. Bright or warm colors - positive energy
ii. Dull or cool colors - sedate/soothing, seriousness or calm
iii. Monochromatic harmonies - use the variation of a hue. An example is
Claud Monet’s “House of Parliament.”
iv. Complementary Harmonies - involve two colors opposite each other in
the color wheel. Since they are at contrary positions, the reaction is
most intense.
v. Analogous Harmonies - make use of two colors beside each other in
the color wheel.

6. 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.

a. Textures in the two-dimensional plane - texture can be implied using one

technique or a combination of other elements of art. The words used to
describe texture are the following: rough or smooth, hard or soft, hairy,
leathery, etc.
b. Surface texture - refers to the texture of the three-dimensional art object.
Planes and Perspective
● Picture plane is the actual surface of the painting or drawing, where no illusion of a
third dimension exists.
● 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 presentation
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.
Vanishing Point - the point of disappearance when parallel lines meet.

Example: Railroad where tracks disappear off at a distance.

● A viewpoint may also be constructed 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 artists:

a. One-point perspective
- this type of perspective shows parallel lines that seem to converge at
a specific and lone vanishing point, along the horizon line.
- often used in depicting roads, tracks, hallways, or rows of trees.
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, music much
like visual arts, has its own building block of elements.
● Music, a most widespread form of art, involves organizing sound within specific time
frames.
● In daily life, music is the most perceptible role, implementing cultural activities and
specific functions.
● Historically music served practical purposes, such as herding animals or participating
in rituals during times of hunting food.
● Music included opportunities for society to gather and interact, with individuals either
producing it or consuming it as listeners, audiences, or performers.
● Music has the ability to transcend barriers, including those of language and sound
conventions.

Common Elements of Music:

1. Rhythm

● Rhythm Is the element of music that situates it in time.

● Beat It is the pulse of the music, the basic unit of music. beats can be
organized into a recognizable recurrent pattern, which is called meter.
● Tempo refers to its speed (beats/second)

Classical terms are used to refer to the variations in tempo, some of which
are:

I. Largo – slowly and broadly

II. Andante – walking pace
III. Moderato – at moderate speed
IV. Allegro – fast
V. Vivace – lively
VI. Accelerando – gradually speeding up
VII. Rallentado – gradually slowing down
VIII. Allargando – getting slower, broadening
IX. Rubato - literally “robbed time,” rhythm is played freely for expressive
effect

2. Dynamics

● This element of music refers to the loudness or quietness of music.

Classical terms are used to refer to the different levels:

I. Pianissimo [pp] - very quiet

II. Piano [p] - quiet
III. Mezzo-piano [mp] - moderately quiet
IV. Mezzo-forte [mf] - moderately loud
V. Forte [f] - loud
VI. Fortissimo [ff] - very loud

3. Melody

● Refers to the linear presentation (horizontal) of pitch

 ● Horizontal 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

● Vertical linear presentation

● It arises when pitches are combined to form chords.
● Chord when several note are simultaneously played
● Harmony can be described in terms of its “harshness”. Dissonance is the
harsh-surrounding combination while consonance is the smooth-sounding
combination.

5. Timbre

● Often linked to the color of music. It is a quality that distinguishes a voice or

an instrument from another.
● Timbre may give a certain tone or characteristic to music,

6. Texture

● The number of melodies, the type of layers, and their relatedness in a

composition is the texture of music.

I. Monophonic - single melodic line

II. Polyphonic - two or more melodic lines
III. Homophonic - main melody accompanied by chords

Principles of Art

1. Balance
● This principle refers to the distribution of the visual elements in view of their
placement in relation to each other.

Three forms of balance:

a. Symmetrical - the elements used on one side are reflected to the
other. This offers the most stable visual sense to any artwork.
b. Asymmetrical - the elements are not the same (or the same weight)
on each side, putting the heaviness on one side.
c. Radial - there is a central point in the composition, around which
elements and objects are distributed.

2. Scale and Proportion

● Scale pertains to the size in relation to what is normal for the figure or
object in question.
● Proportion is the size of components, or of objects in relation to one
another when taken as a composition or a unit. This also refers to
values such as amounts or number of elements or objects in the
composition.
 ● Leonardo da Vinci’s “Vituvian Man” is an exploration on the ideas of
the Roman architect Vituvius, in which the human body is an example
of a classical proportion in architecture

Proportion can be:

a. Natural - relates to the realistic size of the visual elements in the
artwork, especially for figurative artworks.
b. Exaggerated - refers to unusual size relations of visual elements,
deliberately exaggerating the immensity or minuteness of an object.
c. Idealized - most common to those that follow canons of perfection,
the size-relations of elements or objects, which achieve the most ideal
size-relations.

3-4 Emphasis and Contrast

● Emphasis allows the attention of the viewer to a focal point(s) accenturing or
drawing attention to these elements or objects.
● This can be done through the manipulation of the element or objects. This
can be other principles, especially that of contrast.
● Contrast is the disparity between elements that figure into the composition.

5-6 Unity and Variety

● Compositions are intended to imbue a sense of accord or completeness from
the artwork.

7. Harmony
● Unity and variety is related to this principle, in which the elements or objects
achieve a sense of flow and interconnectedness.

8. Movement
● Refers to the direction of the viewing eye as it goes through the artwork, often
guided by areas or elements that are emphasized.
● These focal points can be lines, edges, shape, and color within the artwork of
art.

9. Rhythm
● This is created when an element is repeated, creating implied movement.
Variety of repetition helps invigorate rhythm as depicted in the artwork.

10-11 Repetition and Pattern

● In Repetition there is a sense of predictability that is conveyed, which in turn
imbues the feelings of security and calmness.
● lines , shapes, and other elements may appear in an artwork in a recurring
manner, called repetition.
● The image created out of repetition is called pattern.

Combined or Hybrid Art

● These combined art forms are interesting specimens that can be studied to
understand what art forms and styles have been combined, and furthermore, what
 skills, techniques, or creative processes can be put together to produce interesting
and innovative compositions.
● In combined arts, improvisation is often tapped in addition to practical and logical
considerations of creating an artwork.
● From a specific vista of an art form, there is a seeming road map to creation.
● However, in combined arts, the artist is challenged to deconstruct an idea or
stimulus, from which the content, narrative, technique, art forms, and styles will take
form.
● Often improvisation or inventiveness is necessary to create an artwork that is to
some extent unprecedented.
● As different art forms and styles are tapped, inspiration may come from numerous
sources, and documenting the process of fusing these influences may be part of the
production.

Example: Theatrical performance that taps into many art forms such as music, 2D
and 3D art, literature, lighting and set design.

● Hybrid arts is another movement that is reminiscent of the motivations of the

Renaissance and whose emergence is hinged on the frontiers of science and
technology.
● Referencing and tapping into the fields of robotics, artificial intelligence,
biotechnology, natural and computer sciences, telecommunications, information,
digital and interface technologies (software programs, speech and face recognition,
social media and online platforms, among many other emergent developments),
artists whose works tread under this movement disrupt the norms in terms of what is
considered as art, and even the way people envisage artistic production.
● More than anything else, hybrid arts are driven by the expansion of the imagination
and what is possible through the “blistering pace of scientific and technological
development” (Piirma, 2014).
● At its heart is an inquiry and through information and date, the capacity of the artist to
move around platforms, and the implementation and manipulation of newfound tools
in production, the artist is able to address that inquiry.

Lesson 7
Art in Early Civilizations

Prehistoric Art
● Archeological explorations reveal that there has been a gradual shift from a nomadic
lifestyle of early humans to that of permanent settlements, paving the way for the rise
of early civilizations.
● The Stone Age has witnessed how humans were able to lead more stable lives and
eventually come up with permanent shelters and tools for survival.
● Early humans also turned to the creation of paintings and sculptures that depict
humans, animals, and their natural habitat to complement the stability and sense of
permanence.
● It would seem that there were attempts to record the kind of lives they led within that
period of time.
 ● Central to the representation of early civilizations would be the establishing of
possible linkages among art, religion, and life.

● Paleolithic Art is a product of climate change. Caves became protective havens for
the early humans as they looked for shelter when the climate got colder and these
caves paved the way for the birth of their first attempts to create art.

Example: One cave painting can be traced back to Lascaux, France and its discovery
came as a surprise. Two boys chased after their dog into a hole where their ball got stuck in.
When they followed the dog,they were astonished to discover a cave with beautiful
paintings. The cave paintings would eventually be called the "Hall of Bulls.”

● Although most people would think that early humans were primitive, some of their art
techniques were considered advanced for their time. Some of the early humans
already used their own version of spray-painting techniques by using ground
pigments blown through reeds or hollowed-out bones since these were the readily
available materials for them.
● Aside from this spray-painting technique, early humans also worked with
foreshortening and contrasting of lights and shadows. These techniques created the
illusion of three-dimensional forms and seemingly real representations of animals.
● Artworks can be considered ornamental but there is little evidence to fully backup this
notion, that early humans created these cave paintings for that very purpose. Some
believed that there was a linkage between what was drawn and what could happen in
real life.

Example: "Venus of Willendorf."

● Neolithic Art has developed especially when life for the early humans has become
more stable. They have learned to cultivate the land and domesticate animals.
● By 4000 BCE, there were several monumental and architectural structures erected.
One of them is the Stonehenge located in Southern England.
● The purpose of this fascinating edifice remains a mystery up to this day and age.
Some regard it as a temple while others see it as a complex calendar that tracked the
movements of both the Sun and Moon.
● Others ascribe some magical element to it by associating it with Merlin the Magician
from King Arthur’s story. For whatever purpose it was built on, it still remains as one
of the architectural wonders the world has ever seen.
● As the Neolithic Period drew to a close, it was evident that different elements of
civilization flourished in river valleys: the Nile in Egypt, Indus in India, Tigris and
Euphrates in Mesopotamia, and Huang Ho River in China.

Egyptian Art
● Fertile Ribbon along the Nile river, in this were early Egyptians recognized the
integral role of the Nile river to their daily lives.
● Egyptians worshipped the Nile as a god, leading to the association of art with
religion.
● Art should be something religious and spiritual.
Three Periods in Egyptian Civilization

Old Kingdom
● Religion was bound to the afterlife
● Tombs served as resting places for the dead bodies of important people,
particularly the pharaohs and also served as a shelter for the next journey
which is the afterlife.
● Tombs were decorated with objects that would reflect day-to-day activities as
if the afterlife is a continuation of what transpired on Earth.
● Human figures in tombs are represented in such a way that the profile head
was evident, while the pelvis, legs, and upper torso were prominent, and the
eyes are in frontal view.
● Walls adorned with low relief and incised detail; limited use of color for
permanence concerns.

Narmer Palette
● The Cosmetic Palette found in Egypt was called the Narmer Palette; it was a
palette that utilized and applied dark colors around king Narmer’s eyes.
● Palette was also a symbol that commemorates the unification of Upper and
Lower Egypt.
● The unification was significant because it marked the beginning of Egyptian
civilization.

Back of the Palette

● At the back of the palette, King Narmer is wearing the crown of Upper Egypt,
looking victorious over a slain enemy.
● Two dead warriors beneath him, symbolizing conquest
● To his right, a falcon representing the god Horusperched on papyrus talks,
which is a symbol of Lower Egypt.
● The top is sculpted with bull-shaped heads with human features symbolizing
Hathor, the god of love and joy.
● King Namer’s larger size asserts his royal status, emphasizing his supreme
authority.

Front of the Palette

● Lion-like figures with intertwined necks bound on leashes, tamed by two men.
● King Narmer wearing the crown of Lower Egypt, reviewing captured enemies
● Narmer holds some objects that denote power.

❖ The Narmer palette is one of the artifacts that emphasize the king’s supreme and
absolute authority.

Egyptian Tomb Sculpture:

● Large dimensions and proportions, made out of hard materials.
 ● Permanence was important because these sculptures would serve as the
house of the ka or soul once the remains of the mummy disintegrate.
● One striking feature of most sculptures is that regardless of the age of death,
the ka figures highlight the prime life of the deceased.

The Pyramids in Giza:

● It is one of the architectural wonders
● Serve as tombs since their main purpose was to provide a resting place for
the pharaohs.
● These pyramids are massive in size and roughly more than two million
limestone blocks
● The stones used for the pyramid were quarried from a nearby plateau.
● The construction of the pyramid Highlighted the ingenuity and advancement
of the Egyptians for their time.
● Workers painstakingly moved the stones from the plateau going to the
construction site using wooden rollers.
● Stonecutters on the site carved the blocks in a fine way before stacking them.
● The stacking process also showed the advancement of the Egyptians since
they already used a system of ropes and pulleys.
● They finished it off by applying the surface with limestone for a more refined
and flawless finish.
● The construction of the pyramids did not only show the brilliance of the early
Egyptians but it also highlighted the reverence of the people to their pharaoh
at the expense of the citizens.
● A lot of the workers died or were punished for not reaching the quota in the
process of constructing these massive architectural structures. However, they
did not stop ensuring the excellent quality of the outsides.
● The Egyptians also ensured that the insides of the pyramids would celebrate
the life of their pharaohs by lavishly decorating them. However, it posed a
problem since thieves usually plundered the valuable objects used to
decorate the insides of the pyramids.

Middle Kingdom
● One of the key features of this is a shift in the political hierarchy.
● There was an emergence of powerful groups of landlords that threatened the
authority and rule of the pharaoh. Because of the internal struggle between
these two influential sides, art has taken a backseat during the Middle
Kingdom.
● In order for art to re-emerge and flourish, Egypt needed to have a more stable
situation. This happened during the rule of King Mentuhotep when Egypt
eventually got back on track.
● Art during the Middle Kingdom had some references from the Old Kingdom,
however there was some experimentation in terms of style that transpired
during this period.
● Portrait sculptures and fresco paintings that were freely drawn are some of
the styles that emerged during this period.
 ● To solve the problem of thieves that plunder the tombs, the Egyptians made
rock-cut tombs by carving out a living rock. The insides of the tombs were still
filled with chambers and the hallways were lavishly decorated to celebrate the
life of the deceased.

● Egypt was not immune from foreign invaders and eventually fell into the
hands of the Hyksos.
● This Asiatic Tribe introduced Bronze Age weapons and horses to the
Egyptians. When these foreign invaders were overthrown, the Egyptians
formed the New Kingdom.
● It was a time of expansionism through territorial acquisition. Consequently,
with the expansion came an increase in wealth leading not only to economic
but also political stability.

New Kingdom
● The art of the New Kingdom had references from both of the preceding
kingdoms.
● Monuments and sculptures were still linked with death and reverence for the
deceased.
● During the previous kingdoms, tombs were just used for worshipping the dead
but with the New Kingdom, they started having mortuary temples.
● These temples, which were carved out of living rocks, served not only a
sanctuary for the dead but also a place of worship for the living.
● During this period, Egypt has established itself as a more advanced and
powerful civilization. With this newly found strength and power comes an
inflated ego. Their high regard for their people can be seen through their
sculptures built on massive and monumental scales.

Amarna Revolution
● After the New Kingdom, Egypt witnessed the Amarna Revolution led by King
Akhenaton and Queen Nefertiti.
● He moved the capital to Tel El-Amarna, thus the name Amarna. During his
reign, King Amenhotep wanted to revolutionize the arts and religion. He later
on changed his name to Akhenaton, which came from Aton who is the sun
god. This changing of names also signified the shift in religion.
● During this period, the only god to be revered was Aton.
● Egypt became monotheistic and Akhenatoň ordered all to tear down all
monuments of other gods. He then fervently ordered the creation and erection
of new monuments in reverence to Aton.
● Most sculptures during this period had curving lines and full-bodied forms.
There is emphasis to life-like features of the face like an elongate jaw and
thick-lidded eyes.
● Most artists created artworks that are natural and seemingly real, highlighting
the features of their subjects.
● Naturalism was not only used to depict the pharaoh but also was used for
members of the royal family.
 *The bust of Queen Nefertiti has a long and sensuous neck. This figure was
enhanced by applying paint to the limestone.

● The use of naturalism in artworks was rather short-lived.

● When King Akhenaton died, his successors returned to the more rigid and
conventional styles they employed during the period of the kingdoms. They
also destroyed images and figures of Aton and subscribed to monotheism.
● Probably one of the greatest discoveries from Egyptian civilization was the
tomb of Tutankhamen.
● He became king at a very young age and died at the age of eighteen. Howard
Carter discovered his tomb in 1922.
● They were astonished to find gold artworks and that the coffin was made out
of solid gold. The body of the young king was covered in linen and a gold
mask covered his face.