SDOQUEZON-ADM-SHS12-S-CI1-M2

Physical Texture

VINCENT VAN GOGH (1853-1890)
Self Portrait, 1889 (oil on canvas)
In his famous self portrait of 1889 from the Musée d'Orsay, Vincent Van Gogh uses
the physical texture of paint not only to fashion his own likeness but also to reveal
his psychological disposition. The planes of his face and texture of his hair are boldly
hatched in contours of expressive brushstrokes which, despite their feverish energy,
hold together as a tightly drawn portrait. The psychological intensity of the image
unwinds from his eyes like a wave discharging its energy through the swirling strokes
of his jacket and into the turbulent flow of the background. Today we see this
painting as one of the most powerful psychological portraits in the history of art but
Van Gogh viewed his work in a less intense light. He wrote about this portrait in a
letter to his brother Theo, "Today I’m sending you my portrait of myself, you must
look at it for some time – you’ll see, I hope, that my physiognomy has grown much
calmer, although the gaze may be vaguer than before, so it appears to me.". This is
why Van Gogh is so universally loved. He paints with such instinctive honesty and
vulnerability that he is unaware of what he is actually revealing about himself.

Form as a Visual Element of Art

The Visual Element of Form relates to the physical volume of a shape and the space
that it occupies. Form can be representational or abstract.
Form generally refers to sculpture, 3D design and architecture but may also relate
to the illusion of 3D on a 2D surface
Three-Dimensional Form can be modelled (added form), carved (subtracted form)
and constructed (built form). It can be created from sculptural materials like clay,
wax, plaster, wood, stone, concrete, cast and constructed metal, plastics, resins,
glass and mixed media. It may also be kinetic, involving light and movement
generated by natural, mechanical and electronic means. More recently the CAD
process of 3D printing has been added to the list of sculptural processes.
Two-Dimensional Form constructs the illusion of 3D in 2D media by a skillful
manipulation of the visual elements. Perspective drawing, trompe l'oeil, 3D computer
graphics programs and holograms are examples of 2D form.
Form as Carving

ANCIENT EGYPYIAN RELIEF CARVING
Pharaoh with Royal Uraeus Crown, 3rd Century B.C. (Limestone)
Carving is a process of subtracting form from a solid block of material by the
techniques of cutting, chiseling or filing. Stone and wood are the principal materials
used for carving, each of which has its own qualities, strengths and weaknesses as
a medium.

Stone Carving

AGESANDER, POLYDORUS, and ATHENODORUS (1st Century B.C.)
Laocoön and his Sons, circa 42-20 B.C. (marble)

The Laocoön is a marble sculpture just over two meters high that dates from around
42-20 B.C. Its tortuous form provided the model for the visual description of pain
and suffering in Western Art. The Laocoön is such a unique image that it is not until
the art of Michelangelo, more than 1500 years later, when we next encounter
sculpture of comparative expressive power.
This sculpture tells the story of Laocoön, a priest of the god Neptune, who warned
the Trojan authorities about the grave danger of an immense wooden horse that had
been left behind by the Greeks after their ten-year siege of Troy. The Trojans believed
that it was an offering to the goddess Athena in reparation for the damage done to
her temple during the war. Laocoön, however, had guessed that the wooden horse
concealed Greek soldiers within its body and was part of a cunning plan to gain entry
to the city. Before he could convince the Trojans of his belief, the Greek god Poseidon
sent two sea serpents to kill him and his sons, Antiphantes and Thymbraeus. The
sculpture depicts the horrific scene of their death as they are bitten and crushed by
the serpents.

Wood Carving

WORKSHOP OF TILMAN RIEMENSCHNEIDER (1460-1531)
Pietà in the Franciscan Church of Würzburg, 1510 (painted wood carving)

Photo: © Hajotthu
Wood and stone are the most traditional of sculptural materials due to their natural
availability. As wood is a less durable material than stone, fewer examples of wooden
sculptures have survived from the earlier eras of art. Wood has also tended to be the
medium of the artisan as fine artists and their clients have favored more permanent
materials such as stone and bronze. There are, however, some notable exceptions to
be found in artists like Tilman Riemenschneider, the outstanding German sculptor
who worked in the northern Bavarian town of Würzburg.
Although the painted wooden 'Pietà' by Riemenschneider is dated later than
Michelangelo's version of the subject, it still retains that stiff angularity of the earlier
Gothic style whose popularity prevailed for longer during the Northern Renaissance.
Most wooden sculpture of this period was also painted with descriptive color and
gilding to increase its realism and grandeur. The production of a sculpture in
Riemenschneider's workshop was a collaboration between the master, his
apprentices and the artists who painted the work. Consequently, it is difficult to
discern which parts the master worked on but his quality control over the final
product is unmistakable.

Form as Modelling and Casting
Modelling is a process of adding form which is traditionally applied with malleable
materials like wax or clay. Modelling offers the sculptor more freedom of expression
than carving due to the tactility of its media, its speed of application and the
adaptability of its techniques. Unlike wood or stone, if you make a mistake in your
work you can scrape it out and add fresh material or smooth it down and start
again.
Modelling is often a transitional phase in the development of a sculpture. Models in
clay or wax, which are soft materials, are usually cast in harder materials like
bronze, plaster or reinforced plastics to give them a more durable finish. Good
casting can give a perfect reproduction of the surface of the original model.

AUGUSTE RODIN (1840-1917)
Call to Arms (detail of foot), 1878 (Cast Bronze)
In our detail of Rodin's 'Call to Arms', which was originally modelled in clay before
it was cast in bronze, you can see the vitality and physicality of the artist at work in
the energetic imprints of his fingers and hands as he pushes and pulls the clay over
surface of the sculpture.

AUGUSTE RODIN (1840-1917)
Call to Arms, 1878 (Cast Bronze)

Auguste Rodin stands at the cutting edge of modern sculpture in a similar position
that Claude Monet holds in relation to modern painting. As Monet was captivated by
the changing effects of light on color, Rodin was fascinated by the changing play of
light across the surface of a sculpture and how that generated the internal energy of
the work.

Since the heights of Michelangelo's mannerism and the baroque dramas of Bernini,
the power of sculpture as a creative force had gradually diminished to the level of the
academic and the ornamental. Rodin's career as a sculptor followed a conventional
path until 1875 when he visited Italy and saw the works of Michelangelo. These had
such a profound effect on him that he declared in a letter to his assistant, the
sculptor Antoine Bourdelle, 'My liberation from academicism came through
Michelangelo, who by teaching me rules diametrically opposed to those I had been
taught, freed me....'. What Rodin learned from Michelangelo was how to use the
human form as a vehicle for emotional expression. Onto the academic rigour of his
early training, Rodin grafted the distortion and exaggeration of Michelangelo's
mannerist style, the evocative potential of his 'non finito' (Michelangelo's unfinished
sculptures) and an expressive modelling technique whose rippling surface lit up his
figures with an animated interplay of light and shade. While Michelangelo had carved
his figures in stone, Rodin modelled his in clay and it was the fluidity of this material
that sparked life into his turbulent forms.

'Call to Arms' was originally designed as a competition entry for a monument to
commemorate the defense of Paris during the Franco-Prussian war but the
conservative jury rejected Rodin's sculpture as too radical in its concept and
technique. However, the work was later cast in 1920 as monument to the French
soldiers who fought at Verdun during the First World War. It comprises two figures
emerging from a 'non finito' base and back. The lower is a wounded soldier who
represents the victims of war and the upper is a Génie ailé (winged genius) who
symbolizes the liberty gained through the heroic sacrifice of those who died. Both
figures also reference existing icons of sacrifice and liberty: the soldier is remarkably
similar to the figure of Christ in Michelangelo's unfinished 'Rondanini Pietà' in the
Duomo in Florence, while the winged genius recalls the ‘Genius of Liberty' in Francois
Rude's relief of 'La Marseillaise' on the wall of the Arc de Triomphe.

CLAES OLDENBURG (b.1929)
Giant Gym Shoes, 1963 (plaster and enamel paint)

Photo: © Suzanne DeChillo
Claes Oldenburg is a Pop Artist who used humor as an antidote to the self-indulgence
of late Abstract Expressionism. Where they looked inside and searched their souls
for creative inspiration, Oldenburg looked outside to the aesthetic wasteland of the
consumer culture as the subject for his art.
The technique of 'Giant Gym Shoes' is parody of late Abstract Expressionism. First,
Oldenburg dramatically enlarges the size of the shoes as a critique of the relationship
between the large scale and significance of their artwork. Next, he models their form
in the most elementary manner possible using scrim soaked in plaster over a basic
chicken wire frame, a comment on the crudeness of their technique. Finally, he
caricatures their spontaneous expressiveness in a slapdash simulation of the
Abstract Expressionist painting style.
Oldenburg has an amusing sense of irony in the contradictions between his medium
and its subject. He subverts the expectation of our senses by making soft objects like
the gym shoes out of a hard material like plaster, and hard objects like a drum kit
out of soft vinyl cloth. He also plays with the scale of his subjects which lifts them
out of context, forcing us to reappraise their form.

Form as Construction
Constructed form refers to the various techniques you can use to build a sculpture.
A work may be constructed from a single material or may explore an interesting
combination of different materials. The rise of constructed form in sculpture is a 20th
century phenomenon that is due to the development and production of new materials
that offered a fresh creative challenge to artists.

NAUM GABO (1890-1977)
Head No.2, 1916 (Cor-ten sheet steel - copy of cardboard original)
Constructed metal forms in sculpture developed as the direct influence of
industrialization processes in the early years of the 20th century. The economic and
social changes in Russia at this time gave rise to Constructivism, a revolutionary
style of abstraction that reflected a Utopian belief in technology.
The sculptures of Naum Gabo are among the most lyrical examples of Russian
Constructivism. Their origin lies in Analytical Cubism but Gabo's constructivist
refinements created a more elegant fusion of sculptural and structural forms. His
idea was to develop a mode of construction that would define the space of a form as
opposed to its mass which had been the preoccupation of most earlier sculpture.
The spatial language that Gabo used to create works like 'Head No.2' was derived
from the type of 3-dimensional models used by mathematicians and architects. Gabo
constructed the work using a framework of planes that penetrate and organize the
space that exists within its mass. The edges of the planes delineate the form of the
head and unite its internal and external space.

Form as Light and Space
Light has long been an important element of art. Just think of the stained-glass
windows of the great European cathedrals, the glow of gold leaf in Gothic art, the
dramatic chiaroscuro of Caravaggio and Rembrandt, Constable's skies and Turner's
sunsets, the scientific analysis of color in Impressionism and the radiance of a Mark
Rothko to name but a few.
However, light as a medium in art is a relatively new genre which, after a few
experimental forays in first half of the 20th century, found a footing in the Light and
Space movement of the 1960's and 70's. This was a loosely associated group of artists
from Los Angeles who used materials like glass, neon, fluorescent lighting, plexiglas
and acrylic resins to project and reflect light and color to transform our perception
of space.

JAMES TURRELL (b. 1943)
Skyspace, 2004 (light installation)
James Turrell, who was at the forefront of the Light and Space movement, explores
the optical and emotional properties of natural and artificial light to create a sublime
visual experience. His work is a mixture of technology and the transcendental but it
remains historically part of that Romantic tradition which Isaiah Berlin described as
'a longing for the unbounded and the indefinable, for perpetual movement and change,
an effort to return to the forgotten sources of life, a search after means of expressing
an unappeasable yearning for unattainable goals.'
Turrell is known for his 'Skyspaces'. These are architectural installations on specific
sites around the world that frame an expanse of sky on a ceiling by masking the
surrounding area. With a careful balance of proportions, transitional ambient
lighting, comfortable seating and no visible edge to the opening, Turrell creates an
intangible portal to the heavens that stuns the observer with a mystical vision of 'the
spiritual side of light.'

Form as Land Art
Land Art, also classified as Earth Art or Earthworks, took sculptural form out of the
galleries and into the landscape using the natural materials of the locality to create
the work. Such artworks are often designed for a particular site which may be small
or vast in scale. Sometimes they are ephemeral forms, eroding or decomposing
naturally in their environment. Although monumental 'earthworks' have been built
since ancient times for socio-religious purposes, the land art of the 1970s was
motivated by two main factors: the limitations of the gallery system and a desire to
collaborate with nature as the core of creativity.

ROBERT SMITHSON (1938-1973)
The Spiral Jetty, 1970 (6650 tons of mud, salt crystals and black basalt rocks)
'The Spiral Jetty' by Robert Smithson is probably the most famous and most
influential earthwork in modern art. It is 15 feet wide and projects 1500 feet into the
Great Salt Lake in Utah. Smithson built this structure in three weeks using a
bulldozer and dump trucks. He chose the site for its magical ambience as the lake
changes color from a pink to lilac to red due to the build-up of beta carotene in the
high salinity of its shallow water. What he particularly sought was 'landscapes that
suggest prehistory. As an artist it is interesting to take on a persona of a geological
agent and actually become part of that process rather than overcome it.'. Not only
does the work look prehistoric but the symbolism of its spiral also incorporates the
myth of the lake: the early Mormon pioneers believed that the Salt Lake was
connected to the Pacific Ocean by an underground channel that influenced its
fluctuating water levels. The torque of Smithson's spiral is a metaphor for the ebb
and flow of this force. In actuality, the lake is fed by three rivers but has no outflow
to the sea and its water level rises markedly in wet years and falls during dry years.
It is also affected by evaporation and the volume of water that is diverted for
agricultural and urban uses.

Form as Kinetic Art
The genre of kinetic art, which involves the movement of form, began to evolve in the
early part of the 20th century when Dadaism widened the frame of reference as to
what could be considered art. 'Bicycle Wheel' (1913), an upturned rotating wheel
mounted on a stool by Marcel Duchamp, could be regarded as the first kinetic
artwork although that was not the original intention of the piece.

ALEXANDER CALDER (1898-1976)
Six Dots over a Mountain, 1956 (painted steel)

Photo: © Gryffindor
At the start of the 1930's Alexander Calder brought a sense of humor and playfulness
to art in America with the introduction of his constructivist influenced 'mobiles' -
painted metal sculptures with moving parts that were incorporated as elements of
their construction and composition. Naum Gabo had previously explored the concept
of kinetic sculpture with his 'Kinetic Construction (Standing Wave)' of 1919-20 which
was operated by an electric motor. The great advantage that Calder's 'mobiles' had
over Gabo's 'Standing Wave' was that they were naturally propelled by air and did
not need a separate power source. Their elegant construction technique allowed
Calder more scope to focus on their aesthetic form, unhampered by the necessity to
find a wall socket or disguise a cumbersome battery.
Alexander Calder created two different types of mobiles: 'hanging mobiles' which were
suspended from the wall or ceiling and 'standing mobiles' which moved in relation to
a fixed base. As the components of a Calder 'mobile' ease into action, the changing
relationships of their colors, shapes and form echo the graceful and fluctuating
dynamics of natural motion. His inspiration for their colors and shapes evolved from
a witty combination of Mondrian's pure abstraction with the biomorphic forms of
Joan Miró.

Space as a Visual Element of Art

The Visual Element of Space is one of the basic elements of art. It refers to the
distance between or the area around and within shapes, forms, colors and lines.
Space can be positive or negative. It includes the background, foreground and
middle ground. Both positive and negative space can play important roles in the
overall success of a work of art. By understanding the difference between the two,
you will:

• Become better at designing unified compositions.
• Be more successful in visually communicating your story.
• Gain important clues about the meaning of an art piece.

There are two types of space that exist within art — positive space and negative
space. Positive space is the actual objects or shapes within an artwork and negative
space is the space around and between those objects. A good way to demonstrate
positive and negative space is by utilizing Rubin’s vase (refer to illustration). As you
can see the vase occupies what would be referred to as positive space and the space
surrounding the vase is negative space. Notice how the negative space is forming
silhouettes of two faces in profile.

Positive and Negative Space

Positive Space

Positive space is the area or part of the composition
that an object or subject occupies. It is usually the
main focus of the painting, such as a vase of flowers,
fruit, or candle in a still life, a person’s face in a
portrait, or an animal in a wild life painting, or a
building, trees and hills in a landscape. When used
skillfully, positive space will add interest by enhancing
and balancing the negative space in a composition.

Negative Space

Negative space is that empty or open space that
surrounds an object. It helps to define the object, gives
it some breathing room to prevent the painting from
being too crowded and has a huge impact on how the
art piece is perceived.
An interesting thing about negative space is it can be
used to prompt viewers to seek out subtle hidden
images within the negative space causing your design
to get more attention and to be remembered while
other less interesting works aren’t.

Visual Elements Word Bank

This word bank is a list of appropriate words associated with the visual elements
that has been compiled to help you express your ideas when writing a critical
evaluation of any artwork.

LINE

linear - curved - diagonal - horizontal - vertical - straight - jagged -
freehand - scribbled - sketched - dense - hatched - mechanical -
structural - controlled - accurate – continuous - broken - thick- thin -
delicate - sensitive - expressive - energetic - wavy- undulating

SHAPE

natural - man-made - regular - irregular - flat - 2-dimensional - 3-
dimensional - solid - representational - abstract - geometric - organic -
transparent - reflective - opaque – positive – negative - decorative -
symbolic - stylized - perspective - square - rectangular - circular - elliptical
- triangular - interlocking - constructed - balanced – simple - complex -
freeform - twisted

TONE

tonal – tonality - halftone - light - dark - positive - negative - counterchange
- monochrome - shade - dramatic - contrast - chiaroscuro - luminosity -
radiant - hazy - silhouette - somber - soft - pastel - subdued - subtle - muted
- density - value - cast -accent - emphasis - distribution - effect

COLOR

primary - secondary – tertiary - complementary - opposite - neutral - local -
low key - high key - spectrum - hue - tint - shade - gloss - matt - warm - cool
- hot - cold - bright - dull - brilliant - vibrant - joyful - noisy - cheerful -calm
- soothing - tranquil -depressing - dreary - gloomy - moody

TEXTURE

optical (sight) - tactile (touch) - feel - soft - smooth - silky - flat - fluid - wet -
oily - smeared - smoky - steamy -frothy - dry - rough - sandy - coarse - jagged
- bumpy - crinkled - scaly - crusty - rusted - rotted - decayed

FORM

volume - space - mass - surface - representational - abstract - sculptural -
architectural - structural -3D - 2D - shaped - modelled - carved - cast -
constructed - welded - eroded - painted - illustrated - human - male -female
- natural - mechanical - kinetic - light - expressive – interlocking - classical
- primitive - cubist - constructivist – reclining - undulating - fluid - turbulent
- ephemeral - freestanding -dynamic – monumental

SPACE

Negative – positive – illusion – depth of field – two-dimensional – three-
dimensional

What’s More

Independent Activity 1. See Me Well

Observe and analyze the artwork entitled “First Mass at Limasawa” by a Filipino
artist, Carlos “Botong” Francisco. Reflect on the artwork as of how we see our
religion in our generation.

© Artnet.com

CARLOS “Botong” V. FRANCISCO (1912 – 1969)
First Mass at Limasawa, 1965 (watercolor)

Independent Assessment 1. Fill Me Out

From the artwork “First Mass at Limasawa” by Carlos Francisco, identify the visual
elements used and make your own interpretation of each element. Write your
answers on a separate sheet.

VISUAL ELEMENTS INTERPRETATION

Independent Activity 2. Draw Me A Line, Shape and Tone

Make an artwork consists the Visual Elements of Line, Shape and Pattern of your
liking. You can use any medium and form for this activity. Make sure you add an
Art Block on your Artwork:

Art Block Example:

Artist: Marvin S. Canales
Title of artwork: Gudetama Says Happy Birthday, 2017
Medium used: Adobe Illustrator, Digital Media

SCORING RUBRIC

STANDARD 9 - 10 87 6 or Less Points
earned
Required Project planned
Elements carefully, several Project shows Project complete Project incomplete
preliminary adequate but shows little and/or shows no
sketches, used understanding of evidence of evidence of
elements elements, evidence
effectively to of some planning. planning or understanding of
create strong understanding of elements, no
composition elements. planning.

Creativity & Project finished Project finished Project finished Project incomplete
Originality with total but not completely but trite or finished with
originality after original, problem imagery/solution, no evidence of
thorough solved logically. no evidence of experimentation
experimentation. experimentation/

originality.

Effort & Project finished Project finished Project finished Project unfinished
perseverance with maximum with hard work with minimum or completed only
effort, went well but some details effort, met after may prompt/
beyond lacking. minimum ideas/ physical
requirements. requirements with help & solutions
no extra effort. from others

Craftmanship/ Project Project finished Project finished Project finished
Skills beautifully/ with most details, but somewhat with no attention
carefully made. minor flaws messy. to details, quickly
present thrown together.

Total Grades:

Independent Assessment 2. Write Me In

Write your interpretation of the Visual Elements used on your Artwork in
Independent Activity 2. Identify each Visual Elements accordingly.

VISUAL ELEMENTS INTERPRETATION

Independent Activity 3. Color Me Up

Make your own version and add colors on the Artwork below. You can use any
coloring materials for this activity.

SCORING RUBRIC

STANDARD 9 - 10 8 7 6 or Less Points
Coloring earned
Color choice and Artwork exhibits
Technique application good color choice. Color choices and Color choices do
enhances the idea Color is effective application shows not represent the
Creativity and being expressed. in expressing the some knowledge of idea and
Originality Advance color idea. color theory and application is
theory is relationships. poorly done.
Craftmanship/ demonstrated. The
Presentation use of color is
attractive and
appealing.

Work exhibits Work exhibits Work exhibit the Work exhibits
some level of use of materials or critical errors in
mastery of the understanding in skills with a few the use of
materials, use of materials, errors. materials or skills
techniques, and techniques, and specific to the
skill. skill. task.

Artwork includes Artwork includes Artwork includes Artwork includes
many unique several unique unique ideas. an idea but lacks
ideas with creative ideas and originality of idea
execution of ideas, exploration of or technique.
Student has taken multiple ideas
the technique Artwork is Artwork is
being studied and Artwork is completed with completed with
applied it in completed with minimal effort, minimal effort and
his/her own way. good effort, carelessly lacking
The student’s displaying little in neatness.
personality/voice craftsmanship, craftsmanship,
comes through and meeting and few finishing Total Grades:
requirements. touches.
Artwork is
completed with
substantial
evidence of effort,
finishing touches,
and good
presentation and
craftsmanship.

Independent Assessment 3. Understand Me

Refer to your artwork on Independent Activity 3. Answer the following questions:

• What colors did you use? Why?
• What is the mood or feeling you are trying to imply?
• What is the meaning of each color that you have used?

What Have I Learned

Line
The Visual Element of Line is the foundation of all drawing. It is the first and
most versatile of the visual elements of art.

• In each line, there are psychological responses such as Curved lines that
suggest comfort and ease; Horizontal lines that suggest distance and calm;
Vertical lines which suggest height and strength; and Jagged lines that
suggest turmoil and anxiety.

• The way we draw a line can convey different expressive qualities: Freehand
lines can express the personal energy and mood of the artist; Mechanical
lines can express a rigid control; Continuous lines can lead the eye in certain
directions; Broken lines can express the ephemeral or the insubstantial;
Thick lines can express strength; and Thin lines can express delicacy.

• As lines being the fundamental elements of all artworks, there are ways in
which we can apply them – Line as a Tone and Form; Line as Texture; Line
as Structure; Line as Movement; Line as Emotion; Line as Energy; Line
as Form; and Line as Abstraction.

Shape
The Visual Element of Shape can be natural or man-made, regular or irregular, flat
(2-dimensional) or solid (3-dimensional), representational or abstract, geometric or
organic, transparent or opaque, positive or negative, decorative or symbolic, colored,
patterned or textured.

• Shape refers to an area in a two-dimensional space that is defined by edges.

• Shapes can be used to control your feelings in the composition of an artwork:
Squares and Rectangles can portray strength and stability; Circles and
Ellipses can represent continuous movement; Triangles can lead the eye in
an upward movement; and Inverted Triangles can create a sense of
imbalance and tension.

Tone
The Visual Element of Tone defines the lightness or darkness of a color. The tonal
values of an artwork can be adjusted to alter its expressive character. Tone can be
used to create a contrast of light and dark; to create the illusion of form; to create a
dramatic or tranquil atmosphere; to create a sense of depth and distance; and to
create a rhythm or pattern within a composition.
Color
The Visual Element of Color has the strongest effect on our emotions. It is the
element we use to create the mood or atmosphere of an artwork. Color theory is a
body of practical guidance to color mixing and the visual impacts of specific color
combinations.

• There are many different approaches to the use of color in art such as Color
as light; tone; pattern; form; symbol; movement; harmony; contrast; and
mood.

The Visual Element of Texture defines the surface quality of an artwork - the
roughness or smoothness of the material from which it is made. We experience
texture in two ways: optically (through sight) and physically (through touch).

Texture
• There are three categories of texture namely: Optical Texture; Physical
Texture; and Ephemeral Texture.

Form
The Visual Element of Form relates to the physical volume of a shape and the space
that it occupies. Form can be representational or abstract.

• There are two types of forms namely: Three-Dimensional and Two-
Dimensional. Form can be used as Carving – Stone and Wood; Modelling
and Casting; Construction; Light and Space; and Land Art.

Space
The Visual Element of Space is one of the basic elements of art. It refers to the
distance between or the area around and within shapes, forms, colors and lines.
Space can be positive or negative.

What I Can Do

Fill the boxes with art that shows the Visual Element of Art.

ART 1 ART 2 ART 3
Example:

LINE

SHAPE
TONE
COLOR
TEXTURE
FORM
SPACE

Assessment

Identify what is being described in each statement by choosing your answer in the
pool of words below.

Squares and Rectangles Ephemeral Texture Visual Elements of Art
Line Color Theory Chiaroscuro
Color Texture
Shape Perspective of Shape
Curved Line Additive Color Vertical Line
Value Carving

_______________1. It is a fundamental artistic element which refers to the use of
hue in art and design.

_______________2. It stimulates the senses of sight and touch and refers to the
tactile quality of the surface of the art.

_______________3. It suggests height and strength.
_______________4. It is a body of practical guidance to color mixing and the visual

impact of specific color combinations.
_______________5. It is a process of subtracting form from a solid block of material

by the techniques of cutting, chiseling or filing.
_______________6. It is a color created by mixing red, green, and blue lights.
_______________7. This is a third category of textures whose fleeting forms are

subject to change like clouds, smoke, flames, bubbles and
liquids.
_______________8. These shapes can portray strength and stability.
_______________9. The angles and curves of shapes appear to change depending on
our viewpoint.
_______________10. It refers to an artistic technique popularized during the
Renaissance, referring to the use of exaggerated light contrasts
in order to create the illusion of volume.
_______________11. It suggests comfort and ease.
_______________12. It refers to the use of light and dark in art.
_______________13. They are considered as the building blocks of an artwork.
_______________14. It refers to an area in a two-dimensional space that is defined by
edges.
_______________15. This is an essential element of art, defined as a mark that
connects the space between two points, taking any form along
the way.

Additional Activities

Create an Artist Statement by answering the questions below. Refer to any
Artwork/Design you have made from previous activities.

1 DESCRIBE Some questions to consider:
YOUR What does your artwork look like?
WORK What is the subject matter? What is
the title of your work? What elements
are most obvious in your work?

2 HOW DID YOU Some questions to consider:
CREATE What media is your artwork? What
YOUR ART?
tools, techniques or processes did
you use to create your artwork?

3 WHAT IS THE Some questions to consider:
What or Who inspired your artwork?
BIG IDEA BEHIND Does your work express a personal
or social issue? What emotions did
YOUR you try to show in your artwork?
ARTWORK?

4 WHAT WERE YOUR Some questions to consider:
What are your goals as an artist? Did
GOALS FOR THIS this piece help you reach your goals?
Why or why not?
ARTWORK?

5 WHAT ARE YOUR Some questions to consider:
OVERALL What did you learn in creating this
artwork? Is the final piece what you
THOUGHTS OF imagined? How so? How will this
piece influence the future artworks?
YOUR ARTWORK?

Independent Assessment 2 and 3, Additional Activity
(Answers may vary)

Point 5 - A thorough understanding of the task, reflects a strong understanding
of the relevant knowledge and skills, completes all requirements, and provides
an insightful explanation or opinion of the text, or extends aspects of the text.

Point 4 - Clearly demonstrates an understanding of the task, completes all
requirements, and provides an insightful explanation or opinion of the text, or
extends aspects of the text.

Point 3 - Demonstrates an understanding of the task, completes all
requirements, and provides some explanation or opinion using situations or
ideas from the text as support.

Point 2 - May address all of the requirements, but demonstrates only a partial
understanding of the task and uses text incorrectly or with limited success
resulting in an inconsistent or flawed explanation.

Point 1 - Demonstrates minimal understanding of the task, does not complete
all requirements, and provides only a vague reference to, or no use of, the text.

Point 0 - Is completely irrelevant or off-topic.

Assessment What’s In What I Know

1. Color 1. Design 1. C
2. Texture 2. Applied Art under 2. B
3. Vertical line 3. D
4. color theory Graphic Design 4. C
5. Carving (Poster) and Film 5. D
6. Additive color 6. A
7. Ephemeral Texture 7. D
8. Squares and Rectangles 8. C
9. The Perspective of Shapes 9. A
10. Chiaroscuro 10. B
11.Curved lines
12. Value
13. Visual Elements of Art
14. Shape
15. Line

Answer Key

(Module 2 – Visual Elements of Arts and Design)

References

Lumen Boundless Art History, “Visual Elements”, https://tinyurl.com/Visual-
Elements

Lumen Art Appreciation, “Reading: Visual Art Part 1”, https://tinyurl.com/Art-
Appreciation

Art Factory, 2020, “Visual Elements” https://tinyurl.com/Visual-
ElementsArtFactory

Incredible @rt Department, “Elements and Principles of Design”,
https://www.incredibleart.org/files/elements2.htm

Teresa Bernard, 2020, “Basic Art Element – Space”
http://teresabernardart.com/basic-art-element-space/

Photo Credits
Above link used
Wendy Rose Gould, 2020, https://preview.tinyurl.com/Line-Art-Example

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