-refers to a point moving at an identifiable path—it

has length and direction and it also has width. It is

one-dimensional but has the capacity to define
parameters of artwork (edges) or become a
substantial component of the composition.
-It has variations in view of its orientation/direction,
shape and thickness.
a. Horizontal and Vertical Lines
-refers to the orientation of the line. Horizontal
lines are normally association with rest or calm.
Vertical lines connote elevation or height—to
mean exaltation or aspiration for action.
Together, these lines communicate stability
and firmness.
b. Diagonal and Crooked Lines
-diagonal lines convey movement and
instability. Crooked or jagged lines are
reminiscent of violence, conflict or struggle.
c. Curved lines
-lines that bend or coil allude to softness,
grace, flexibility or even sensuality.
-these two are related to each other, they define
the space occupied by the object of art. Shape
refers to two dimensions: height and width while
form refers to three dimensions: height, width, and
depth. Shape provides the contour of the artwork.
Shapes can either be:
a. Geometric
-find their origin in mathematical propositions.
Its translation and use are often man-made. These
include shapes such as squares, triangles, cubes,
circles, spheres, and cones, among others.
a. Organic
-readily occurring in nature, often irregular
and asymmetrical.
Form
-sculptures or ornate furniture are good
examples of art objects with the element of
form as their observable quality.
-in relation to shape and form is space. It is usually
inferred from a sense of depth, whether it is real or
simulated. Real space is three-dimensional.
Sculptures are a perfect example of artworks that
bear this element.
a. Positive and Negative Space
-identified with the white space
as negative space.
-the positive space is the space
where shadow is heavily used.
b. Three-dimensional Space
-this can be simulated through
a variety of techniques such as
shading. An illusion of three
dimensionality can be achieved
in a two-dimensional work.
-one of the elements that best enhance the
appeal of an artwork. This element is a property
of light, as it is reflected off the object. It is
characterized into three: hue, value, and
intensity.
a. Hue—this dimension of color gives its name.
It can be subdivided into:
• Primary colors: red, yellow and blue
• Secondary colors: green, orange and violet
• Tertiary colors: six in total, these hues are achieved
when primary and secondary are mixed.
b. Value—the brightness or darkness of the color.
Often used to create the illusion of death
and solidity, a particular mood,
communicate a feeling, or establishing a
scene (day and night)
• Light colors: taken as source of light in composition
• Dark colors: the lack or absence of light
c. Intensity—the color’s brightness or dullness. It is
identified as the strength of color, whether it
is vivid or muted.
• Bright or warm colors: positive energy
• Dull or cool colors: sedate/soothing, seriousness or
calm
-can be either real or implied. This element is an
artwork allows it to be experienced through the
sense of touch (and sight). This element renders
the art object tactile.
a. Texture in the Two-dimensional Plane
-2D works: can be implied through the use of
techniques or one or combination of other
elements of art.
-rough or smooth, hard or soft, hairy, leathery,
sharp or dull, etc.
a. Surface Texture
-three dimensional art object
Picture plane
-the actual surface of the painting or drawing,
where no illusion of a third dimension exists.
-the elements lay flat.
Ground plane
-pertains to the theoretical horizontal plane and
makes the image or picture presented seem “real”.
Perspective
-one of the most important techniques
developed that has the ability to make a flat
surface appear three-dimensional which has
depth and space.
-credited to Renaissance artists
Perspective
-an illusion that uses converging lines and
vanishing points that affect the size and distance
of objects relative to that of the viewer.
a. One-point perspective—often used in depicting
roads, tracks, hallways, or rows of trees. It shows
parallel lines that seem to converge at a specific
and lone vanishing point along horizon line.
b. Two-point perspective—pertains to a painting or
drawing that makes use of two vanishing points,
which can be place anywhere along the horizon
line. It is often used in depicting structures such as
houses of buildings in the landscape that are
viewed from a specific corner.
c. Three-point perspective—the viewer is looking the
scene from above or below. It make use of three
vanishing points, each corresponding to each
axes of the scene.
-Often associated to the terms beat,
meter and tempo, rhythm is the
element that situates it in time. It is the
pulse of the music. Beat is basic unit
of music while tempo refers to its
speed (beats/second). Beats can be
organizes into a recognizable
recurrent pattern called the meter.
Classical terms are used to refer to the
variations in tempo:
a. Largo—slowly and broadly
b. Andante—walking pace
c. Moderato—at moderate speed
d. Allegro—fast
e. Vivace—lively
f. Accelerando—gradually speeding up
g. Rallentado—gradually slowing down
h. Allargando—getting slower and
broadening
i. Allargando—getting slower, broadening
j. Rubato—literally “robbed time,” rhythm is
played freely for expressive
effect.
-refers to the loudness or quietness
of music.
a. pianissimo [pp]—very quiet
b. piano [p]—quiet
c. mezzo-piano [mp]—moderately quiet
d. mezzo-forte [mf]—moderately loud
e. forte [f]—loud
f. fortissimo [ff]—very loud
For composers to indicate an
increase or decrease of loudness,
they use the terms crescendo,
decrescendo, and diminuendo.
-refers to linear presentation
(horizontal) of pitch. By horizontal, it
means that in musical notation, it is
read in succession from left to right.
Pitch is the highness or lowness of
musical sound.
-vertical; it arises when pitches are
combined to form chords. When
several notes are simultaneously
played, this refers to a chord.
-described in terms of its “harshness”:
dissonance or a harsh-sounding
combination; consonance, the
smooth-sounding combination.
-often likened to the color of music.
-a quality that distinguishes a voice or an
instrument from another.
-dependent on the technique, the timbre
may give a certain tone or characteristic
to music.
-number of melodies, the type of layers,
and their relatedness in a composition.
a. Monophonic—single melodic line
b. Polyphonic—two or more melodic lines
c. Homophonic—main melody
accompanied by chords.
 Balance
-refers to the distribution of the visual elements in view of
their placement in relation to each other. There are three
forms of balance:
a. Symmetrical—the elements used on one side are
reflected on the other. It offers the most stable
visual sense to any artwork.
b. Asymmetrical—the elements are not the same (or of
the same weight) on each side, putting the
heaviness on one side.
c. Radial—there is a central point in composition, around
which elements and objects are distributed.
 Scale and Proportion
-the size of an object in relation to another, or relative to a
whole composition describes proportion. This can also refer
to values such as amounts or number of elements or
objects in the composition. It can be:
a. Natural—relates to the realistic size-relations of the visual
elements in the artwork.
b. Exaggerated—refer to unusual size-relation or visual
elements. Diminutive is when an element is smaller than
expected and monumental when it appears to be
larger than what is presumed.
 Scale and Proportion

c. Idealized—most common to those that fallow canons of

perfection, the size-relations of elements of objects
achieve the most ideal size relations.
Emphasis and Contrast
-allows the attention of the viewer to a focal point(s),
accentuating or drawing attention to these elements or
objects. This can be done through the manipulation of the
elements or through the assistance of other principles,
especially that of contrast.

-contrast is the disparity between that figure into the

composition. One object may be made stronger as
compared to other objects.
 Unity and Variety
Unity—Unless intended to be otherwise, compositions are
intended to imbue a sense of accord or completeness
from the artwork.

Variety—the principle that aims to retain the interest by

allowing patches or areas that both excite and allow the
eye to rest.
 Harmony

-in which the elements or objects

achieve a sense of flow and
interconnectedness.
 Movement
-refers to the direction of the viewing eye
as it goes through the artwork, often
guided by areas or elements that are
emphasized. These focal points can be
lines, edges, shape and color within the
work of art among others.
 Rhythm
-created by an element that is repeated,
creating implied movement. Variety of
repetition helps in invigorating the rhythm
depicted in the artwork.
 Repetition and Pattern

-Repetition: lines, shapes, colors, and

other elements may appear in the
artwork in recurring manner.
-Pattern: the image created out of
repetition.