5aelements of Arts Saste Final

8/11/2019 5aelements of Arts Saste Final

1/170


2/170

.

GOOD

MORNING!


3/170

ELEMENTSof ARTS


4/170

Elements (of visual art)refer to which the artist uses

as symbols (symbolic),

pictures (pictorial), and anexpression to visualize and

communicate his variety offeelings and ideas.


5/170

Line

FormTexture

Value

Color

Space

Perspective


6/170

LINE


7/170


8/170


9/170

Straight linesgive the feeling ofsimplicity, directness and

sometimes monotony.

Horizontal linesexpress calmness,quietness, peace and repose.

Vertical linesexpress dignity,stability, majesty, uprightness,strength, life and reverence.

Types of lines:


10/170

Oblique, slant or diagonal lines-

indicate motion or action,support, stability and

vulnerability.

Broken linessuggest disorder,violence and power.

Light linesgive the feeling ofdelicacy and refinement.


11/170

Heavy linesgive the feeling

of strength and sturdiness.

Curved linessuggest grace,

feminity, variation andmovement.

Parallel linessuggestequality.


12/170Identify the following LINES


13/170


14/170

FORMrefers to the shape,

structure and area of anobject.Like line, it alsorepresents the feelings or

thoughts of the artist. Formin art varies in types, size

and effect or meaning.


15/170

Types of forms:

Regular (forms)formshaving definite shape.

These include square,triangle, rectangle, circle

and oblong.


16/170

Identify the following FORMS


17/170


18/170


19/170

Rectangle

It is a good shape fordecorative and structural

design. It expresses stability,close set, dignity and

uprightness.


20/170

Triangle

It has the expression

of repose anddignity.


21/170

Natural (forms) formsfound in nature like the

shapes of the leaves,animals, trees,

mountains and thehuman body.


22/170


23/170


24/170


25/170


26/170

Identify the following Geometrical Forms


27/170

CubeRectangular prism

cylinder

sphereprism

cone

Identify the following Geometrical Forms

Rectangulalrpyramid

Frustum of a square pyramid

cone


28/170

Forms according to size:

Large formsgive theimpression of

spaciousness andsuperiority.

Small formssuggestinferiority and crowding.


29/170


30/170

TEXTURE


31/170

TEXTURErefers to the

quality or character of thearea or surface produced by

the form. Its aesthetic valueof texture lies first of all in

the fact that it makes thegradation of color possible.


32/170

Texturesgive a surfaceunevenness which causes

the color of the surface tobe broken into gradations oflight and shade giving it a

charm of its own.


33/170

Types of texture:

Rough or Coarse texturessuggest strength, endurance

and cheapness.Smooth or Fine textures

imply excellently finished,delicateness and costliness.


34/170

Identif the Textures of the Mentioned Materials

White Marble

News Print

Granite

Sand

Parchment Woven Mat

Cork


35/170

VALUE


36/170

VALUE refers to the amount

of light, shade or dark-and-light in an object.Its

aesthetic value lies on thereason that subjects or

objects of art are seenbecause of its presence.


37/170

The Three Primary Values:

The extremes in value are blackand white that is the highest value

is white and the lowest, black.Blackis the absence of light

while white is its presence. The

step half-way or the middle valueis called gray.


38/170

Black

Gray

White

Lonely Swim


39/170

Lonely Swim (WILFRED TORRALBA ALINAS)

Watering Hall (WILFRED TORRALBA ALINAS)


40/170

Watering Hall(WILFRED TORRALBA ALINAS)


41/170

COLOR

hues with their

various values andintensities


42/170

PINKVIOLET

RED PINK

GREEN

BLUE

BROWN


43/170

PINKVIOLET

RED PINK

GREEN

BLUE

BROWN


44/170

Color refers to the visual

perception of light beingreflected from a surface of

an artwork. In the mostbasic classification, colors

can be divided into threegroups: primary, secondary

and tertiar


45/170

Color refers to the

quality or kind of lightthat reflects from the

surface of the object.Colors are seen

because of value or

light Th Th P ti f C l


46/170

The Three Properties of Color:

1. Hue - is the dimension ofcolor that gives color its

identity or name. Colornames such as red, yellow,blue and others indicatethe color characteristic

called hue.


47/170

2. Valuedenotes the lightnessand darkness of a color.

Colors can be made darker bymaking the pigments thicker

or adding black or adding alittle of its complement.Colors can be made lighter by

adding water or oil or white.


48/170

3. Intensity or Chromadenotesthe brightness or dullness of acolor, its strength or weakness,

its purity or impurity. A color can

be made intense by adding morepigment of the same hue, by

placing beside it its complement

or opposite or by surrounding itwith the same hue but of lower

intensity.

Cl ifi i


49/170

Classificationof Colors (Hue):

The primary colorsareRED,YELLOWand

BLUE.These are calledprimary colors because all

other colors are producedby combining any of the

two colors


50/170

Yellow BlueRed


51/170

The secondary colorsare

GREEN(yellow + blue),ORANGE(yellow + red)

andVIOLET(blue + red).These are formed through

the combination of twoprimary colors.


52/170

Orange

Violet

Green


53/170

The tertiary colorsare the

combination of two secondarycolors.

Violet + Orange= RussetOrange + Green= Olive

Violet + Green=Slate


54/170

RussetOlive

Slate


55/170

The quarternary colors

are mixture of twotertiary colors.

Russet + Olive =Buff

Slate + Russet=PlumOlive + Slate = Sage


56/170

Buff

Plum

Sage


57/170

The intermediate or

intermediary colorsaremixture of equal amounts

of primary and secondarycolors. These areyellow orange, red-orange, red-violet, blue-green,blue -violetandyellow-green.


58/170

Blue - Violet

Blue - Green

Yellow - Green

Yellow - Orange

Red - Orange

Red - Violet

Intermediary Colors IName the

Intermediary Colors


59/170

N

T

E

R

M

E

D

I

A

T

E

Intermediary Colors


60/170

The complementary or

opposite colorsform anatural balance in the color

wheel. Example ofComplementary colors are:red and green, blue andorange and violet and

yellow.


61/170

Complementary Colors (The Intermediary Colors)


62/170

Red - Violet

Yellow - Green

Blue - Violet

Yellow - Orange

Red - Orange

Blue - Green


63/170

Manner of Presenting Colors (Hues):


64/170

Manner of Presenting Colors (Hues):

ColorWheelmanifeststhe primary, secondary,

intermediary as well asthe complementary

colors.


65/170


66/170

Color Wheel


67/170

Color Trianglemanifests

the primary, secondary,tertiary quarternary and

the intermediary colors aswell. It can also be a

substitute to color wheel.

Color Triangle


68/170

Y

O

R

G

BV

Olive

Russet Slate

g

PrimaryColors Secondary

Colors

TertiaryColors


69/170

Color Triangle


70/170

Y

O

R

G

BV

Olive

Russet Slate

Buff Sage

Plum

Buff Sage

g

TertiaryColors

Quarternary

ColorsPrimaryColors

SecondaryColors

Color TriangleI t di


71/170

Y

O

R

G

BV

YG

RV BV

Buff Sage

YO

gIntermediary

Colors


72/170


73/170

BlackIt is the darkest and the dullest

of the colors. It is onlyconsidered a color when mixedwith other color. It suggests

despair, gloom, death andmourning.

l


74/170

BlueIt is the color of the sky and the

deep. It gives the impressionof vastness and infinity. It is asymbol of tranquility, calmness

and peace.

G


75/170

Gray

It gives the impression

of weight, solidity

and neutrality.

G


76/170

GreenIt is the color of

vegetation and stillwater. It is a symbol of

growth, freshness andhope.

O


77/170

Orange

It symbolizes

deliciousness and

sweetness.

Pi k


78/170

Pink

It symbolizeslove.

R d


79/170

RedIt typifies fire, blood,

danger, festivity,bravery, war, passion,

energy, vitality andwarmth.

Violet


80/170

Violet

It suggests shadows,mourning, penance,

royalty and power.

Whit


81/170

WhiteIt stands for simplicity,

clarity, purity, peace,cleanliness and

innocence.

Y ll


82/170

YellowIt symbolizes life, joy,

sunshine, cheerfulness,warmth, splendor,

royalty and hospitality.


83/170

Brown

It suggests humility

and confidence.

Color TriangleSupplytheMISSING HUES


84/170

MISSING HUESbased on the

given Hue(Color) Russet


85/170

PERSPECTIVE

Perspective deals with the


86/170

Perspective deals with the

effect of distance upon theappearance of objects, bymeans of which the eye

judges spatial relationship.It enables us to perceive

distance and to see theposition of objects in space.

Types of Perspective:


87/170

Types of Perspective:

1. Linear perspectiveis therepresentation of an

appearance of distance bymeans of converging lines.This has to do with the

direction of lines and with thesize of objects.


88/170

(Example: The tracts of a railroad appear to the viewer asseeming to rise and meet in the distance.)


89/170

2 A i l ti


90/170

2.Aerial perspective

is the representationof relative distances ofobjects by gradations

of tone and color.


91/170

(Example: Objects

become fainter in thedistance due to theeffect of distance.

Objects appear to belighter in color and theoutline more vague asthey recede into the

distance.)


92/170

SPACE

Space is the bounded or


93/170

Space is the bounded or

boundless container ofcollection of objects. In art,

space is regarded asbounded by and susceptible

to aesthetic and expressiveorganization.


94/170

Since visual arts are alsoclassified according to theirdimensions, space iscategorized into two

according to the visual art

that will occupy it.

Plane i li it d


95/170

Planeis a space limited

only to painting and otherrelated arts, since they

are two-dimensional arts.Generally, they only

occupy a surface.


96/170

An Artist (Romi Mananquil)


97/170

Selleck(Wilfred T. Alinas)

One Sunday Afternoon (Antonio Afable)


98/170

Caribbean Coast near Tela (Photo)


99/170

Puente Yayabo (Photo)


100/170


101/170

SCULPTURE

S bj t


102/170

Subject

Medium

Texture

Space


103/170

SUBJECT

In sculpture, the subject tells what the


104/170

p , jwork is all about. Since art is an

expression of oneself, subject is thebest avenue where the sculptor canmanifest his emotions, his thoughts,

love and frustrations, victory anddefeat. Through the subject, the

sculptor can also manifest his cry for

change, justice, affiliation andpreferences.


105/170


106/170

MEDIUM

Diversity of materials and richness


107/170

yof the earth give a lucrative

opportunity for a sculptor toexplore his art, although limitation

may be cited on the availabilityand non-availability of materials ina certain topography or setting.

Common materials used arewood, metal, stone, clay, plastic

and ice.


108/170


109/170

TEXTURE

Texture refers to the touch of the


110/170

Texture refers to the touch of theskin against the surface or the

body of a given sculpture. It alsorefers to the interpretation given

both by the artist and the admirertowards the piece of art. As anelement of sculptor, texture is

always the prerogative of theartist.


111/170


112/170

SPACE

Space refers to the portion or area


113/170

where the piece stands. Both

sculpture and architecture occupya space called volume.

Volume is a space provided forthree-dimensional arts such asarchitecture and sculpture.

Volume is the space that isorganized, divided, or enclosed

by height, length and width.


114/170


115/170

PROCESS OF

CREATION

Many art critiques believe that


116/170

y qthe reason why humanities has

fewer sculptors than paintersis because not all artists could

be pitted in wood or stone.Moreover, being a sculptor

needs sustained physical effortto transform ones imagination

to reality.


117/170


118/170

CARVING

It is a subtractive process; it


119/170

It is a subtractive process; it

involves removingunwanted portions of theraw material to reveal theform that the artist hasvisualized. Wood, stone

and ivory are the materialsemployed in this process.


120/170


121/170


122/170

MODELING

It is an additive process. It means


123/170

building the form, using highly

plastic material such as clay orwax. This results in a type of

creative spontaneity. Theadditive process permits theartist to rework his materialand introduce details as he

sees fit.


124/170


125/170


126/170

CASTING

It is a complex process. It uses


127/170

bronze and other metal for it

to materialize. It begins withthe production of a negative

mold. Then the artist coversthe original model with amold in such a way that a

faithful negative reproductionis created.


128/170


129/170


130/170

FABRICATION


131/170


132/170


133/170


134/170

ARCHITECTURE

The extent to which a building


135/170

may be considered architecture

depends upon the degree towhich the four basic elements

of FUNCTION,CONSTRUCTION, DESIGNand SPACE have individuallyand collectively contributed to

its form.


136/170


137/170


138/170

But great architecture isproduced only when:


139/170

produced only when:

1. The elements offunction and

construction areintegrated by creative

design.

2. The building hasacquired a significance

that transcends itsobjective character.


140/170

DESIGN

and

SPACE

In terms of design, the fundamentalbl i t d fi th l f


141/170

problem is to define the volume of

space in the structure by the formsthat will enclose it. Through designa positive relationship between thesolids and the space is established.The character of a building will be

ultimately determined by thetreatment of space.


142/170


143/170


144/170

Three structural principles


145/170

are of paramountimportance in the history ofbuilding. In various formsand variants, they accountfor almost any imaginable

type of construction.


146/170

Post and Lintel

Arch

Cantilever

Of the three, the post and lintel


147/170

structural principle is probablythe earliest, although some

ancient examples of arch have

also been found. The cantilevercomes into extensive use withthe advent of steel building,

although it also occurs inmedieval wooden roofs.


148/170

Post and Lintel

The nature of the post and lintel systemis implied by its name It consists of


149/170

is implied by its name. It consists of

two vertical members that support ahorizontal one. It is the simplest of thethree basic structural principles for the

vertical members need only besufficiently strong to support thehorizontal weight. Even if some

additional weight is placed on thelintel, the stability of the system is notthreatened, if its span is not too great.


150/170

Downward thrustof lintel

Shearing effect

Upward thrust of lintel


151/170

Lintel

Post


152/170

The post and lintel system is the mostfrequently employed of the three


153/170

frequently employed of the three

structural principles. It is even usedin the modern steel-framed buildings,

which are composed largely of

beams, fastened together to formpost and lintel units. In addition to

being the simplest of the three

principles, its structural effect is easilyobserved.


154/170

ARCH

In its simplest form, the archconsists of a semicircle of wedge


155/170

consists of a semicircle of wedge-

shaped blocks called voussoirs,the topmost one being the

keystone.The bottom face of thelowest voussoir on each side is

called an impost.The top face of

the upper most stone of whatevermember supports it is called the

springing.


156/170

springing

impost

impostimpost

voussoir

Keystone

Keystone


157/170

voussoirs

imposts

springing


158/170

Arch ofSeverus, Rome


159/170

The arch has some inherent shortcomings.It must be supported on a scaffold, while


160/170

pp ,it is being built. Such a scaffold is calledcentering. It is usually of the form and

size of the opening to be spanned by thecomplete arch. The voussoirs are laid

upon it, and then locked in place byputting in the keystone. The keystone,

subjected to the law of gravitation, has a

constant tendency to fall. However, this isavoided when proper compensation of the

whole structure is made (buttressing).


161/170

The cantilever is basically the horizontalextension of a beam of slab into space


162/170

p

beyond its supporting post. Its freeexternal end is unsupported, and thepoint where it rests on its post, acts like

the fulcrum of a lever. If the internal endof the beam were not bolted down orcounterweighted in some fashion, the

cantilever would rotate around itsfulcrum. Since the inside end is fixed,

the free end is rigid.


163/170

cantilever cantilever


164/170

The cantilever is utilized todaylargely in construction with


165/170

largely in construction with

steel and ferroconcrete. Itsmechanical operation involves

forces that join the structuralparts to many different strains

like twisting, bowing,tension, compression and the

like.

Every good painting every genuine


166/170

poem bears the stamp of the frame

of mind it depicts. For only what has

sprung from perception indeed from

purely objective perception or is

directly stimulated by it contains the

living germ from which genuine and

original achievements can result.

Arthur Schopenhauer

Philosopher (1788 1860)


167/170


168/170


169/170


170/170

Documents

5aelements of Arts Saste Final