Module 3 Lecture Notes

MODULE 3- LEARNING HOW ART IS MADE
The elements of art are the basic components of art-making. It is impossible to create work of art without
using at least one of the seven elements of art. In order to be successful in art creation, an artist must be
able to intelligently use the elements of art. Artwork can also be analysed according to the use of the
elements in a work of art. The elements of art are the building blocks of all art. Every piece of art ever
created includes one or more of these elements.
1. LINE- a line is an element of art. It is a mark made upon a surface. In order to be a line, the mark’s
length must be longer than its width. There are many different types of lines, including horizontal,
vertical, wavy, diagonal, and more. Line may be two or three-dimensional, descriptive, implied, or
abstract. Line is an important element at the disposal of every artist. Lines always have direction.
A. Straight line- a straight line is the basic framework of many forms, but it lacks softness and
flexibility.
B. Horizontal- are lines that denotes repose and serenity. Horizontal lines are found in reclining
persons, in landscape, calm bodies of water and in the distant meeting of the earth and sky which is
called horizon. Parallel to the horizon suggest calmness and quiet, a relaxed comfort. They
accentuate width stable and secure. They convey an absence of conflict, a restful peace.
Application of horizontal line in arts
C. Vertical- are lines that denote action. They suggest poise, balance, force, aspiration, exaltation, and
dynamism. Vertical lines also tend to express as well as arouse emotions of exaltation and in
quietude. The Gothic Cathedrals express the aforementioned sentiments that possessed the soul of
northern Europe- Middle Ages.
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Application of vertical lines in art
D. Diagonal- suggest action, life, and movement. Almost every object in action assumes a diagonal
line. As masters in any art try to perfect their technique, they are able to work more or less
instinctively, and they begin to express themselves more and more through the freedom, buoyancy,
and grace of curved lines.
Application of diagonal lines in art
E. Curved line- suggest grace, subtleness, direction, instability, movement, flexibility, joyousness, and
grace. The restrained curved lines exemplified in the woman’s body and the bamboo stem where
according to Philippine legend, man and woman sprang by Carlos “Botong” Francisco.
Soft, sweep and turn gracefully between end points. They bend, they change direction can be calm
or dynamic depending on how much they curve.
F. Crooked or jagged- express energy, violence, conflict, and struggle.
2. COLOR- Has the most aesthetic appeal of all the elements of visual arts. Delight in color is a
universal human characteristics. Color is a property of light. The light of the sun contains all the
colors of the spectrum: violet, indigo, blue, green, yellow, orange and red. It is the product of light
reflected off objects. We see different colors because of light’s various intrinsic qualities,
specifically, because of its different wavelengths. In visual arts, the relationship of colors is best
seen in a color wheel.
THREE DIMENSIONS OF COLOR
A. Hue- Is the dimension of color that gives its name. Color names such
as red, blue, green, violet, and yellow indicate hue.
Primary Hues - blue, red, and yellow
Secondary hues - orange, green, and violet
B. Value- Sometimes called chiaroscuro. Refers to the lightness or darkness of a color. It is a quality
which depends on the amount of light and dark in color. They give the expression of depth and
solidity and lend form to paintings
o Tints - are values above the normal
o Shades - are values below the normal
Examples:
Pink is a tint of red Sky blue is a tint
Maroon is a shade of red Navy blue is a shade
Tint
Shades
CHIAROSCURO- A technique in painting which is defined by a strong contrast between light and dark.
The use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition.
C. Intensity- Refers to the brightness or darkness. It gives color strength. Differences in intensity may
INTENSITY is like the PURENESS of a Color. The Property of Color being Bright.Yellow is a
light color. Then, it has a light value.Blue can be a dark color, so, blue is in a darker value. But pure
blue and pure yellow has the same intensity.be described as full intensity, two-thirds intensity, and
two-thirds neutral.
1. RELATED COLOR HARMONIES

May either be monochromatic or adjacent.
a. Monochromatic harmony- is made up of several tones of one hue, like for instance orange, tan,
brown, and other tones from the orange family. Simplest and easiest to use
b. Adjacent or neighbouring harmony- Two or three neighbouring colors on the color circle are used
together. Good adjacent harmonies can be produced by using other groups of neighbouring colors
like yellow, orange, and red or orange, red, and violet.
2. CONTRASTED COLOR HARMONIES- Colors which lie directly opposite each other in the color
circle are called complementary colors. Red and green, orange and blue, violet and yellow are
complementary colors. They contrast with each other strongly; therefore, they are more difficult to use
harmoniously than the related color combinations.
TYPES CONTRASTED COLOR HARMONIES
Complementary Harmony- A color scheme that uses 1 color plus it’s opposite on the color wheel. This
object spins around to any color, it’s complement should be directly opposite. It can also move in (adding
white) and out (adding black) while retaining its structure.
Double complementary- A color scheme that uses 4 hues, including two adjacent hues and their respective
complements. (e.g. yellow, yellow-orange, purple and blue- purple. This object spins around to any four
color combination hues. It can also move in (adding white) and out (adding black) while retaining this
structure. A color combination using four colors arranged into two complementary pairs.
Split complementary- A color scheme that uses 3 hues which include a base hue and the two hues on either
side of its complement. This object spins around to any three color combination hues. It can also move in
(adding white) and out (adding black) while retaining this structure. Any three colors wherein two of which
are beside the complement of the third color. One hue plus two others equally spaced from its complement.
Triad- A color scheme that uses 3 hues which are each 1/3 around the color wheel. This object spins around
to any three combination hues, while retaining this structure. Each arm can move in (adding white) or out
(adding black). The two arms that are not the base color can move independent of it while retaining this
structure. Moving the base hue in or out, adjusts the two other hues proportionately. Three colors that form
an equilateral triangle in a color wheel.
Tetrad- A color scheme that uses 2 base hues which are 1 color apart and include their complements. (e.g.,
red, green, yellow and purple). This object spins around to any four color combination hues. It can also
move in (adding white) and out (adding black) while retaining this structure.
3. TEXTURE- During the 19th to 20th centuries, a high premium was placed on very smooth surfaces
and forms. A group of painters including Cezzane, Picasso, and others emphasized texture by
purposely making portions of the paintings rough. Texture is being used by sculptors, architecture,
paintings, and any other forms of art.
 It is an element that deals more directly with the sense of touch. Also, it is best appreciated when an
object is touched with our hands.
 It is the perceived surface quality of a work of art.
 It is an element of two-dimensional and three-dimensional designs and is distinguished by its
perceived visual and physical properties.
 Use of texture, along with other elements of design, can convey a variety of messages and emotions.
Two varieties of texture:
Physical Visual
Examples of texture:
Smooth Rough
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4. PERSPECTIVE- from the Latin: “perspicere” means to see through, deals with the effect of
distance upon the appearance of objects, by means of which the EYE judges spatial relationships. It
is important in painting because volume is to be presented on a two dimensional surface.
TWO KINDS OF PERSPECTIVE
Linear Perspective
• is the representation of an appearance of distance by means of converging lines.
Aerial Perspective
• is the representation of relative distances of
objects by gradations of tone and color.
Examples of perspective:
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5. SPACE
 refers to distances or areas around, between or within components of a piece.
 Space can be positive (white or light) or negative (black or dark),
open or closed, shallow or deep and two-dimensional or three-dimensional.
 Sometimes space isn't actually within a piece, but the illusion of it is.
Examples of Space in Sculpture:
6. FORM
 applies to the overall design of a work of art. It describes the
structure or shape of an object.
 directs the movement of the eyes.
 Since form consists of size and volume, it signifies visual weight.
 Applies to the overall design of a work of art.
 Form consists of size and volume.
 Includes height, width and depth.
 Form generally refers to sculpture, 3D design and architecture but
may also relate to the illusion of 3D on a 2D surface
 Good architecture allows outward forms to be governed by what goes on inside them.
7. VOLUME
 Refers to the amount of space occupied in three dimensions.
 We perceive volume in two ways: by contour lines, outlines, or shapes of objects, and by surface
lights and shadows.
 Volume is the primary concern of architects because a building always encloses a space.
 The viewer, therefore, may obtain not one but many different impressions from a single work.
 The sculptor is also concerned with the volume.
 In painting, volume is an illusion because the surface of the canvas is flat.
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Examples of Volume:
Design makes it easier for an artist to express his ideas in such a way that the observer becomes interested
in his work. It makes objects in our environment more comprehensible.
For example:
 sculpture organizes the human or animal form
 architecture organizes space through the arrangement of the
parts of a building, both interior and exterior in order to produce
a pleasing and interesting pattern
1. Pattern- is the uniform repetition of any elements of art or any
combination thereof. Anything can be turned into a pattern
through repetition.
2. Harmony- is the principle which produces an impression of unity through the selection and
arrangement of consistent object or ideas. It is the quality which unifies every part of an
arrangement. If there is harmony, there is order.
a. Harmony of lines and shapes. Lines are made harmonious by either repeating the shape of the
lines or by connecting transitional lines to contrasting lines. A transitional line or merely
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transition is usually a curved, graceful line which connects two opposing or contrasting lines.
The latter are straight lines which intersect each other and form angles. Lines made in this
manner are called contrasting or opposing lines. Contradiction, strictly speaking, is a form of
transition, but because it is not harmonious it may be classified under the lines in contrast.
Contradiction is straight line connecting two opposing lines diagonally.
If a small rectangle is placed within a bigger rectangle so that their sides are parallel, the resulting
figure is an example of repetition. Repetition shows harmony. Rugs and large furniture should
therefore follow the lines of the room. Objects used in setting a dining table should be arranged
parallel to the edge of the table. Curtains must be parallel to the door and window frames, and
picture frames parallel to studdings. If the corner of a building and the level of the ground are in
contrast and not harmonious, transitional lines are necessary to soften the opposing lines. This
can be done by planting shrubs at the corner and sides of the building.
b. Harmony of size. Harmony of size refers to good proportion.
c. Harmony of color. Creating harmony of color means using two or more colors in decorating an
article or object. It does not mean the mixing of colors. A girl, for instance, may use three colors
in her dress, that is the blouse may be pink, the skirt is dark red, and the buttons on the blouse is
dark red. There are two standards or groups of colors harmonies; related harmonies and
contrasting harmonies.
d. Harmony of texture. The character of texture can be determined by feeling the object with the
fingertips or by looking at it. Coarse textures should not be combined with fine texture.
e. Harmony of idea. Combining antique and modern furniture in the same room does not show
harmony of idea. A store window displaying dresses, hardware and school supplies would be a
very poor display.
3. Rhythm and Movement- In design, it is a regular, uniform,

related visual movement made through the repetition of a unit
of motif. A unit or motif is a dominant feature or part repeated
in a design or decoration. Repetition of a unit creates a feeling
of movement of rhythm. All structural elements may be
repeated to suggest movement. Rhythm and movement usually
goes together in the principles of design. When there is a
rhythm, there is a movement.
4. Balance- Balance gives a feeling of stability and rest. All the parts should be equally distributed
around a center point. Weights are equally distributed around a center or fulcrum.
a. Symmetrical Balance- Achieved by making both sides exactly alike. Gives an atmosphere of
dignity and formality. It is the balance of visual weights placed at equal distance from the axis.
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b. Asymmetrical Balance- is the balance of unequal visual weights, the heavier one being nearer
the axis and the lighter one farther. Sometimes referred to occult balance and free balance.
5. Emphasis- Is the principle of art which tends

to carry the eyes from the center of interest or dominant
part of any composition to the less important or
subordinate part. The most essential factor in emphasis
is simplicity.
Methods of Emphasizing Objects
a. By arrangement or grouping of objects- If
objects are grouped together, the one to emphasize
should be located at the center and should not be the
biggest and brightest color.
b. By decoration- objects which have done decorations are given more emphasis than those without
them.
c. By color contrast- contrasting colors such as the complementary combination and the triads are
more emphatic than analogous or any other related harmonies.
6. Unity- You want your painting to feel unified

such that all the elements fits together
comfortably. Too much unity creates monotony,
too much variety creates chaos, you need both.
7. Novelty of Newness- A new style of dress
appears more attractive and interesting than
ordinary dress design. Novelty provides the best
opportunity for developing one’s creative
ability.
8. Utility, Adaptability, or Function- a work of art must not only possess beauty but utility. The
object must be adaptable to the purpose for which it is made. This is especially true to all practical
arts. In designing modern structures, function is now the first consideration.
9. Contrast- this art principle is synonymous to opposition or contradiction. It has some relationships
with balance and emphasis. Two contrasting lines or colors may balance each other. The center of
interest in a composition. Nature provides many examples of contrasting objects. For instance, the
colors of flowers contrast the color of leaves.
The rule of thirds
The rule of thirds is also called the “rule of thumb.” This is a guideline which appears to the process of
composing visual images like designs, films, paintings, and photographs. The guideline proposes that an
image must be imagined as divided into nine equal parts by two equally spaced horizontal lines and two
equally spaced vertical lines. Compositional elements should be placed along these lines or their
intersections.
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The proponents of this technique claim that aligning a subject with these points creates more tension,
energy, and intent in the composition than simply centering the subject.
MODIFIED ART EXPRESSION

It is a range of techniques, manipulating and experimenting with all aspects of the works. This can be done
by calligraphic text, deconstructed books, intricately hand-cut paper, and recycled and re-sculptured
materials. Modified art expression is a fascinating collection of artworks that demonstrates each artist’s
personal interrelation of the texts, transforming literary works into visual ones and creating powerful new
forms of expression.
Transcreation (creative translation)
This is the process of adapting a message from one language to another while maintaining its intent, style,
tone, and content. A message that was successfully transcreated evokes the same emotions and carries the
same implications in the target languages as it does in the source language. Nowadays, transcreation is
widely used in global marketing and advertising campaign as advertisers seed to transcend the boundaries
of culture and language. Transcreation takes account of images which are used within a creative message
to ensure that they are suitable for the target local market.
In other words, transcreation is taking the essence of a message and re-creating it is another language or
dialect.
Purpose of Transcreation
The purpose of transcreation is to transfer the intent, style, vocal tone, and emotional salience of the message
from the source language to that of the targeted audience. To do this process, it requires expertise in
marketing, linguistic skills and knowledge of targeted cultures. This, to produce effective transcreation,
local language copywriters need to have extensive knowledge of their market, excellent language skills and
the ability to creativity adapt message for the target market.
Transcreation and Translation
These two terms are not identical but related processes. In translation, a word for word translation is
inadequate. The best translation takes into account the vocabulary, grammar, syntax, idiom and local ways
of the target audience while remaining faithful to the text as well as to the context of the original document.
On the other hand, transcreation expands the translation by focusing not so much as the literal text but on
discerning the emotional response by viewers in the source language and working to elicit the same response
from viewers in the target market. In short, transcreation is taking a concept in one language, and completely
recreating it in another language.
1. Transcreation of text to music
In novel or poetry, one can generate music with emotional feeling. Example: Recite the poem “Tree” by
Joyce Kilmer and transcreate it to music.
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2. Transcreation of text to dance
It’s using a dialogue or text to influence and enhance dance performance. According to Karin Barber, when
words are uttered it captures a prominent instance in the performance. She further said that “the text is a
permanent artifact, handwritten or printed, while the performance is the unique, never-to-be-repeated
realization of the text, a realization that ‘brings the text to life’ but which is itself doomed to die on the
breach in which it is uttered.
3. Transcreation of dance to visual art
The great majority of the evidence for dance occurred in Ancient Greek which come from visual art.
Sculptures and paintings on pots represented dancers. Relief sculpture in tombs included scenes of dancer.
The canon for artistic representation was in place because the deceased and his or her family needed to be
depicted in a very specific way in order to activate the magic that transported them to the next world.
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MODULE 3- LEARNING HOW ART IS MADE

Primary Hues - blue, red, and yellow

Secondary hues - orange, green, and violet

1. RELATED COLOR HARMONIES

3. Rhythm and Movement- In design, it is a regular, uniform,

5. Emphasis- Is the principle of art which tends

6. Unity- You want your painting to feel unified

MODIFIED ART EXPRESSION

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