Republic of the Philippines

BATANES STATE COLLEGE

Basco, Batanes

Art Appreciation

Chapter 5
Language of Art: Elements and the Principles of Design

I. Lesson Overview
Gestalt Psychology and its proponents Max Wetheimer, Kurt Koffka
and Wolfgang Kohler strongly believed that perceptions of our surroundings and
experiences are holistic rather than pieces of a whole as a famous gestalt principle
states, “the whole is greater than the sum of its parts.” Gestalt, a German term,
means organization or configuration. This approach in psychology believes that our
brains or minds have convenient ways to organize and configure our perceptions in
holistic and convenient ways.
In the same aspect, art could not be appreciated by nitpicking into its
components only. Rather, art and designs are best appreciated by understanding
their holistic appeal and their ability to weave cohesively into the different elements
and their application. Hence, an exploration to the different elements and principles
of art and design shall be made in this Module. Additionally, understanding the
inherent values and meanings will be drawn in out from the different elements and
principles.

II. Intended Learning Outcomes

In this Module, you will be able to:
1. Compare and contrast the use of the different elements of art in art
pieces;
2. Identify the different kinds/variations of application among the
elements of art;
3. Demonstrate how the elements of art are employed to change values
and appreciation to art;
4. Analyze the expressive characteristics and interpretations of the
different applications of the elements in works of art;
5. Compare the applications of art principles to organize the elements of
artwork

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 6. Utilize principles of artwork in the creation and understanding of art
and
7. Provide visual solutions to organizing cohesive art pieces.

III. Learning Contents and Activities

A. Elements of Art

1. Line Element
The perception of lines is some of the things we do every day. You see lines
along the roadside, in the corner of your rooms, in the guidelines of your notebook
sheets, etc. lines are even utilitarian that you use them when you write, when you
navigate through directions, slice you favorite meat or vegetables, etc. but most
importantly, lines are essential elements to art. Lines create art and they provide the
impression of path and movement along a space.
Nature of Line
Lines create the impression of movement. As
such, when you see art works with lines, your eyes
make a movement in following its direction or path.
So, when given a visual image, lines lead your eyes
into several directions that allow you to navigate the
general space.
Lines can also be differentiated based on length
and width. Lines can be slim or thick depending on
your approach. Essentially, lines provide a one –
dimensional theme to the piece of artwork.
Dimension, in this regard, is the amount of space the
line takes up in a particular art. To make lines two –
dimensional, they need to have an impression of
height and depth. Lines can also be drawn using
different media like pens or pencil, using sticks or
even technological media. Even solidly perceived
objects like thread, wires, spider webs, tree trunks are
configured to provide perceptions of lines. While all of
them can be perceived as lines, they differ in terms of
the level of dimension they give to the viewers.
Some lines are even implied in
application. When you perceive edges of objects, there
are essentially outlines but not intended to become
explicit lines. So there may be approaches in the use of
lines that intended to stimulate the gestalt in the
human mind by interpreting implied lines as real. For
Figure 1. Types and Variations of Line.

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example, when you series of dots or dashes, stitches of sewn dress or a trail of
footprints create impressions of implied lines
Types of Lines
 Vertical Lines – Their movement direction is upward or downward.
Common applications are upright trees or standing body of humans,
buildings or infrastructures.
 Horizontal Lines – The movement direction is from left to right or
vice – versa. Common applications are body lying down and the
horizon.
 Diagonal Lines – These are slanted lines. They create an impression
of rising or falling. The Leaning Tower of Pisa conveys a diagonal or
slanted line.
 Zigzag Lines – These are connected combinations of diagonal lines.
They create angular perspectives of lines. Common examples are
thunders or animated drawings of stars.
 Curved Lines – these are lines that do not appear linear; hence,
directions are not clearly established. Examples of which are the
outlines of clouds, leaves and edges of flowers (Ragans, 2005).

Lines and Value

Value is defined as the darkness or
lightness of an object. Essentially, the value of a
line or the artwork in general may differ in
terms of how much light the surface absorbs
and expresses light. The artwork may have a
dark value with little light reflection or light
value with more light reflection. So applying,
the line principles to value, lines may have or
dark value when pencils for example are
pressed or rubbed harder or on a sheet of paper.
Artists use the technique called crosshatching to
create darker themes or value. This is a
technique using a crossed lines to create darker
shades of a line. Different number types of
pencils can also be made to create different line
values. Even using a crayon that stroked a wall
surface or sheet of paper may create broken
Figure 2: Techniques in Line Values
lines or solid lines, respectively (Ragans, 2005).

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Self – Learning Activity 1: Using Lines to Create Value
With a sheet of bond paper, divide the whole space into equal nine (9)
squares. For each square, you are to practice drawing different combinations of lines
to create impressions of line values. Do this using different types of writing tool such
as pencils, quill pens, common ballpoint pens and sign – or felt – tip pins. You do not
have to limit yourself to this selection. There may be creative ways to express line
and shade.

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Expressions of Line
You may have known in basic fashion technique that wearing
longitudinal stripes can make you look slimmer than latitudinal ones. Hence,
lines have different capacities in terms of expression an idea or an emotion.
Essentially, lines speak a language that artists can comprehend.
a) Movement of Line
Vertical and horizontal lines convey static and at rest impressions. It may
mean the lack of activity and stability. Artist may use them to show dignity,
formality or stiffness. Horizontal lines, specifically, show the feelings of
permanence and solid foundation such as that of the ground or floor.
Horizontal lines provide foundation to vertical lines and it may provide
artistic impressions of strength. Sometimes, it portrays the feeling of calmness
or relax such as the horizontal lines created by the sea surface.

Curved lines, on the other hand, may show expression of relative activity.
This may depend on the amount of curve it makes. The less active curve may
indicate more calm or repetitive feelings. Spiral lines require you to focus on a
central point and may have the tendency to be hypnotic.

Diagonal lines are used by artists to express the feelings of instability,

tension or excitement. Their instability provides feelings of being uneasy or
discomfort. But their expression can be altered when done with symmetry. For
example, two diagonal lines that converge to create the roof of a house may
instead mean stability.

Zigzag lines have been used to create feelings of

confusion. Due to combinations of diagonal lines,
they may evoke feelings of too much excitement or
anxiety.

b) Contour Lines
These are applications of lines to create edges
or ridges of an object. These provide a certain
degree of separation from one object to another. Figure 3: Contour Drawing Sara
Barnes

c) Gesture Drawing
Gestures are usually expressive
movements which are intended to capture
motion, activity and the feeling found in
it. In artworks that emphasize the lines of
the hand, touching the face can convey
feelings of anxiety or worry. Or hands

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 raising that are emphasized by lines can be done to manifest feeling of
excitement and activity.
Figure 4. Gesture Drawings
Helen Sousketching 101

d) Calligraphic Drawing
Calligraphy means beautiful handwriting. It
is often associated with writing Asian characters
usually with Chinese, Japanese, Korean and
Thai language. In their culture, writing is not
just about knowing the alphabet. For them
writing is a process of creating art using lines
and different strokes to represent character
languages. In the Philippines, there are different
versions of baybayin with different ethno –
linguistic bases. The Philippine Calligraphy is
rooted on Indian, Sulawesi and Kawi, Indo,
Arabic and Islamic writing arts.

Figure 5: Chinese Calligraphy

integrating dragon to the Chinese
character.

Self – Learning Activity 2: Maximizing Imagination to Single Element of Art

From the list of words below, choose at least two of the following for you to draw
by using lines and movements only. Make sure to use lines only in showing them. Do not
draw specific object pertaining to the word. You may choose to use any medium that you
think will work best for this. The list is as follows:
Praying Burning Dancing Rocking
Flowing Flying Singing Marching

Shape, Form and Space

The world may be considered as an art piece. It is a piece composed of

several shapes, sizes, forms and even depth that are naturally existing in this
space. Understanding the nature and use of shapes, forms and space, an art
piece may have an important, meaning to express (Raggans, 2005).

Shape
A shape conveys a defined two – dimensional area. It has ab outline
around and it is recognizable through its form. In a sense, by just using an
outline, shapes can be formed. But shapes can be created without a boundary
line. For example, they can be created using a blot of yellow paint to create a

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 circle like the imagery of a sun. They are two – dimensional, as well, because
of the flat surface they create. You can see them in the shapes that are defined
by the floor tiles, TV screens, walls, table tops etc. Usually, these are man –
made shapes (Ragans, 2005).

Geometric Shapes
Shapes can either be geometric or free – form. Geometric shapes are
accurately measured shapes, hence, having mathematical bases. The
variations are square, rectangle, triangle, circle, oval, trapezoid, pentagon,
hexagon, etc. They are used to
express feelings of uniformity
and organization. In a
decorative sense, they show
balance and structure in one’s
perception. This may be
apparent in the shapes of flat
television, long and round
tables, room doors, etc.
Usually, these are man-made
shapes (Ragans, 2005).
Figure 6: Geometric and Free – Form
Shapes

Free – Form Shapes

These are the types of shapes that are irregular in structure. They may
be characterized by some combinations of curves and angles. They are not
structural and man – made, per se. Most of them are organically existing in
nature such as flowers, animals, humans, trees etc. (Ragans, 2005).

Self – Learning Activity 3: Geometric and Free – Form Shapes

Using some old newspaper in your house, make two cut designs – one geometric
shape and the other free – form. Paste them on a black construction paper and label them
geometric or free – from, as the case of your shapes. In labeling them, try to make the word
geometric
Formslook geometric while free – form using free – form letter shapes.
Forms
Forms are the three – dimensional aspects of spaces and shapes.
While shapes have length and width or diameter, a characterizing component
of form is its depth. Example, a box or a cube is a form. However, there is an
inherent relationship between shapes and forms. So, if you are presented with
a box, each side of the box is represented by a square or rectangle shape. Or
when you visit the Pyramids in Egypt, you will still be identifying shapes of
triangle along its sides (Ragans, 2005).
Space

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 Space is an essential element to understanding art as it involves the
outer and inner spaces of an artwork. This refers to a hypothetical area in
which the subject of art and other elements of art operate. Like shapes and
form, the impression of space can be two or three – dimensional. For example,
with a window as your subject of an art piece, it can provide a sense of two –
dimension as it portrays a flat representation. But this can become three –
dimensional when the window has been cleared and has shown a view of the
outside. This may be the mountains, the river, or the grasslands. In this sense,
the space of the art has expanded as different layers of areas are now included.
(Ragans, 2005).
In relation to shapes and form, space allows them to exist in space. So,
space is also assumed to be the empty canvass where work and the art can be
accomplished (Ragans, 2005).
Positive and Negative Space

The shapes and

forms of art are the
positive space of an art.
The empty spaces, on the
other hand, are the
negative space. In gestalt
psychology, they are
called figure and ground,
respectively. The
distinction between
figure and ground are
essential as they may dictate POSITIVE SPACE NEGATIVE SPACE
certain interpretations of art. Figure 7: Ambigous Figure and Ground Relationship
One of the common issues that
an artist is faced with is the ambiguity of the figure which is the ground
relationship. There may be instances where it would be difficult to determine
which is the figure and ground in a visual art. This may have happened as
artists themselves gave the same emphasis to figure and ground. In gestalt
psychology, the may become visual and optical illusions that puzzle the
viewers interpretation of an artwork (Ragans, 2005).
Creating Shapes and Forms in Space
Shapes and forms can be naturally sourced or manufactured by
human. For instances, animals, human, flowers and mountains are example of
naturally occurring shapes. But there are shapes that are manufactured by
humans through hand crafts, machine – assisted or clay forms. But the
challenge with most is that they must create the shape and form to make them
appear as real as possible. Hence, artist must operate on illusions that provide
meaning in a certain amount of art space.

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Self – Learning Activity 4: Establishing Point of View through Shapes and Sizes
Using some old newspaper or magazines in your house, look for objects that are
usually found in rooms. It could be a house, a bedroom, kitchen, or any part of it. Cut these
objects and mount them on a paper. Draw around each object an outline with crayons,
markers, or highlighters. Remove the cut outs and describe how each shape changed from
its original figure compared to the outlined part.

Illusions of Form by Using the Principle of Value

While the meaning of lines can
change by changing their value, shapes and
forms can also change their meaning and
expression by utilizing altered values. For
example, to magnify an object, certain
techniques can be used such as employing
light and dark values. This technique is
called chiaroscuro. It is an Italian word that
means bright (chiaro) and dark (oscuro).
Introduced during renaissance period, this
technique magnifies and identifies shapes
and forms clearly as the highlighted figure
or positive space of the art piece by shading
Figure 8: The Calling of Saint
the negative space darker (Ragans, 2005). Matthew

In some basic applications of a cube for example, to represent the cube

as its form accurately, there may be a need to vary the shades of the square
shapes surrounding it. Or in some applications, to identify a certainty of a life
form in humans, shadows surroundings him may give a sense of a real human
form (Ragan, 2005).

Illusions of Depth using Gestalt Principles of Perception

Depth can be defined as relative distance. With several objectives
defining the artwork, it may be necessary to give it some depth to visualize the
story behind it. From the Gestalt principles of perception, there are techniques
that can be used to create the impression of depth (Ragans, 2005).
 Overlapping – the
first objective covers

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 a second object. In effect, the first object becomes closer or nearer to
the viewer.
 Size – large objects often are perceived to be nearer than the relatively
smaller ones.
 Placement – objects placed on the lower plane of the space create
impression of them being nearer. The more distant are those at the eye
or top level of the space.
 Detail – objects with clearer details are usually nearer while those with
finer and less details seem to be farther.
 Color – brightly or vividly colored objects seem nearer than the dull
ones.
 Converging Lines – as parallel lines move away from your point of
view; they move closer to the horizon which makes a perception of
distance farther away from you. The farthest convergence can be called
the vanishing point (Ragans, 2005).

Self – Learning Activity 5: Identifying the Illusions of Space and its Perspectives
Expressive Qualities
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viewer to imagine himself or herself within the story of the art (Ragans, 2005).
Angular shapes, on the other hand, project the sharp and jagged
realities of the world. These could mean pain, anxiety, or tension. For
example, you see broken glasses in a picture, they may translate into vicarious
interpretations of pain or hurt (Ragans, 2005).
Geometric shapes may even suggest aspects of mechanical perfection.
It projects a certain sense of order and logic. In effect, they may tend t lack the

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emotional accessibility to it. While they express those to viewers, the
perceptions can be more mental and ideal rather than the affective (Ragans,
2005).

b) Outline and Surface

Density refers to the compactness of the object. Dense materials tend
to be solid and heavy looking. In sculptures for example, dense materials may
be difficult to alter in terms of form unless technology or some machines are
available. In two – dimensional art, density can be expressed using different
values such as shading and magnifying contour lines.

c) Openness
Open shapes project invitation. For example, if you draw and empty
chair, most viewers may tend to
vicariously imagine sitting on that
chair. If you see an art piece with an
open door, it may give you a sense of
wonder of what could be inside or
behind the door. Some handcrafted art
such as weaving even employ openness
in their cloths. This allows them to
look through the fabric and experience
the intricate weaving patterns of it.
Closed shapes and forms, on the
Figure 10: Open and Closed Shapes
other hand, project more solid and self-
contained field of perception. Closed doors and windows tend to be more
restrictive to interpretation. A person with folded arms tight to be more
restrictive to interpretation. A person with folded arms tight to his body
portrays emotion of tension, mystery, or privacy. Like Egyptian caskets, called
sarcophagus, are usually defined by arms close or folded onto the body. Death
for them should be afforded with dignity but at the same time must impressed
with privacy and protection like closed or restricted shapes (Ragans, 2005).
d) Activity and Stability
Active shapes are those that defy gravity such as
slanting or falling or running shapes. In Feng Shui,
eight (8) running horses are lucky in proper
placement. To project running horses, the sculptor or
painter projects the variations of movement by
overlapping heads and feet. Some heads should slant
upward while some are moving down to show the
movement. Activity can also be shown through the
angles of the feet and the flow of hair and tails among
the horses. Essentially, movement in shapes can be
done by portraying them in diagonal positions. Static
shapes, on the other hand, seem to be motionless and
stable. Figure 11: Marcel Duchamp, Nude Descending

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 The direction going through is horizontal. They tend to evoke calm and
fixated feelings. It projects quietness and stable peace. This could probably the
reason that houses tend to have paintings decorated in their homes that evoke
peace by using subjects in stable horizontal positions such as landscapes
(Ragans, 2005).

Color

What makes lines, shapes, forms, and space alive is through their colors.
They are apparent in making more variations to our perceptions such as the
colors of flowers, the sky, paint of walls and even skin tones. Colors have the
most powerful connection to human nature and emotions. In fact, colors are
used to describe emotions such as feeling blue to describe sadness or green
minded to describe thinking of sexual or green thumb for someone who is
good with plants or sunny personality to describe the bright and fun character
of a person. With the differences in colors around you, the way you appreciate
colors may also vary. In this section, you will learn to understand the different
properties and applications of colors and how to give meaning to them.

Perception of Color
Color is one of the elements of art that is derived from light and the
different reflections of it. In psychophysics, you learned that colors are based
on white light. When such white light passes through a prism, it shall bend
and create a prism or band of colors. These colors are usually the
representation of the rainbow. But these colors are not coloring per se. These
colors are waves that activate the color receptors of your eyes called cones. So
ripe mangoes may not be yellow after all, but the reflection of mangoes
activate the yellow receptors of the eyes. The rod receptors, on the other hand,
receive and process information of darkness and lightness. So the rods shall
facilitate how colors must be perceived depending on available light.
Therefore, the way we perceive colors depends upon the light that is reflected

Figure 12: Visible Light Spectrum

on each object.

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 Hence, there are three properties of colors that matter in this section.
They are called hue, value and intensity. These properties are even present in
photography. If you check your smart phones and their camera settings, these
properties can be altered as soon as you take a photo (Ragans, 2005).

Hue
In the color spectrum, there is such a
thing as primary colors namely, red, blue and
yellow. They are also considered as primary
hues. The secondary hues are made by mixing
two primary colors. There are also six
intermediate or tertiary colors by mixing a
primary color with secondary color. To
organize these colors or hues, the color
spectrum can be bent to create a color wheel
that illustrates how the mixing is employed
(Ragans, 2005).
Figure 11: Color Wheel
Value
Value describes the lightness and darkness of a color. There will be times
that certain colors will seem to be darker to represent a darker or gloomier
theme of the art piece. Essentially, not all hues should have the same value
within a space. Naturally, yellow seems to be the lightest hue as it reflects the
lightest and violet neutral colors. White light reflects colors while black
absorbs all of it. Grey will reflect light depending on its value. The darker it is,
the more it absorbs, the less it reflects and vice versa (Ragans, 2005).
To alter values, hues may be added with black or white. Tinting is the
process of producing a light value such as creating a bright sunny day with
mixing white and blue to the skies while shading is the process of producing a
darker value such as mixing violet, blue, gray and black to create night skies
(Ragans, 2005).

Intensity
Intensity refers to how bright or dull the use of hue is. If a certain
surface of an object reflects yellow light, then the surface projects intense and
bright yellow. But if the surface reflects other colors, yellow will be more
subdued. Intensity can be high or low density such that in bright and dull
colors, respectively (Ragans, 2005).
Complementary colors are those that are opposite to each other in the
color wheel. The complement of a hue may absorb all the light waves that the
hue reflects. Example, red and green are complements. In effect, green may
absorb red wave and may reflect the blue and yellow. This explains how some
people will have conditions such as colors vision deficiency or color blindness.
There may be tendencies for people to perceive green as red or red as green. In

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some instances, distorted absorption and reflection of lights (Ragasans,
2005).
Another consequence is when you mix a hue with its complement dulls
the original hue and lowers its intensity. The more complement you add, the
duller the hue will appear. Eventually, the hue will lose its original intensity
and appear gray (Ragans, 2005).
But if you use a dominant hue in a mixture, there will be more apparent
manifestations of the dominant hues such as coloring a dark violet night sky
and mixing with small hues of blue, the more dominant color will still be violet
(Ragans, 2005).

Color Schemes
Organizing colors are part of the planning phase in the creation of art.
Making a cohesive story or song is like identifying a color scheme appropriate
to the story of the art piece. Planning these colors according to a scheme will
allow you to create a cohesive piece of artwork.

a) Monochromatic Colors
This is technique where only one color is used. Even the hue,
tints and shade are consistent all throughout. With a limited
option for colors, this provides a strong and unifying expression
to the art. However, this strategy may lessen the variation quality
of the work.

Figure 14: Analogous, Monochromatic and Complementary colors

b) Analogous Colors
In analogous colored artwork, the hues used are usually those
that are side by side in the color wheel and operate in a common
hue. Examples are blue, blue – green, blue – violet, and red have
something in common. This can be limited to three hues to create
unity among the common color range (Ragans, 2005).

c) Complementary Colors
Complementary colors are used when the theme of art is
intended to create strong expression of contrast. In theory,
complementary colors tend to establish a vibration with each

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Learning Activity 6: Color Practice
On a white sheet of paper, draw six identical square shapes. Using the initials of your
name, draw them in each square with different designs. Play with the placement of letters
and with the designs you choose to employ. Color each squares using the six color schemes.
Describe in a how the color schemes created a design and how the changes in color
schemes change the view and impression of each box.

other. These vibrations can translate into arousal of emotions.

Example is that red and green are complementary colors. Where
red symbolizes fire and green symbolizes life attached to plants
and animals, these patterns create a sense of arousal to your
emotions. However, not all complementary colors provide loud
arousal, these can be mitigated when intensity and values are
altered (Ragans, 2005).

d) Color Triads
From the name itself, art must be focused on three general
colors spaced on equal intervals on the color wheel. Compared to
complementing, triads do not convey strong differentiation of
colors. This can cover primary, secondary and tertiary hue triads
(Ragans, 2005).

e) Split Complements
A split complement is used when you combine a hue with
each side of its exact complement. This now
offers more variety and more dynamics to
color range and selection. For example, the
complement of red orange is blue green.
The hue next to blue green is blue and
green. These can be used to create the
perfect nature art piece with red orange as
the sun, blue for blue water and green for
the trees (Ragans, 2005).

f) Warm and Cool Colors

The color wheel can be divided into
two groups, namely, the warm and cool
colors. The warm group contains the hues of red, orange and
yellow, while the cool colors may range from blue, green and
violet. Warm colors usually convey warm situations such as the
fire and the sunshine. The cool colors, on the other hand, evoke
cooler situations such as snow, water and grass (Ragans, 2005)

Figure 15. Warm and Cool

Expressive Qualities of Colors Colors.

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 Like other elements, colors convey ideas, emotions and actual behaviors. What
makes color useful in expression is its ability to represent reality, something that is
more like how our senses see it.
a) Optical Color
The use of optical color is an artist approach to reproduce colors as they seem
to be. This approach intends to capture reality as it is and not a version or impression
of it. Optical colors are usually the approach of most artist with the attempt to ensure
that their art is similarly colored with reality. To illustrate optical color, artist check
how each hue will appear when influenced by surrounding colors. Like shopping
clothes, you see the clothes’ optimal color if you pair it with the color of jeans that
you usually wear. For some, you may evaluate the optical color of your clothes in the
fitting room with your skin color or the lighting from the surroundings. You may
notice that eating in restaurants feels better than eating your order as a take – away.
Eating in restaurants maximize the ability of their environment to ensure good
dining experience by altering optical colors. Food, in psychology, has been perceived
to be more delectable in orange, red and yellow environments. This is why most
restaurants are themed along these colors (Ragans, 2005).

b) Arbitrary Colors
Because feelings, emotions and some thoughts
are abstract, literal portrayal of colors such as optical
colors is mostly inapplicable. Instead, arbitrary
application of colors may give justice to the indefinability
of some subject matters in art. In this sense, color is not
only an element or a medium to express art, but it is also
the subject of art per se. When you plan to use dark yet
cool colors, these may evoke feelings of depression
and/or mystery. Warm, low intensity colors to tend to
Figure 16: Application of Arbitrary
portray comfort and relaxation. Blue and green are Colors
soothing hues while yellow stimulates activity and red
can evoke extreme arousal or excitement (Ragans, 2005).

c) Space
Together with lines, positioning colors have also been used to create
impressions of depth. Warm colors are believed to advance towards viewers while
cool colors tend to recede (Ragans, 2005).

d) Movement

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 Colors can create representations of movement as well. Contrasting vales
create movement while values that are close to each other tend to create gradual and
calmer flow (Ragans, 2005).

Texture
Texture in art refers to how the subjects and objects of the piece feels if
touched. This is an essential component in creating the dynamics in the artwork by
showing that certain surfaces have different feels according to their nature. For
example, you may want to express a smooth texture on a flowing flat river painting
compared to a rough and rocky river painting (Ragans, 2005).
With some artist confronted of different objects and subjects, textures are also
a way of representing them to the viewers. Food in paintings have different textures
to provide vicarious viewing among the audience. An ice cream painting with
different layers of pepperoni, cheese, tomato sauce and crust (Ragans, 2005). In this
section, you will learn to use texture as part of your consideration to the development
of artwork and describe the feelings and meanings that different textures evoke.

Perceiving Texture

Texture is perceived through

the senses. Tactile texture is the feeling
derived out of touching a specific
object or art. In sculptures, for
examples you can sense the type of
stone or wood that has been used in
developing one. In fact, texture is
considered as one of the most useful
cues for knowing the quality of a
sculpture. But even visual texture is
also possible. Your vision provides you Figure 17: Stimulated and Invented Textures
with certain expectations of what an
object quality is supposed to be.
Looking at photographs of a landscaped grass or garden provide you a sense of
texture of how it feels to lie on them. When you see a photograph of snow and ice,
they may provide you a texture of cold or flat feeling (Ragans, 2005).
Texture can be simulated or invented. In simulated textures, they tend to
imitate the real textures of an object. Like a craftsman or carpenter, he can make
wood feel like solid ground. Such as in house construction, an engineered wood
flooring can provide the texture of a concrete cemented floor. Or some plastic
counter tops in the kitchen sink can feel look original granite or quart stone. There
are even technologies that develop massaging chairs that simulate the texture and
feel of a human masseur. Invented textures do not represent naturally existing
surface qualities, but they are usually those that evoke non-objective patterns. More
on this invented texture in the discussion of principles and design (Ragans, 2005).

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Texture and Value
Art pieces may maximize the portrayal of texture by using value, that is, when
the artist creates texture through light reflection and shadowing (Ragans, 2005).

a. Rough and Smooth Textures

A crooked and uneven shadow
may provide a more rough texture than
formally shaded ones. Casting shadows
and accepting light provides impression
of the shape and eventually its texture.
When you notice how certain objects
produce shadows, the different sizes and
shapes determine the textures of your
object (Ragans, 2005).
b. Matter and Shiny Textures
A matte surface reflects soft and
dull light while the shiny surface tends to
reflect light and project some spark or
glow. Matte surfaces are usually apparent
in papers, denim, unfinished wood, or
human skin. Shiny textures are usually
those that have highlights such as
windows, water surface or some car
paints. Usually, when shiny surfaces are
exposed to light, they create glares. These
textures can be matte-rough, matte-
Figure 18: Drawing Textures Ashley Hurst
smooth, shiny-rough or shiny-smooth.
B. PRINCIPLES OF DESIGN
1. RHYTHM, PATTERN AND MOVEMENT
Rhythm in art is its principle that is defined by the repetition of
elements or objects. This principle is also present in other forms of arts such as music
and even poetry. Musical rhythm is the measure of time between musical sounds.
Usually manifested as beats, rhythms are established across the rests and beats
alternating with each other. In poetry, the use of words, sounds or phrases create
rhythmic patterns (Ragans, 2005).

Visual Rhythm
This is the kind of rhythm that is
created by the sense of sight rather than the sense
of hearing. This is observed in the repetition of

GE 5 (Art Appreciation) A. Vargas 18 | P a g e

positive spaces or ground and then separated by negative spaces. In your
surroundings, patterns are apparent. In the library, books are aligned in the shelves.
In parking lots, cars are arranged using visual rhythms. Falling in line in the grocery
can be interpreted as visual rhythms. The spaces in between them can be considered
as the negative space. In visual rhythm, the beat may be just one of the elements or
the combination of. These principles stimulate the perception of movement. Like
line, this causes the viewer to follow the beat along its direction. It is important that
object action is different from artistic movement. Considering visual rhythm, the
movement refers to the movement of your perception versus action which conveys
the transfer of an object or element to another field of the space (Ragans, 2005).

Pattern
Rhythm can be applied in the two
dimensional space called patterns. In the aspect of
clothing design, the most common examples of
pattern are stripes that may be vertical or
horizontal. Usually referred as motifs, these are
the units of elements that are repeated in a pattern.
Patterns observed in furniture, clothing, foot rugs
may constitute different elements of the design but
repeatedly applied in the whole art space.
In some three-dimensional arts such
as sculpture and architecture, their motifs are also
Figure 21: Stripes Pattern
called modules. For example, in a furniture, there
are matching units of motifs called modules
(Ragans, 2005).
But these patterns do not only
perform decorative functions but they also
perform functional purposes. For example,
looking at tiles on flooring or the sidewalks are
used to ensure ergonomic movement and
foundation of human standing onto it. Though,
generally aesthetic in approach, there is an
underlying function of their pattern placement Figure 22: Architectural Module
(Ragans, 2005).

Types of Rhythm and Pattern

Arranging the patterns can vary. Each variation may create a different
personality of the artwork.
a. Random
Motifs may be placed randomly across the
space. This is characterized by the lack of regularity in
the spaces in between. Photography on fallen leaves

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Figure 23: Random

 may leave random patterns. Wall cracks can also be randomly assigned across
the space. Buildings in a picture may not necessarily be spaced regularly
(Ragans, 2005).
b. Regular

Opposite to random patterns, regular patterns are characterized by

having identical beats, motifs and intervals of space between them. In effect, you
can observe a steady beat across motifs. This is best
used when you pattern. Parking spaces in buildings
are classic examples of patterns that are regular in
application. In grocery shopping, the distance
between racks are organized with equal intervals.
Looking at a square subdivided in a 3x3 grid is a Figure 24: Regular Patterns of
regular pattern (Ragans 2005). Waves

c. Alternating
This type of rhythm employs two types of beat or
motive. First and second beats are usually arranged in
alternating distances or intervals. Its applications include
flowing rhythms by repeating wavy lines. For example, when
you choose to draw waves of water, alternating rhythms or
flowing patterns can be utilized. This can be done by Figure 25:
alternating the swelling of water up and down the space Alternating Pattern

(Ragans, 2005

d. Progressive
Progressive patterns or rhythms portray change in beat every time it is
repeated. Accordingly, the changes are steady. For each beat, they appear slightly
different with each other. For example, you may try to progressively increase the
size of a shape from one end of the space to the other (e.g. small square in the left
progressively increasing its size towards the right). It can also be done by
gradually changing a square into forming a circle in the other end (Ragans,
2005).

Figure 26: Progressive Pattern Nick Babich

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 Self-Learning Activity 7: Practice on Random Rhythm
Identify one letter of the alphabet. In some newspapers and magazines, you used
before in some activities, cut out at least (10) ten of these letters. Mount them on a piece of
paper in a random order. In case there is a difficulty in finding more letters, you can draw
and design the letter yourselves. Vary the designs. Describe how randomness creates a
certain meaning and variation, Why are pattern and rhythm important?

2. BALANCE
Art and its forms must contain a certain type of balance. This is the
principle of art by ensuring that all elements of art are accorded with equal force.
Through balance, arts tend to have a feeling of organization and proper
arrangement. The absence or lack of balance may project feelings of uneasiness
and instability. Just like the Leaning Tower of Pisa, because of its instability, it is
considered as a danger zone and was required to be closed for humans to set foot
in. Even if, engineers corrected this imbalance, this was not still considered safe
for people to get near to (Ragans, 2005).

Balance, with relationship to the mathematical sense, is usually

measured with a scale. But scaling in art application does not usually require an
object to measure weight or height. In the past, renaissance was very technical in
scaling that most artists during their time utilized measurement scales to
produce art. In the more artistic sense, balance is usually, perceived or
vicariously experienced. Hence, each element of an artwork carries a weight and
may create the kind of balance the artist wants to portray. For paintings and
drawings, this balance may be determined by drawing a hypothetical line in the
middle vertical and horizontal axis. You may now then check how much elements
are shared in the left and right sides of the symmetry or the upper and lower
symmetry (Ragans, 2005).

Formal Balance
There is considerable formal balance when elements are shared
equally in both sides of the symmetry. It is the most common type of balance in
producing art. It may not be necessary that there are equal amounts of elements
on each side. Formal balance demonstrates equal rigor, strength, or weight on
each side regardless of the number of elements found each by symmetry. There is
a sense of balance by creating mirror images of the left and right or up and down
dimensions. Another way of calling this is bilateral symmetry. In most cases,
people have preference over formal balance and symmetry as they usually
perform functional purposes. For example, the choice of clothing that you wear
may require it to be symmetrical
to create a balanced shape.
However, its downfall may
include stiffness, formality and

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perfectionism. While it creates stability, art can be predictable and too structured
requiring artists to be more technical rather than creative. Reality. is, there may
not be full and perfect symmetry. Rather, this world operates on approximate
symmetry. This can be observed in the sizes or shapes of your eyes and facial
structure in which both sides may not perfectly match as mirror images but only
approximations (Ragans, 2005). Figure 27:
Formal and Symmetrical Balance

Radial Balance
This is a type of balance where the
design of the art piece radiates from the
central point and an outward direction. An
example of radial balance is the mandala.
Mandala is a representation of personality in
the theory of Analytic Psychology of Carl
Jung. For him, a healthy personality is
defined by balance of all forces, hence, a
radiating or radial balance. Another example
of radial balance are flowers or plants that
follow a radial pattern. Functional designs
like wheels of automobiles, gears and
Figure 28: Mandala
structured are based on radial balance
(Ragans, 2005).

Self-Learning Activity 8: Coloring Mandala

Search and download empty mandala from google. Make sure to follow the
legal restrictions and compliance of downloading images from the web. At best, cite the
source of the material. Color the mandala by applying the principles of radial balance.
Based on your experience of coloring the Mandala, how is this type balance different
from others? What are the challenges in ensuring that a mandala will create a radial
balance?

Informal Balance
There are artists that choose to portray a more casual and less planned
art. Most of the time, their outputs have informal balances. But this is not an
indication of less aesthetic value. Rather, these artists have less conventional
approaches by employing abstracted and complex balance portrayal. In effect,
when you perceive their works, your point of view is not usually drawn towards
the middle, but usually in the irregular positions of the space.

How to Present Informal Balance in Art

In most cases, these types of
art are interpreted to be accidental
arrangements. But learning more on the
intent would indicate a deeper meaning

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to their informal balance. Artists usually consider the placement of the objects
and elements and put them accordingly to emphasize the imbalance. To this end,
artists do not only use this as an aesthetic but also a part of the story telling and
meaning extraction process.

a. Size and Contour

There may be arts that have competing sizes of elements such as one
thick line over several thin lines, one large circle over small circles, etc. But
having the number of the smaller sizes increase more than the large ones can
still create a balance, more so, an informal one. Contours are also a way of
showing informal balance. Caricatures are examples of how contours can
emphasize informal balance such as having a big head over a small body, or a
big nose and eyes on a small face. These are common in some editorial art
pieces. Also, a common contouring of informal balance is the cartoon
character, Johnny Bravo, with a big body frame on a relatively small pair of
legs.

b. Color
There are artists who intend to magnify some colors within a space. To
activate informal balance, emphasizing a specific color may create this
expression. Artists creating book covers may employ colors. to express
imbalance in color emphasis. This is intended for viewers to draw their
attention over the area with the more intense color. Examples of these are the
book covers of Fifty Shades of Grey of E.L. James that seek to emphasize the
Grey elements of the book cover.

c. Value
Contrasting the value of objects and background can create. formal
imbalance. For example, when you are tasked to create a certificate
employing informal balance, you may choose to have a blank white sheet of
paper with emphasized red slab on the left side. In this regard, the point of
view among the viewers may be drawn to the left side because of the dark red
slab which carries heavier value than the white sheet.

d. Texture
Creating a rough texture of pattern, highlight or shadows create
informal balance. This happens because of the details that a rough texture
creates. This can be further formalized by compensating areas of the space
that contain smoother surfaces. In most posters used in advertising, there is a
necessity to consider the kind of font you use to create impression of a rough
texture. This is necessary to draw the point of view on the font or text more
than its design.

e. Position
In visual art, a large object near the dominant area of the work can be
balanced by a smaller object placed farther away from the dominant area. In
GE 5 (Art Appreciation) A. Vargas 23 | P a g e
this way, a large, positive shape and a small, negative space can be balanced
against a small, positive shape and a large, negative space.

Self-Learning Activity 9: Identifying Balance

Make a tour around your neighborhood or city and look around for
buildings that were constructed or still in its process of being. Draw a rough sketch of
these buildings or infrastructures and identify the formal and informal balances
apparent in them such as the doors, windows, etc.

3. PROPORTION
Proportion is the principle of
art that is mostly concerned with how
the sizes of objects and some
elements relate to each other. The
idea of proportion started during the
time of a Greek Philosopher,
Pythagoras who believed that the
world or the universe operates on a
constant mathematical equation.
Amused by these beliefs, Euclid
explored around the mathematical Figure 30: Golden Ratio Ankush Tripathi
possibilities of explaining the nature of
the universe and discovered that there is such a thing as a perfect ratio. This
ratio is called the Golden Mean where a line is "a line divided into two parts
so that the smaller line has the same proportion, or ratio, to the larger line as
the larger line has to the whole line". It was believed that this was the ideal
and most perfect proportion. This is usually expressed in terms of 1 is to 1.6 or
1:1.6 (Ragans, 2005).

The Golden Mean has gained so much popularity that this concep has been
applied to human figures. It was also believed that human figures have the
ideal proportion. When Greece
died as a civilization, so did this
concept. But in t rediscovery, it
was then called the divine
proportion. The art of the past
was mostly influenced by this. In
the creation of sculptures their
leaders, the ratio was used as a
basis and always given These

GE 5 (Art Appreciation) A. Vargas 24 | P a g e

statues was importance. that they created were like the real persons they
made the statues for. However, modern art today started to reject the
restrictions of the Golden Mean. They believed that following this limited the
ability of artists to explore and complexities of artwork (Ragans, 2005).

Scale
A scale refers to the relative size of an
object measured from a standard reference. This is
different from proportion in that the latter is a
measurement relative to other elements of the
space while the former is based on a standard
measurement. For example, a 6-foot volleyball
player may not look tall when he is with his team
members. This is proportion. But when you see Figure 32: Nakht and Wife
inside the Pyramids of Egypt
this volleyball player standing on a measurement
scale, our perception may differ from when is with his teammates. This is
scale (Ragans, 2005).
In designing art, there are two sources of scale. First is the scale that is
based on the work itself and the other is the scale of the objects and elements
within the design. For example, the Pyramids of Egypt are the first type of
scale while the art forms and pieces found within them are the second type of
scale. Also, these art pieces found within have different applications of scale
as well such as the painting of Nakht and wife. Such painting demonstrates
scaling as way to emphasize the hierarchical system that operated in the
Ancient Egyptian regime. This was manifested in the enlarged scale size of
Nakht and wife while they observed their smaller scaled servants in service of
them through hunting, fishing and farming (Ragans, 2005).

With the use of scale, some artworks may provide illusions to

perception. Some objects may appear larger or smaller than they should. If
you have tried checking online shopping platforms like Lazada or Shopee,
there may be products that are scaled to look bigger or smaller but you end up
receiving the orders that have different sizes from what you originally
perceive them to be (Ragans, 2005). But scales must be functional as well.
For instance, interior designers and architects should be able to scale
accurately the blueprint of their designs to ensure that furniture and internal
equipment could fit according to the plan (Ragans, 2005).

Sometimes, distorting scales may become necessary as to express a

valuable message. Given as the example above, caricatures are also
applications of proportion as there may be exaggerations to certain parts of
the human figure. But for other cultures, especially West Africa, they use
exaggerated scales of head in their art as this represents life and intelligence.
This belief was inspired with the enlarged head of their divine ruler named
"Oba" which guarantees them prosperity and fortune (Ragans, 2005).

Self-Learning Activity 10: Proportion

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Using this website https://photofunia.com/effects/caricature,
upload a picture of your full body self and create a caricature. Download
and print out the picture. Describe which part of your body was distorted
 4. Variety, Emphasis, Harmony and Unity
Variety is the principle of art that breeds interest to the viewers or
audience. Emphasis, on the other hand, improves the variety by creating
different levels of emphasis to draw areas that may draw audience attention.
Usually, the subject is the focal point of the art, but less emphasis or intensity
should not mean less attention. Rather, they have less emphasis based on the
value or importance to the piece of work. Harmony happens when there is
equilibrium in variety and emphasis. But unity is the wholeness or oneness of
the artwork. This is achieved when the elements and the principles are
utilized effectively to convey the wholeness of art (Ragans, 2005).

Variety
To establish effective variety, artist must maximize the application of
differences and contrasting. For instance, if an artist chooses to create an art
with just one shape or color, this may look boring and monotonous, lacking
variety. In effect, attention of the audience may be of short span. But
integrating different elements and applying different principles provide art a
sense of variety. This gives the viewers or audience the perception that the
artist is breaking the repetitive cycle.

Emphasis
In specific artworks, there are aspects that are given emphasis.
Usually, the subjects are given more intensity in color, more definition in
contours and outlines, etc. This is the process of ensuring that these aspects
are the more important elements of the art form. With different levels of
emphasis, it may be expected that viewers and the audience should spend
more time on giving their attention to the dominant elements and narratives.
The two types of visual emphasis are (1) the element that dominates and (2)
the area on the space that dominates over others.

a. Emphasizing elements
Through this process, the element of art is deemed to be more
important while subordinating the other elements. Some artists do this to
separate a specific element from others and showcase their skill on this
aspect. Example is when one art uses mostly pencil in sketching may
signify the artist intention to show his sketching capabilities. Some artists
do not sketch and immediately paint on a canvas without outlines convey

GE 5 (Art Appreciation) A. Vargas 26 | P a g e

 the ability of the artist to draw and create a cohesive image by
subordinating sketching (Ragans, 2005).

b. Emphasizing Area
An artwork's focal point is an emphasized area. This specific
area may be considered as superior to other areas for it is expected to
carry the viewers' attention to that area. However, it is also possible to
have more than one focal point. But doing so may create confusion. If this
was the interest at hand, then the artist may be free to do so to achieve
the ambiguity the artist intended to do. Some artists may not even have a
focal point or emphasized area such that the whole space is the full focal
point (Ragans, 2005).

Techniques in Emphasis
a. Contrast – This can be done through
contrasting of hues, intensity and
value of colors. In terms of lines,
heavy shading and cross-hatching are
ways of emphasizing the subject or
area.

Figure 33: Emphasis in Contrast

b. Isolation – This is a process of

providing a mechanism for the subject
to be isolated from other elements.

Figure 34: Emphasis in Isolation

c. Location - The center of the space is

mostly considered the focal point of
most art works. Most subjects or
objects can be placed in the middle to
create emphasis.

Figure 35: Emphasis in Location

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 d. Convergence –This is a more complex technique that utilizes the
elements to point at a direction of a focal point. The process of
convergence directs the viewers using elements to converge at a focal
point.

e. Unusual – The most complex of the

approaches is the use of unconventional
mechanisms. Bizarre and unexpected approach
can be made for emphasis such as putting a
gun on a bed of roses, a girl in a group of boys,
yellow chair in a pile of black chairs etc. the
focal point, hence, should be the one odd out.

Figure 36: Emphasis

in Unusual

Harmony
Artistic harmony is the principle that facilitates the process of unity by
recognizing the importance of separate elements and subjects but are somehow
related to each other. In music, harmony happens when notes are combined, and
they create blending tones. The pleasantness produced by the sound is based on the
complementarity of the notes. In visual harmony, these elements or subjects are
made to relate with each other creating pleasant or cohesive visuals (Ragans, 2005).
Colors can harmonize by using the different applications of contrasting
such as complementarity, split complements or analogous colors. Shapes can
manifest harmony when they tend to overlap or create the impression of relatedness
among them. For example in a house a triangular shape roof harmonizes with the
square shaped house. Or in the creation of art rooted from nature, combinations of
free-from shapes create harmony in an art space (Ragans, 2005).
Unity
If you remember, the introduction part of this Module talked about
the Gestalt prin of unity and wholeness. Art, in the same regard, is supposed to be
created and perceived as the sum of its parts. Elements and some principles of art
will cease to become meaningful if they do not unite with the rest of the whole art
piece. Lack of unity in art is a hodge-podge art. It does not convey cohesiveness. It
will lack meaning and it will lose its artistic value (Ragans, 2005).
To create unity, these are some considerations you can adopt:
a. Simplicity
Choosing to employ variety is a critical period in the planning phase of
art. Too many uses of variety can be bad in the art form because it lacks
economical sense. By limiting the variations to workable variations, you also
allow the art to focus on the special properties of the few elements of
GE 5 (Art Appreciation) A. Vargas 28 | P a g e
 principles. Hence, art does not have to use all possible techniques to
implement the elements. Rather, the best approach is edit and limit the
qualities that need to be shown as only deemed appropriate to the subject and
content.

b. Repetition
Unity can be achieved when there is repetition. Usually applied in
large scaled art production like architecture of buildings and other
infrastructure, repetition has always been used to create a unified space. For
example, the white house is repeatedly colored white across the whole
building. The building beams are similar across the four structures. Making
sure that the structure is well blended with the surroundings, repetition is a
technique that does this (Ragans, 2005).

c. Proximity
Limiting negative space creates convergence of objects. Therefore, the
converging objects tend to cluster together. This convergence could mean
unity because you limit the ability of negative space to create distance. For
example, if you wish to portray a group of people conversing, the unifying
theme of the art is by putting those people close to each other to create that
impression of relatedness among them (Ragans, 2005).

Self-Learning Activity 11: Identifying Balance

You will be designing a three-dimensional collage. This collage
should convey a visual interpretation of a line from your favorite song. quote,
or poem. These words must be symbolically integrated into the design. Apply
unifying principles by using different materials that manifest the elements
and principles of art. In this activity, you have the freedom to use whatever
material that is available in your homes or immediate surroundings. This
activity shall compel you to be creative and resourceful at the same time.

IV. Learning Enhancement

To enhance learning, it is recommended that you check on the
following as additional resources related to the Chapter.
Since understanding and appreciating art can be subjective, there are
reading resources that can be found and downloaded online as alternative or
supporting reading materials:

Fundamentals of Art by Ocvirk, Stinson, Wigg, Bone and Cayton

DownloadLink:
http://dl.booktolearn.com/ebooks2/art/artrelated/9780073379272_Art_
Fundamentals 5fd0.pdf

GE 5 (Art Appreciation) A. Vargas 29 | P a g e

 Fundamentals of Drawing by Jerry Sartarama
Download Link: https://www.jerrysartarama.com/images/PDFs/Leonardo-
Books-1.pdf

To update yourselves with modern artists and their perspectives on the

element, of art and principles of design, these are usable blogs that can be
found online:

If you feel like listening and watching YouTube videos, here are some
video links that can further discuss the matter at hand:
https://www.youtube.com/watch?vHZPIbqDELIS
https://www.youtube.com/watch?v-uVrh3frrC38
https://www.youtube.com/watch?v=wQhuNIiR_9Q
https://www.youtube.com/watch?v=65WİYDEzi88
https://www.youtube.com/watch?v-RV55srVwWMM
https://www.youtube.com/watch?v=FryaH599ec0

Activity Description Date Submitted Points

1 Using Lines to Create Value

Maximizing Imagination to
2
Single Element of Art
Geometric and Free – Form
3
Shapes
Establishing Point of View
4
through Shapes and Sizes
Identifying the Illusions of
5
Space and its Perspectives
6 Color Practice
7 Practice on Random Rhythm
8 Coloring Mandala
9 Identifying Balance
10 Proportion
11 Identifying Balance

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