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ELEMENTS
OF ART

2. Learning Outcomes
1
2
Be able to Identify the specific elements of art present in an
art work
To better analyze and interpret works of art in a formalist pe
rspective

3. INTRODUCTION

4. F O R M

5. Form AS an
art element

6. Form AS an
art element

7. 7
3D objects that have height, width and d
epth
× The arbitrary organization or inventive
arrangement of all the visual elements acco
rding to
the principles that will develop unity in the a
rtwork

8. 8
MEDIA AND TECHNIQUES
- The emergence of media and techniques
have affected art and uses them as aids to
their creative expression.
o Photography
Edward Steichen,Fashion, 1924,Willem Photographic

9. 9
MEDIA AND TECHNIQUES
o Some are extensions for traditional
approach
(Traditional painting, drawing media,
sculptors)
o Also, nontraditional or unique media

10. 10
PICTURE PLANE AND PICTURE FRAME
Picture plane
- is the flat surface on which artists execute th
eir pictorial
images.
- may also represent an imaginary plane of re
ference on
which an artist can create spatial illusions
.

11. 11
Picture Frame
-represents the outermost limits, or boundary,
of the
picture plane.
-these limits are represented by the edges of t
he
canvas or paper on which the artist works, or b
y the
margin drawn within these edges.

12. TOM WESSELMANN, BARBARA AND THE BABY 1979-81.
OIL CANVAS

13. 13
POSITIVE AND NEGATIVE AREAS
Negative areas
-unoccupied areas
-they are just as important to total picture unity as t
he
positive areas
-might be considered as those portions of the pictur
e plane that
continue to show through after the positive areas h
ave been

14. 14

15. 15
Positive areas
-may depict recognizable objects or nonrepresent
ational elements
-areas that represent the artist’s initial selection of
elements

16. 16
 The concept of positive-negative is importa
nt to beginners
investigating art organization, since they us
ually direct
their attention to positive forms and neglect
surrounding
areas.
 As a result, pictures often seem overcrowde
d, busy and
confusing.

17. S P A C E

18. SPACE as an
ELEMENT OF ART

19. 19
Space
- Conceived as a product rather than a tool w
hich is created by art elements
- Area where the artwork is organized
- Within, outside, around
Positive space – main object or subject or in s
culpture it is what the object
Negative space – surrounding area or the in b
etween

20. 20
Types of space
Decorative space – the absence of real depth (flat
)
- Confined to the flatness of the picture plane
Plastic space – refers to the representation of thre
e-dimensionality
Shallow – allows more positive control on placeme
nt of shapes; more in keeping with the flatness of th
e working space
Deep and Infinite Space – movement into far dista
nces; window

21. 21
Spatial Indicators
1. Size – Nearness of object is to largenes
s of scale while
far distance is to smaller scale; Largene
ss may mean
importance, power and strength.
2. Position – Horizon line (eye level) provi
des point of
reference; bottom of plane is seen as
closer

22. 22
4. Transparency – the overlapped figure is
made visible;
to produce a closer spatial relationship; see
n on Cubist artworks presenting a shallow s
pace
5. Interpenetration – object passes throug
h another object providing a clear position o
f the planes and objects creating illusion of
shallow or deep space

23. 23
6. Fractional Representation – in human an
atomy, as much as body as possible is seen t
o create flatness and for some to
move viewer around the subjects; Egyptian ar
tworks
7. Sharp and Diminishing Detail – near = cl
early defined, sharp and refined; far; blurry an
d grayed values seen in Atmospheric Perspec
tive wherein objects lose color brightness and

24. 24
8. Converging Parallels – it makes a shape app
ear to recede into
the field
9. Linear Perspective – a system for concerting
sizes and distances of known objects into a unifi
ed spatial order

25. 25
Parts:
1. Horizon Line/Eye Level
2. Vanishing Point – where guidelines conv
erge
3. Orthogonal – imaginary sightlines/ guideli
nes
4. Viewer’s location point – vertical axis whic
h can be seen through the vanishing point

26. 26
a. One-point Perspective - Directly in fron
t of image;
creates and is viewed as a flat surface
b. Two-point Perspective – geometric soli
ds appear to be in angular positions; u
sually used in artworks that frame an a
rchitectural structure
c. Three-point Perspective – artist views
an object from an exaggerated positio

27. T E X T U R E

28. Introduction
to texture
28

29.  Texture is the surface character of a materi
al which can be experienced through touch
or the illusion of touch.
 It can either be produced by natural forces
or through an
artist’s manipulation of the art elements.
 Texture is an experience that is always with
us.
29

30. The Nature of texture
 Texture is really surface and the feel of that s
urface depends on the degree to which it is b
roken by its composition.
× Example: Rough surfaces intercept light ray
s while glossy
surfaces reflect light more evenly.
30

31. Types of texture
a) Actual texture is the “real thing”; it is the way the surfac
e of an object
looks and feels.
b) Simulated texture is said to be a surface that looks real
but, in fact,
is not.
c) Abstract texture usually display some hint of the origin
al texture but
have been modified to suit suit the artist’s particular ne
eds.
d) Invented textures are textures without precedent; they 31

32. Actual texture

33. Simulated texture

34. Abstract texture

35. Invented textures

36. Texture and composition
 Relative dominance and movement
 Psychological factors
Texture and Art Media
 Textual possibilities are also considered in
making other
kinds of artworks and not just graphic arts.
36

37. Texture and the Visual Arts
 Texture is unique among the art elements b
ecause it
activates two sensory processes.
 It can be both tactile and visual.
37

38. Texture and the Visual Arts

40. Example:
-An architect balances the smoothness of ste
el and glass to
the roughness of stones and concretes.
-Sculptors manipulate the textures of clay, me
tal and wood
40

41. S H A P E

42. What is
Shape?

43. 43
An area that stands out from the space n
ext to or
around it due to a defined or implied bou
ndaries
because of differences of value, color or t
exture.

44. 44
Kinds of Shapes:
Actual Shape –clearly defined or positive areas
Amorphous Shape – a shape without clarity or definition
: formless,
indistinct and of uncertain dimension
Biomorphic Shape – irregular shape that resembles the
freely

45. 45
Geometric Shape – a shape that appears related to
geometry. They are
usually simple such as triangles, rectangles and circle
s.
Implied Shape – a shape suggested or created by th
e psychological
connections of dots, lines, areas, or their edges creati
ng the visual

46. 46
Mass – in graphic art, a shape that appears to stand out thr
ee-dimensionally from the space surrounding it, or appears
or create the
illusion of a solid body of material.
In the plastic arts, the physical bulk of a solid body of materi
al.
Objective – that which is based, as near as possible, on ph
ysical
actuality or optical perception. Such art tends to appear natu
ral or
real.
Planar – having to do with planes

47. 47
Subjective Shape – that which is derived from the mi
nd and reflects an individual viewpoint or bias.
Art that is subjective tends to be inventive or creative.
Three-dimensional – to possess or to have the illusi
on possessing the dimension of depth, as well as the
dimensions of height and width.
Two-dimensional – to possess the dimensions of hei
ght and width,

48. 48
Shape Dimensions
1. Two-dimensional
2. Three-dimensional
Shape and Principle of Designs
1. Balance
2. Control of Attention
3. Duration and Relative Dominance

49. 49
The Use of Shapes
1. To achieve order, harmony, and variety –
all related to the principles of design.
2. To create the illusion of mass, volume, an
d space on the surface of the picture plan
e.
3. To extend observer attention or interest sp
an.

50. L I N E

51. LINE
As
ELEMENT of
ART

52. • The most familiar element of art
• Provide a means of sharing ideas
o Ideograms (Pictorial symbols of
objects)
o Sound symbols i.e. alphabets
In art, line is the primary element in
sketching and drawing

54. The Physical Characteristics of Lin
e• Short or long
• Thin or thick
• Straight or curved
• Direct or meandering
• Zigzag or serpentine
• Distinct or blurred

56. The Physical Characteristics of Line:
Measure
• Refers to the length and width of line – its
measurable properties
• Must be appropriate for the development
of the image

57. The Physical Characteristics of Line:
Type
• Differentiated by change of direction

59. The Physical Characteristics of Line:
Direction
• Can exist irrespective of the component movements within the
line

60. The Physical Characteristics of Line:
Location
• Enhances or diminishes the visual weight and our psychological
response to the other characteristics of the line

61. • A visual surface quality related to the
medium with which the line is created
The Physical Characteristics of Line:
Character

63. Line and the Other Art Elements:
Line and Shape
Contour – the line that define
s
the outermost limits of a draw
n
and painted figure, object or
mass

64. Cross-contour – lines that
seem to follow the rise and
fall of a shape’s surface to
create a sense of three-
dimensionality

65. Line and the Other Art Elements:
Line and Value
• The degree of lightness or darkness
that a line exhibits against its
background

66. Hatching – common way of creating value
with parallel lines
Cross-hatching – passing a group of
parallel lines across another group of
lines, in a different direction
– create darker values

67. Line and the Other Art Elements:
Line and Texture
Groups of lines can combine
to create the illusion of a
visual texture.
Visual Texture – can
indicate degrees of
roughness or smoothness
that stimulate our
sensation of touch

69. C O L O R

70. THE ELEMENT
OF COLOR

71. Line and the Other Art Elemen
ts:
Line and ColorCan accentuate other line properties

72. • The most universally
appreciated element
• One of the most
expressive elements

73. Light: The Source of Color

74. Subtractive Color
• Color is experienced through reflected light

75. Primary, Secondary, and Intermediate
Colors
Primary Colors: Blue, Red, Yellow
Secondary Colors – a mixture of t
wo primary colors i.e Orange, Gre
en, Violet
Intermediate Colors – crea
ted by mixing a primary c
olor with a neighboring se
condary color

76. Tertiary Colors
• Produced by unbalanced mixtures

77. Neutrals
Achromatic colors
• Black, white and gray

78. The Physical Properties
of Color:
Hue• The generic color name – red, blue,
green, and so on
• Determined by the specific
wavelength of color in a ray of light

79. The Physical Properties of Color:
Value
• Indicates the relative degree of lightness or darkness in an image
• Chromatic Value – refers to the lightness or darkness of a color i.e.
the quantity of light a color reflects

80. High-Key and Low-Key Colors
• High-Key Colors: located above the middle gray
• Low-Key Colors: below the middle gray

83. Aesthetic Color Relationships:
Complements and Split-Complements

85. Triads
• Formed by an equilateral trian
gle on the color wheel
Primary Triad Secondary Triad

86. Tetrads
• Color relationship based on a
square, rather than an equilateral
triangle
• Formed when four colors are used

87. Analogous and Monochromatic Colors
• Analogous Colors –
colors that appear
next to each other
on the color wheel

88. • Monochromatic Colors – use
only one hue but explore the
complete range of tints
(value levels to white) and
shades (value levels to black)

89. Warm and Cool Colors
• Warm colors – associated with the sun
e.g. red, orange, and yellow
• Cool colors – any color containing blue
e.g green, violet, blue green
are associated with air, sky,
plants and water

90. Plastic Colors

94. V A L U E

95. Value as an
Element OF ART
95

96. DEFINITIONOF VALUE
AS AN ELEMENT OF ART
- Value in art is the relationship of one part or detail
to another with
respect to light or dark.
- Value is also called tone, brightness, shade, or ev
en color, but these terms only have only limited c
onvenience and accuracy in an art
context.

97. Uses OF VALUE
AS AN ELEMENT OF ART
DESCRIPTIVE USES OF VALUE
One of the most useful applications of value is in d
escribing objects,
shapes, and space. Descriptive qualities can be br
oadened to include
psychological, emotional, and dramatic expression.

98. DEFINITIONOF VALUE
AS AN ELEMENT OF ART

99. Uses OF VALUE
AS AN ELEMENT OF ART
EXPRESSIVE USES OF VALUE
Can be used to create an atmosphere of gloomy, m
ystery, drama, or
menace, whereas a composition that is basically lig
ht will produce
quite the opposite effect.

100. AS AN ELEMENT OF ART

101. CHIAROSCURO
Technique of representation that m
akes forceful use of contrasting ligh
ts and darks.

102. TENEBRISM
Painters who use violent chiaroscur
o are called tenebrists.
Also called the “dark manner” of pai
nting

105. Uses OF VALUE
AS AN ELEMENT OF ART
DECORATIVE VALUE PATTERNS

106. COMPOSITIONALFUNCTIONS OF VALUE
Open compositions- Values can cross over shape boundaries i
nto adjoining areas
Closed compositions- Values are limited by the edges

107. COMPOSITIONALFUNCTIONS OF VALUE

109. Thank you