Surigao State College of Technology

8407 Magpayang, Mainit, Surigao del Norte

Mainit Campus

Bachelor of Technology and Livelihood Education

2nd Semester, A.Y. 2018-2019

GE- Art App –Art Appreciation

(Acabo, Arcala, Anode, Maylon)Art Appreciation is the knowledge and understanding of the universal and
timeless qualities that identify all great art. The more you appreciate and understand the art of different eras,
movements, styles and techniques, the better you can develop, evaluate and improve your own artwork.

What is Art?

Key Terms
 Formalism: The study of art by analyzing and comparing form and style—the way objects are made and
their purely visual aspects.

Art is a highly diverse range of human activities engaged in creating visual, auditory, or performed artifacts
— artworks—that express the author’s imaginative or technical skill, and are intended to be appreciated for
their beauty or emotional power.

The oldest documented forms of art are visual arts, which include images or objects in fields like painting,
sculpture, printmaking , photography, and other visual media . Architecture is often included as one of the visual
arts; however, like the decorative arts, it involves the creation of objects where the practical considerations of
use are essential, in a way that they usually are not in another visual art, like a painting.

Art may be characterized in terms of mimesis (its representation of reality), expression, communication of
emotion, or other qualities. Though the definition of what constitutes art is disputed and has changed over time,
general descriptions center on the idea of imaginative or technical skill stemming from human agency and
creation. When it comes to visually identifying a work of art, there is no single set of values or aesthetic traits. A
Baroque painting will not necessarily share much with a contemporary performance piece, but they are both
considered art.

Despite the seemingly indefinable nature of art, there have always existed certain formal guidelines for its
aesthetic judgment and analysis. Formalism is a concept in art theory in which an artwork’s artistic value is
determined solely by its form, or how it is made. Formalism evaluates works on a purely visual level,
considering medium and compositional elements as opposed to any reference to realism , context, or content.

Art is often examined through the interaction of the principles and elements of art. The principles of art
include movement, unity, harmony, variety, balance, contrast, proportion and pattern. The elements
include texture, form, space, shape, color, value and line. The various interactions between the elements and
principles of art help artists to organize sensorially pleasing works of art while also giving viewers a framework
within which to analyze and discuss aesthetic ideas.

What Does Art Do?

Key Terms

 human condition:The characteristics, key events, and situations which compose the essentials of human
existence, such as birth, growth, emotionality, aspiration, conflict, and mortality.
 fine arts:Visual art created principally for its aesthetic value.
 aesthetic:Concerned with artistic impact or appearance.

A fundamental purpose common to most art forms is the underlying intention to appeal to, and connect with,
human emotion. However, the term is incredibly broad and is broken up into numerous sub-categories that lead
to utilitarian , decorative, therapeutic, communicative, and intellectual ends. In its broadest form, art may be
considered an exploration of the human condition, or a product of the human experience.
The decorative arts add aesthetic and design values to everyday objects, such as a glass or a chair, transforming
them from a mere utilitarian object to something aesthetically beautiful. Entire schools of thought exist based on
the concepts of design theory intended for the physical world.

Art can function therapeutically as well, an idea that is explored in art therapy. While definitions and practices
vary, art therapy is generally understood as a form of therapy that uses art media as its primary mode of
communication. It is a relatively young discipline, first introduced around the mid-20th century.

Historically, the fine arts were meant to appeal to the human intellect, though currently there are no true
boundaries. Typically, fine art movements have reacted to each other both intellectually and aesthetically
throughout the ages. With the introduction of conceptual art and postmodern theory, practically anything can be
termed art. In general terms, the fine arts represent an exploration of the human condition and the attempt to
experience a deeper understanding of life.

What Does Art Mean?

Key Terms

 Mimesis: The representation of aspects of the real world, especially human actions, in literature and art.

The meaning of art is often culturally specific, shared among the members of a given society and dependent
upon cultural context. The purpose of works of art may be to communicate political, spiritual or philosophical
ideas, to create a sense of beauty (see aesthetics), to explore the nature of perception, for pleasure, or to generate
strong emotions. Its purpose may also be seemingly nonexistent.

The nature of art has been described by philosopher Richard Wollheim as “one of the most elusive of the
traditional problems of human culture.” It has been defined as a vehicle for the expression or communication of
emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis
or representation. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by
which a community develops for itself a medium for self-expression and interpretation.

Art, in its broadest sense, is a form of communication. It means whatever the artist intends it to mean, and this
meaning is shaped by the materials, techniques, and forms it makes use of, as well as the ideas and feelings it
creates in its viewers . Art is an act of expressing feelings, thoughts, and observations.

What Makes Art Beautiful?

Key Terms

 aesthetics: The branch of philosophy dealing with the nature of art, taste, and the creation and
appreciation of beauty.
 intuitive: Spontaneous, without requiring conscious thought; easily understood or grasped by instinct.

What makes art beautiful is a complicated concept, since beauty is subjective and can change based on context.
However, there is a basic human instinct, or internal appreciation, for harmony, balance, and rhythm which can
be defined as beauty. Beauty in terms of art usually refers to an interaction between line, color, texture , sound,
shape, motion, and size that is pleasing to the senses.

Aesthetic Art

Aesthetics is the branch of philosophy that deals with the nature and appreciation of art, beauty, and taste.
Aesthetics is central to any exploration of art. The word “aesthetic” is derived from the Greek “aisthetikos,”
meaning “esthetic, sensitive, or sentient. ” In practice, aesthetic judgment refers to the sensory contemplation or
appreciation of an object (not necessarily a work of art), while artistic judgment refers to the recognition,
appreciation, or criticism of a work of art.

Numerous philosophers have attempted to tackle the concept of beauty and art. For Immanuel Kant, the
aesthetic experience of beauty is a judgment of a subjective, but common, human truth. He argued that all
people should agree that a rose is beautiful if it indeed is. There are many common conceptions of beauty; for
example, Michelangelo’s paintings in the Sistine Chapel are widely recognized as beautiful works of art.
However, Kant believes beauty cannot be reduced to any basic set of characteristics or features.

For Arthur Schopenhauer, aesthetic contemplation of beauty is the freest and most pure that intellect can be. He
believes that only in terms of aesthetics do we contemplate perfection of form without any kind of worldly
agenda.

Beauty in art can be difficult to put into words due to a seeming lack of accurate language. An aesthetic
judgment cannot be an empirical judgment but must instead be processed on a more intuitive level.

Art and Human Emotion

Sometimes beauty is not the artist’s ultimate goal. Art is often intended to appeal to, and connect with, human
emotion. Artists may express something so that their audience is stimulated in some way—creating feelings,
religious faith, curiosity, interest, identification with a group, memories, thoughts, or creativity. For example,
performance art often does not aim to please the audience but instead evokes feelings, reactions, conversations,
or questions from the viewer . In these cases, aesthetics may be an irrelevant measure of “beautiful” art.

Who Is an Artist?

Key Terms

 muses: Goddesses of the inspiration of literature, science, and the arts in Greek mythology.
 Pop art: An art movement that emerged in the 1950s that presented a challenge to traditions of fine art
by including imagery from popular culture such as advertising and news.
 fine arts:The purely aesthetic arts, such as music, painting, and poetry, as opposed to industrial or
functional arts such as engineering or carpentry.

An artist is a person who is involved in the wide range of activities that are related to creating art. The word has
transformed over time and context, but the modern understanding of the term denotes that, ultimately, an artist
is anyone who calls him/herself an artist.

In ancient Greece and Rome, there was no word for “artist.” The Greek word “techne” is the closest that exists
to “art” and means “mastery of any art or craft.” From the Latin “tecnicus” derives the English words
“technique,” “technology,” and “technical.” From these words we can denote the ancient standard of equating
art with manual labor or craft.

Currently, the term “artist” typically refers to anyone who is engaged in an activity that is deemed to be an art
form. However, the questions of what is art and who is an artist are not easily answered. The idea of defining art
today is far more difficult than it has ever been. After the exhibition during the Pop Art movement of Andy
Warhol’s Brillo Box and Campbell’s Soup Cans, the questions of “what is art?” and “who is an artist?” entered a
more conceptual realm. Anything can, in fact, be art, and the term remains constantly evolving.

Types of Arts:
• Visual Art
• Crafts
• Applied Art

Visual Art (Atabelo and Baay)

The arts that we perceive through our eyes is called the visual arts and architecture is one part of it. Visual
arts involve not only painting and sculpture but include such things as clothes, household appliances and
furnishings of our home, schools, churches and other buildings,. Through the ideas selected by painters and
sculptors and the forms they create, they express the ideals, the hopes and the fears of the times in which
they live.

Visual arts are classified into two:

 1. Graphic Arts (two-dimensional surface)
2. Plastic Arts (Three-Dimensional)

1. Graphic arts

This term covers any form of visual artistic representation, especially painting, drawing, photography, etc.

a. Painting
A painting is an image (artwork) created using pigments (color) on a surface (ground) such as paper or
canvas. The pigment may be in a wet form, such as paint, or a dry form, such as pastels.
b. Drawing
A classic drawing is an artwork created from lines or areas of tone created with a drawing instrument
such as a graphite pencil, charcoal, colored pencil, silverpoint, eraser, dry pastel, or another dry medium
on a piece of paper. In a broader definition of the term, a drawing is a two-dimensional artwork created
from lines or tone that is dominated by a dry medium but can include wet mediums such as ink, and
washes of paint.
c. Commercial Art
This Includes designing of books, advertisement, signs, posters, and other service or idea.
d. Photography
The chemical-mechanical process by which images are produced on sensitized surfaces by action of
light. Reproductions may be in black and white or in full colors of the original.

2. Plastic Arts

Plastic arts are artistic activities like ceramics or sculpture which have three dimensions.

Plastic arts producing works to be viewed, as sculpture, architecture, painting, and the graphic arts, as
distinguished from those involving writing or composing, as music or literature

This group includes all fields of the visual arts in which materials are organized into three-dimensional forms.

a. Architecture
The art of designing and constructing buildings and other types of structures. Varied materials used
include stone, concrete, brick, wood steel glass and plaster. Architecture is often referred to as “Mother
of the Arts” because it houses, serves as background for, or occurs in relation to other fields of art such
as painting, sculpture, interior designing, landscape architecture, city planning.

b. Landscape Architecture
Is planning outdoor areas for human use and enjoyment, especially gardens, parks, playgrounds, golf
courses. Chief materials are plants, trees, shrubs, flowers, vines and ground cover.
c. City Planning
This refers to the planning and arranging the physical aspects of a large or small community. Structures
and areas concerned with all phases of living and working are attractively and efficiently organized and
related.
d. Interior Design
The term is used to designate design and arrangement of architectural interiors for convenience and
beauty. It includes backgrounds (walls, floors, ceilings) furnishings, accessories. Design of wall papers,
furniture, textiles for curtains and upholstery are important fields of interior design.
e. Sculpture
Refers to the design and construction of three dimensional forms representing natural objects or
imaginary( sometimes abstract) shapes. Common materials are stone, wood, clay and metal; but ivory,
jade, wire, string and other materials are also used. Sculptures of figures are called statues.
f. Crafts
The term refers to the designing and making objects by hand for use or for pleasure. It includes such
fields as ceramics, jewelry, leatherwork, and weaving. If these fields are mass-produced, they are classed
as industrial design.
g. Industrial Design
Refers to design of objects for machine production. Examples are designs for automobiles and
household appliances.
h. Dress and Costume Design
 This covers the design of wearing apparel of all types-dresses, coats, suits, shoes, ties, etc.
i. Theater Design
The design of settings for dramatic productions.

MEDIUMS OF THE VISUAL ARTS

Medium refers to the materials which are used by an artist. It is the means by which he communicates his ideas.
Many mediums have been used in creating different works of art.

Painting

Painting is the art of creating meaningful effects on a flat surface by the use of pigments. The mediums of the
painter are pigments dipped on the brush and applied to wet plaster, canvas, wood, or paper.

Watercolor

'Watercolor' denotes a painting medium in which color pigments are bound in water-soluble agents.

Watercolors are a highly versatile medium, they can be applied to everything from paper to canvas, stone, wood
and fabrics. Many fine versions of watercolor paintings rendered on paper, manuscripts, maps and miniatures
can be found in our museums today.

ELEMENTS OF PAINTING (Balagat and Cabrigas, Dalubatan)

The elements of painting are the basic components or building blocks of a painting. In Western art, they are
generally considered to be color, tone, line, shape, space, and texture.

In general, we tend to agree that there are seven formal elements of art. However, in a two-dimensional
medium, form is dropped, so we really have six basic elements of painting. We can also bring four additional
elements—composition, direction, size, and time (or movement)—into the equation to round it off at an even 10
elements of painting.

Ten Elements of Painting

1. Color

Color (or hue) is at the heart of every painting. It is arguably the most important element because it sets the tone
for how viewers feel about the work. It can, for instance, be warm and inviting or cold and stark. Either way,
color can set the mood for a piece.

2. Line

Line is an important element at the disposal of every artist. Through the lines of a painting or sculpture, the
artist can make us know what the work is about. He uses lines to represent figures and forms.

3. Tone

Tone and value are used interchangeably in painting. It is, essentially, how light or dark a paint is when you strip
away the color. Understanding how to use it can greatly affect the way your art is perceived.

Every color of paint has an almost endless variety of tones available to it. You can mix it with mediums and
neutral paints to adjust its tone however you like. Some paintings have a very limited range of tones while
others include stark contrasts in tones.

At its most basic, tone can be best seen in grayscale: Black is the darkest value and white the brightest. A well-
rounded painting often has both of these, with highlights and shadows adding to the overall effect of the piece.

4. Shape

Every piece of artwork includes the element of shape, which ties into line and space. In essence, a shape is an
enclosed area that is made when lines meet. When that shape takes on a third dimension (as in sculpture or some
mixed media), we then also have form.
Artists often train themselves to see the shapes in everything. By breaking down the basic shapes of a subject, it
creates an accurate representation of it in paintings and drawings.

Additionally, shapes may be either geometric or organic. The former are the triangles, squares, and circles we're
all familiar with. The latter are those shapes that are not well-defined or those found in nature.

5. Space

Space (or volume) is another crucial element in any art and it can be used to great effect in paintings. When
talking about space in art, we think of the balance between positive and negative space.

Positive space is the subject itself while the negative space is the area of a painting around it. Artists can play
with a balance between these two spaces to further influence how viewers interpret their work.

For example, a landscape with a smaller tree and horizon (positive space) that allows the sky (negative space) to
take up most of the canvas can make a very powerful statement. Likewise, painting a portrait in which the
subject (positive) looks in the direction of the negative space can be just as intriguing as it is when they were
looking straight at the viewer.

6. Texture

Paintings are the perfect medium to play with texture as well. This can be interpreted as a pattern within the
painting or the brushstrokes themselves.

Some paints, particularly oils, are thicker and the way in which they're applied on the canvas or board can give
the work more depth because of the texture. For instance, if you take the color out of a painting by Van Gogh
and view it in black and white, the texture of his brushstrokes stands out dramatically. Similarly, impasto
painting relies on very deep textures.

Texture can also be a challenge for painters. Replicating the shiny surface of glass or metal or the rough feel of
a rock can be difficult. It is in objects like these that a painter can rely on the other elements of art—line, color,
and tone, in particular—to further define the texture.

7. Composition

The elements above are essential to paintings, though quite often we also add four more elements to the list.
One of the most important for any artist is composition.

Composition is the arrangement of the painting. Where you place the subject, how the background elements
support it, and every little piece that you add to the canvas becomes part of the composition. It is critical to how
the work is perceived.

There are also "elements of composition" to consider. These include unity, balance, movement, rhythm, focus,
contrast, pattern, and proportion. Each plays an important role in every painting, which is why artists focus so
much of their time on composition.

8. Direction

In art, the word "direction" is a broad term that can be interpreted in many ways. You might, for instance,
consider the format of a painting part of its direction. A vertical canvas can work better than a horizontal one for
certain subjects and vice versa.

Direction may also be used to refer to perspective. Where you place objects or how they're used in proportion to
others can direct a viewer through the art. In this sense, it's related to movement as well and direction is an
important aspect of design, no matter the medium.

Painters are also concerned about the direction of the light in their paintings. All of the painting's elements must
have light falling on them from the same direction or viewers will be confused. They may not realize it, but
something will disturb them if highlights and shadows change from one side of the painting to another.

9. Size
"Size" refers to the scale of the painting itself as well as the scale of proportions within the painting's elements.

The relationship between objects can also unknowingly disrupt a viewer's perception and enjoyment. For
instance, an apple that is larger than an elephant is not natural. In less dramatic fashion, we expect someone's
eyes, lips, and nose to have a particular balance in size.

When it comes to determining the size of any piece of art, painters also have many things to consider. Oversized
paintings can be just as dramatic as a very small piece and both have their own challenges. Plus, artists must
consider what the intended buyer might have room for.

On many levels, size is one of the biggest considerations for any artist.

10. Time and Movement

All of the other elements affect how the viewer perceives and looks at a painting. This is where time and
movement come into play.

Time can be viewed as the amount of time a viewer spends looking at a piece. Are there various elements that
continue to capture their attention? Is it intriguing enough so they stop and don't keep walking past your art?
Admittedly, this is one of the elements that concerns many artists.

Movement is also one of the elements of composition, though its importance should not be overlooked in that
grouping. This refers to how you direct the viewer's eye within the painting. By including various elements in
strategic places and incorporating the other elements of art, you can keep viewers moving around the painting.
This, in turn, increases the time they spend looking at it.

Sculpture (Domingo, Edica)

The most important thing to consider in choosing a subject for sculpture is the material. The substances
available for sculpture are limitless. Some of the earliest sculpture is made of bone or wood. Modern sculptors
use a variety of materials for their work.

There are two major sculptural processes:

a. Subtractive

Subtractive is the process in which unwanted material is cut away.

b. Additive

The construction of a figure by putting together bits of clay, or by welding together parts of a metal is an
example of additive process.

 Stone and wood are two major mediums used to make sculpture by subtractive process. Other mediums
such as soap, insulating brick and plaster of Paris have also been used.

 The sculptor’s idea in the additive process is expressed by joining or combining together small pieces
of materials. The materials can be rigid or semi-rigid such as metal wires, rods and plates which are
combined by soldering or welding.

 Stone and bronze are mostly used for sculpture. Stone is durable, resistant to elements, fire and other
hazards. Other hand, it is heavy and breaks easily. The bronze may be solid in small statues. Most large
bronze statues are very heavy and expensive. There is also a tendency for it to crack when cooled.

 Wood is cheap, available and easy to cut. It also polishes well and has smooth shiny surface and
beautiful color. It is relatively light and can be made easily into variety of shapes.
 Other Materials: Metals, aluminum, chromium and steel, plastic, chemically treated clay and stone for
casting in liquid form are now being used. Plastic is less expensive for use as casting material than metals
and less fragile in many ways.

Architecture

Architecture is an art. It is the art of designing and constructing a building. It is also by its definition functional.
One of the primary purpose of architecture is to fulfill a need that led to its creation, Since the needs of different
periods in history varied, different architectural styles evolved.

The Most common materials used in architecture are stone, wood, concrete and steel.

 Wood is the common building material today. Its advantages are its abundance, relative durability and
high tensile and compression strength. However it is easily destroyed by moisture, insects and fire.

 Stone is the material used in most of the great architecture of the world where permanence is desired.
Concrete is a building material made of sand and gravel mixed with cement. Like stone, it has high
compressive strength. It doesn’t easily crumble or break down when subjected to heavy weights. It does
not corrode and is fire resistant.

 Steel is still great in demand today. It sis tough alloy of iron in variable amounts. It is malleable under
proper conditions and greatly hardened by sudden cooling. It has tensile strength.

DRAWING (Efren and Elsisura)

Drawing, the art or technique of producing images on a surface, usually paper, by means of marks, usually of
ink, graphite, chalk, charcoal, or crayon.
Drawing as formal artistic creation might be defined as the primarily linear rendition of objects in the visible
world, as well as of concepts, thoughts, attitudes, emotions, and fantasies given visual form, of symbols and
even of abstract forms. This definition, however, applies to all graphic arts and techniques that are characterized
by an emphasis on form or shape rather than mass and colour, as in painting. Drawing as such differs from
graphic printing processes in that a direct relationship exists between production and result. Drawing, in short,
is the end product of a successive effort applied directly to the carrier. Whereas a drawing may form the basis
for reproduction or copying, it is nonetheless unique by its very nature

Draw as Part of the Human Experience

At its most basic, drawing is simply about leaving a visible mark with a tool. A burnt stick was one of the first
drawing tools, used in primitive cave paintings in locations such as Lascaux. Children begin to make marks as
soon as they can hold a crayon. Drawing is the outward physical manifestation of the inborn urge to create and
communicate and is a basic skill used in all the visual arts and design.

In recent years, with artists experimenting more with methods and materials and mixing different media, the
distinction between drawing and painting is often blurred. You can draw with a paintbrush, and you can achieve
painterly effects with drawing media such as water soluble crayons and pencils. Generally, a drawing is
considered to be a work of linear marks or tones on paper, regardless of the actual medium or technique, but
the act of drawing can occur on any support, and drawing is an important part of painting, whether you paint
representationally or abstractly.

Types of Drawing

Just as there are different types of painting, there are also different types of drawing, ranging from more
representational to more abstract. They can be broken down into three different types: realistic, symbolic, and
expressive modes of drawing.

1. Realistic Drawing

Realistic drawing is what most people in Western cultures think of when they think of drawing - capturing what
we see with our eyes and representing the three-dimensional world onto a two-dimensional surface using
the elements of art such as line, shape, color, value, texture, space, and form. People have long valued the ability
to be able to reproduce through drawing their environment and surroundings, and this is how drawing is
generally taught. Many artists keep sketchbooks for that purpose, either as studies for bigger works and
paintings or as finished artworks in their own right. Indeed, this is an important type of drawing and involves
learning how to see and how to accurately transfer what you see onto a two-dimensional surface.

2. Symbolic Drawing

Symbolic drawing is actually much more common than you might expect. If you can write your name you are
using symbolic drawing. The letters or marks you make stand for your name. Paul Klee (1879-1940) was an
artist who used a variety of symbols–a shorthand notation of lines, marks, or shapes that stand for something
else–in his paintings and drawings. You can create your own symbols and use them within a composition.
Symbolic drawings can still be recognizable as the object or event they represent but in a simplified, more
graphic form.

"Symbolic drawing is about communication, expressing the self, and language development. When an artist
draw symbolically, they are having internal conversations with themselves about what they are drawing and
thus forming communication and language patterns. This activity helps them communicate and deal with words
and symbols. Symbolic art allows an artist to draw this way on their own, with no commentary or interpretation
of the images they create."

Difference between symbolic and realistic and drawing:

Symbolic(Symbol) Realistic (Observation)

 3. Expressive Drawing

Expressive drawing often communicates ideas or emotions that are not visible or tangible. Expressive drawings
may capture movement and energy, feelings, memories, or even the spiritual realm."Expressive drawing is
about experiencing life from many points of view — all contained in the same drawing. It's a composite portrait
of your emotions as they develop over time."

Purposes of Drawing

There are many uses for drawing. Drawing is a form of communication that preceded writing and that continues
to serve as another form of communication. "Drawings can do amazing things. They can tell stories, educate,
inspire, reveal, entertain, and inform. They can describe appearances, offer commentary, convey drama, and
relate history. Arrangements of line and mark can speak of things visible, imaginary, and even
invisible."(1) Furthermore, from concept to completion, drawings are the mainstay of all things designed by
humans, from the things we view onstage or in theaters, to the objects and buildings of the actual world in
which we live.

The drawing process, itself, is meditative, enriching, and edifying. When you are drawing something you
become absorbed in the process of drawing, and come to know your subject through truly seeing it.

LINE( Encluna and Mordeno)

While we tend to think of lines when drawing, painters must also focus on it. After all, every brushstroke you
make creates a line.

 Line is defined as a narrow mark made by a brush, or a line created where two objects or elements meet.
It defines the subject of paintings and helps us imply things such as movement.

 A line is a thin (relative to its length), geometric object. It can also be thought of as an extended
point. A line can be long, short, straight, curved, hard, freehand, horizontal, vertical, diagonal, thick,
thin, or patterned.

Line Quality

Excellent line quality is critical. Each line must be drawn well. With the exception of construction lines, all lines
are the color black. Lines should be of a consistent width from end to end and should be the proper width for
their importance in the drawing. They should look clear, strong, and dark, and be drawn continuously from one
end to the other, rather than as a series of short, overlapped pieces.

Line Weight
Line weight (also called hierarchy) refers to thickness. Thicker lines engage the reader’s eye fi rst; therefore
features that should be read fi rst are drawn with more prominent lines. This practice evolved because most
people can interpret a drawing with multiple line thicknesses more easily than a drawing with just one line (see
Figure 3-2). Line hierarchy helps clarify questions such as where the edge of a curved object is; which lines are
structural and which are textural; and what distinguishes the hardness of a wall from the softness of fabric
(Figure 3-2). Illustrators spend their careers addressing these questions and improving their drawings’
readability by adjusting line weights and colors.

The Visual Element of Line is the foundation of all drawing. It is the first and most versatile of the visual
elements. Line in an artwork can be used in many different ways. It can be used to suggest shape, pattern, form,
structure, growth, depth, distance, rhythm, movement and a range of emotions.

We have a psychological response to different types of lines:

Straight lines suggest steadiness and force; the straight line moves in one direction only, it may be horizontal,
diagonal, or vertical.

 Horizontal lines suggest distance and calm

 Diagonal Lines suggest action and movement; they give animation to any composition in which they
appear. Almost every object in action assumes a diagonal line.

 Vertical lines suggest height and they are poised, balanced, forceful and dynamic.

Curved lines suggest flexibility, ease, joyousness and grace

Jagged lines/Zig-zag suggest turmoil and anxiety

Thick lines can express strength

Thin lines can express delicacy

 Example of a Drawing using Lines

Color( Estiller , escol, espire, taer)

There are endless ways that painters can play with color. Quite often, an artist may be drawn toward a particular
palette that tends to define the style of their entire body of work.

Color theory (a body of practical guidance to color mixing and the visual effects of a specific color
combination) is one of the keys to working with color, especially for painters. Each new color you introduce to
a canvas plays a vital role in the perception viewers have of the piece.

Color can be broken down further into hue, intensity, and value. Also, many artists choose to work with
a mother color(primary colors: Blue, yellow, red) when painting. This is a particular paint hue that is mixed
into each paint that touches the canvas and it can bring uniformity.

Delight in color is a universal human characteristic. Color is a property of light. When light goes out color
gives with it.

Color has three dimensions or attributes:

1. Hue

2. Value

3. Intensity
1. Hue is the dimension of color that gives color its name. when we say the flower is yellow, we are naming its
hue. Color names such as red, green, violet and yellow indicate the color characteristic called hue. Blue, red
and yellow are primary hues. If these primary hues are mixed in equal parts, the secondary hues are
produced. The secondary hues are orange, green and violet. Orange is produced by mixing red and yellow;
green by mixing yellow and blue; and violet by mixing blue and red. The primary and secondary hues are
shown in the following diagram.

Any hue in the color circle can be made by mixing its two neighbors. Mixing yellow and orange will
produce a new hue yellow-orange. Orange and red will produce red-orange. Yellow-orange and red-orange
are called intermediate colors. Altogether, there are twelve easily distinguishable hues: yellow, yellow-
orange, orange, red-orange, red, red-violet, blue-violet, blue, blue-green, green and yellow-green.

The figure below shows all the twelve color hues:

Warm and Cool Colors

Colors may either be warm or cool. Red, orange and yellow are the warm hues. They are associated with objects
like the sun, fire and other sources of heat. They tend to impart warmth to any composition in which they are
used. They are conspicuous, cheerful and stimulating, vivacious, joyous and exciting. They are suggestive of
impetuous or instinctive action. They are called advancing colors because they have an effect of advancing or
coming towards you.

The cool colors are those where blue predominates, like green, blue-green, blue, blue-violet. They cause
surfaces covered with them to appear to recede. They suggest distance. They are calm, sober, restful and
inconspicuous.

Red, the color of fire and blood is the warmest, most vigorous and most exciting of the colors. Yellow, the color
of light, is the most brilliant, cheerful and exultant of the colors. Blue, the color of the sky and of deep and still
water is the coldest and the most tranquil of the colors.

2. Value. Refers to the lightness or darkness of a color. It is a quality which depends on the amount of light
and dark in color. The value scale shown in the figure has nine value steps starting from white to black.

Value is the element of art that describes the amount of lightness or darkness in a hue. In a black and white
photo, white is the lightest value, and black is the darkest value.

An Understanding of values will help the artist to use colors to the best advantage. It will offer important
suggestions for the arrangement of color values in interior decoration.
  The floor should be the darkest in the room.
 The walls should be lighter.
 The ceiling is the lightest.

3. Intensity.Refers to the brightness or darkness of color. It gives color strength. Colors differ in intensity.
Intensity differences may be described as full intensity, two-thirds intensity, two-thirds neutral and neutral.

One important thing an artist has to remember is that colors are known to have varied psychological and
emotional connotations.

RED

Represents intense feelings, including aggression, happiness, love, and passion. Red also evokes ideas of action,
adventure, and strength, and it has the ability to accelerate heart rate and breathing. The color red has also taken
over food companies, restaurants, and drink brands, as it’s been found to stimulate the appetite! Just look at
McDonald’s, Wendy’s, Burger King, KFC, Red Robin, In-N-Out, Carl’s Jr., Arby’s, and thousands of other
restaurants, fast-food chains, and eateries throughout the country that feature red heavily in their logos and
establishments. You’ll even find red in family restaurants!

ORANGE

Orange is a combination of red and yellow, and the emotional and mental responses it creates are very much a
combination of the two, as well. Orange can represent joy, creativity and stimulation, and it’s often used to
market children’s toys for that reason. However, it can also evoke thoughts of attraction, success, passion and
aggression. The color orange is also related heavily to the fall because it is present very frequently during the
harvest season.

YELLOW

As you might expect, yellow can be viewed as a cheerful, playful and positive color – in small doses. However,
while it grabs attention quickly and holds it, and it’s difficult for the eye to take in when there’s too much
yellow in a space – especially when it’s a bright yellow. In fact, according to research, when in a yellow room,
babies tend to cry more, and people lose their tempers more frequently. It’s also known for competence,
concentration and curiosity.

GREEN

Possibly because much of what we see in nature is green, most people associate green with nature, healing and
calmness. However, it is also viewed as relating to envy, greed, luxury and good taste.

BLUE

Easily one of the most popular colors, and for good reason. The sky and water – both of which we see
frequently in our daily lives – inform our understanding of the color blue. While blue can often represent
calmness and peace, and can even cause the body to produce calming chemicals, it’s also a symbol that has
positive meanings in the professional world. Blue tends to represent competence, loyalty, productivity and high
quality. You’re probably also aware that blue represents masculinity – both consciously and subconsciously –
for many, just as pink represents femininity.

PURPLE

You may have heard of purple referred to as the color of royalty, and that’s how it’s come to be known, evoking
ideas of wealth, luxury, sophistication, power, sincerity and authority. Purple is also seen as a rare and artificial
color because it is not often seen in nature, and it’s commonly understood and used as a feminine or romantic
color.

PINK
As mentioned, pink often relates to femininity, and like purple, it evokes ideas of romance and love. The color
also brings to mind gentleness, gratitude, playfulness, happiness, tranquility, and innocence and youth.

BLACK

Black can have many meanings, according to research, including both negative and positive feelings. Black
signifies grief, fear, mystery and evil, but it also evokes thoughts of simplicity, tradition and sophistication.
Black is also seen in religious settings, and it’s come to be known as a sign of submission.

WHITE

Representing innocence, purity, sincerity and happiness, white has become the traditional color for wedding
dresses for this very reason. White also represents sterility, both because it’s difficult to keep clean and because
it is the absence of all color, which can account for the use of white in science and medical professionals’
uniforms.

BROWN

As you might expect, the color brown brings to mind earth, which evokes ideas of ruggedness, solidity and
hardness, and genuineness.

Texture ( Lagbas )

Texture is the way something feels to the touch or looks as if it may feel if it were touched. For many, the word
texture implies roughness but texture should refer to any tactile quality; smooth, rough, shiny, fuzzy, bumpy,
soft, etc.

Types of Texture

We experience texture in two ways: optically (through sight) and physically (through touch).

There are four types of texture in art. These types are best understood as a set of pairs.

Actual vs. Implied

1. Actual texture is touchable. It’s real. Think about a drawing that makes use of collage. The collaged
element would stand in relief against the supporting paper, giving the artwork a texture you can both
see and feel.

2. Implied texture is the illusion of a textured surface created through changes in value using mark-
making.

Invented vs. Simulated – Invented and simulated texture are really two sub-types of the implied texture
mention above. Both create an illusion of texture so the difference is slight.

3. Simulated texture attempts to copy the nuance of a surface as exactly as possible.

 4. Invented texture is typically a simplification of sorts, still communicating the essence of a texture or
pattern.

Perspective(Lasala)

Perspective deals with the effect of distance upon the appearance of objects, by means of which the eye judges
spatial relationships. It enables us to perceive distance and see position of objects in space.

Artists use perspective to represent three-dimensional objects on a two-dimensional surface (a piece of paper or
canvas) in a way that looks natural and realistic. Perspective can create an illusion of space and depth on a flat
surface (or the picture plane).

Linear perspective

Linear perspective is a system of creating an illusion of depth on a flat surface. All parallel lines (orthogonals)
in a painting or drawing using this system converge in a single vanishing point on the composition's horizon
line.

1. Linear Perspective
 2. Linear Perspective

Aerial or Atmospheric Perspective

Aerial or atmospheric perspective can be demonstrated by a mountain range in which the mountains in the
distance appear lighter in value and a bit cooler, or bluer, in hue. Because of the increased layers of atmosphere
between the viewer and objects in the distance, objects that are farther away also appear to have softer edges
and fewer details. Artists replicate this optical phenomenon on paper or canvas to create the sense of distance in
a painting.

Aerial Perspective(Photo 1)
Aerial Perspective(Photo 2)

Form (Longos, Tero)

Form describes the structure or shape of an object.

In the visual arts, shape is a flat, enclosed area of an artwork created through lines, textures, colours or an area
enclosed by other shapes such as triangles, circles, and squares. Likewise, a form can refer to a three-
dimensional composition or object within a three-dimensional composition.

Shape is a concept that’s familiar to most of us. It’s the elements we use to draw as kids. It’s the area that
something takes up. It’s the outline, or the contour of all the pieces in the drawing. But it’s not limited to just the
outline of the big elements. The smaller parts also have specific shapes.

For the early stages of a drawing you want to develop your ability to simplify a shape. This is important so that
you can focus on the composition and the breakdown of the big picture. Getting distracted by the smaller details
too early, can hurt you in the long run. Working big to small is usually a good idea.

When simplifying, think about geometric shapes – circles, ovals, squares, rectangles, triangles, diamonds,
crescents and so on.. These are simple shapes as opposed to complex organic shapes. For example this complex
shape of a leaf can be simplified in the first stage of the drawing and then the details can be found in the later
stages.

Shape is the most important element to convey the identity of an object. These two shapes are very different and
symbolize two very different things. They are not 3 dimensional, but its still very obvious what they represent,
just by looking at the shape. That’s why “shape design” is such an important skill to practice and develop.
Simply put, shape design is making your shapes look good. It’s a bit arbitrary, but you know it when you see it.
You could say that shape A is better than shape B because it’s cleaner and more interesting. It does a better job
of getting the point across and doing so in a more interesting way.

The Principles of Design and Organization (Lulu,Maarat,Magallanes,Nopal)

Balance.

Balance is the distribution of interest or visual weight in a work. If all the visually interesting elements of a
work are centered in one spot, the work is off-balance and the viewer's gaze will be stuck in one place, ignoring
the rest of the piece. A balanced piece of work will have art elements arranged such that different areas draw the
viewer's eye around or through the whole piece. Some types of balance are symmetric, asymmetric, and radial.

The concept of visual balance is often illustrated using a seesaw. Like a seesaw, when two elements of an
artwork have the same visual weight and are on opposite sides of the center, equally distant from it, they
balance. Likewise, a smaller element can balance out a larger one if the smaller one is farther from the center
and the larger one nearer. In two-dimensional art, the center of the work serves as the fulcrum (the visual
center). In three-dimensional art, visual balance and the physical balance of mass both come into play, and the
balance of one does not assure the balance of the other.

Some types of balance are:

 symmetric,
 asymmetric
 radial.

Symmetric or Formal Balance

Symmetry is the way in which one part of something duplicates another part - it is a type or class of pattern.
There are different types of symmetry, but when talking about symmetric balance, what is usually meant is
bilateral symmetry, where one side or half of something is the mirror image of the other half. Symmetric
balance is also called formal balance, as it tends to lead to stable, orderly designs that are less dynamic than
asymmetric works.
 Leonardo da Vinci - Vitruvian Man, c. 1487, Pen and ink with wash over metalpoint on paper, 34.4 ×
25.5 cm

Contrast

Contrast is the difference in quality between two instances of an art element, or using opposing qualities next to
each other. For example, black and white (contrasting values), organic/curvy and geometric/angular (contrasting
lines/shapes/forms), and rough and smooth (contrasting textures).

The greater the contrast, the more something will stand out and call attention to itself. This applies to whole
works of art as well as areas within an artwork. Areas with greater contrast in value (stronger darks and lights)
will tend to appear more forward in space, as over distance atmospheric haze lessens contrast (atmospheric
perspective). Contrast can also be used to set the mood or tone of the work. High contrast makes a work more
vibrant, vigorous, brash, lively - it "pops" more. Low-contrast work is more quiet, calm, subtle, reflective,
soothing.
Jacob Lawrence - The Migration of the Negro, Panel no. 11, 1940-1941, casein tempera on hardboard, 18 x 12
in. The bright red of the figure stands out against the complementary color of the green background: the
extreme contrast, along with the pose, gives the figure energy and emotion.

Emphasis, Dominance, and Focal Point.

Emphasis is created by visually reinforcing something we want the viewer to pay attention to. Focal points are
areas of interest the viewer's eyes skip to. The strongest focal point with the greatest visual weight is the
dominant element of the work. Elements of secondary importance could be termed sub-dominant, and elements
with the least visual weight subordinate. Isolation, contrast, anomaly, size, placement, focus and absence of
focal points are some of the strategies used to help create these degrees of importance.

Isolation - By separating the subject from other distracting elements and placing it against a plain background,
the viewer is left with nothing else to focus on. In drawing and painting, etc., this means not adding anything
that does not add to or emphasize the subject or purpose. Photographers need to pay special attention to what is
in the background of the picture, and work to eliminate unwanted clutter. This can be done by changing the
viewpoint the photo is taken from, or by masking or moving/removing things from view.

Leading Lines and Convergence - A line, arrow, or similar triangular or elongated element can indicate a
direction and point towards something, leading the eye in that direction. When multiple elements converge
toward a point (such as lines going back into perspective), they can create an even greater pull of attention in
that direction.

Contrast - The more strongly something contrasts with its surroundings, the easier it is to see and the more
energy it will seem to have. Strong contrast in value, color, etc. can make elements "pop".

Anomaly - A single square in a repeating pattern of circles will stand out - it's not like everything else, it doesn't
blend in, it breaks the pattern: this can call attention and add interest. In something perfectly flat, smooth, white,
etc. our eye will always be drawn to the one little flaw - the pencil scratch, the rough spot, the wrinkle. Anomaly
can also be created by juxtaposing things that are not normally seen together, or depicting scenes that invert or
alter the everyday.

Size - The larger it is, the more visual weight it will have and the more clearly it will be visible. Do not be afraid
to fill the frame with your subject, even if it means not all of the subject will fit in the frame. Concentrate on
and enlarge what is important, so the viewer can connect with it.

Placement - An element placed front and center will confront the viewer. All else being equal, a third of the
way in from any border can be a visually pleasing place to locate something of importance.

Absence of Focal Points - If a work has no real focal points, then the work as a whole becomes the focal point.
Richard Misrach - Untitled #704-03 from On The Beach, 2003. Here the photographer has isolated the subject
against an interesting but uncluttered background, that complements rather than distracts. The strong contrast
in colors, shapes and textures between the person on the beach and the surrounding sand clearly separate and
emphasize the subject. The slightly off-center placement of the subject, along with the three framing bands of
shadow cast by unseen people or things, create a natural place for the viewer's eye to start investigating the
picture from.

René Magritte - Time Transfixed, 1938, oil on canvas, 147 x 98.7 cm. The train is in the center of the picture,
pointing straight out into the room - and it's not every day you see a train coming out of a fireplace. The
fireplace also acts as a frame to further emphasize the train

Harmony And Unity(Odtojan, Sanopao)

Harmonious elements have a logical relationship or progression - in some way they work together and
complement each other. Unity is created by using harmonious similarity and repetition, continuance, proximity
and alignment, and closure of design elements in different parts of the work so that the parts RELATE to each
other and create a unified whole, that can be greater than the sum of the parts, rather than an ill-fitting and
meaningless assortment of elements.

Similarity - Items with similar or identical characteristics - size, shape, color, etc. - will be thought of as a group
by the viewer. A few similar elements throughout a work can help the whole work cohere. Like corn starch or
gelatin in cooking, you want enough, but too much can take away variety (and in food, make it like rubber).

Continuance - An art element that has direction - a line, edge, spiral, path leading back in perspective, the
direction a figure is gazing or moving, or any shape or form that stretches out - will tend to point the viewer's
attention off in that direction. The viewer's eye will keep on looking in that direction, skating off beyond the
element, until another significant element stops or redirects the viewer's gaze. This means a dominant pointing
element can lead the viewer's gaze out of the picture, which might not be desired, unless countered by
something that blocks or deflects attention back into the picture. Using continuance, small cues can be used to
steer attention around the whoe work.
Closure - Our brains like to fill in the blanks and complete things, much like a phone guessing at what you're
trying to text as you type. Small parts can be used to suggest a whole; a few corners or a dotted outline can
conjure up a whole shape. Not explicitly showing the viewer everything, leaving her room to work some parts
out for herself, can create a more rewarding experience.

Proximity and Alignment - Things that are close together or aligned with one another will be lumped into a
group by the brain, even if they are very dissimilar. The more similar, closer or aligned the elements are, the
more strongly they will be read as a group.

Jerry Uelsmann - Untitled, 2000. We are used to seeing women's lips on women's faces, so our brains try to
make sense of and complete the image. The bilateral symmetry of the road and sky dividing the trees echoes
facial symmetry, subtly hinting at upper lip, nose and forehead; the crow on the road could suggest a beauty
mark. The lips heighten our sense of the scene, conjuring a not-quite-seen presence that the woods might make
us feel in person.

Movement(Paramo, Quider)

Using art elements to direct a viewer's eye along a path through the artwork, and/or to show movement, action
and direction. Also, giving some elements the ability to be moved or move on their own, via internal or external
power.

In a still picture such as a painting or photograph, where nothing is actually moving, various strategies can be
used to give the viewer a sense of movement and speed, or to move the viewer's eye through the work. These
include lines, diagonals and unbalanced elements; blurring; placement; direction; and motion lines and
afterimages.

Lines pointing in one direction and spirals can create movement; diagonals, tilted elements, and things out of
balance or unsupported will all give the feeling that movement is or is about to occur.

Fast-moving objects can be made to appear blurred, a little at the trailing edge or all over, depending on the
speed and direction of motion (linear or rotational). Or, the subject may be relatively frozen in an instant while
the background around it is blurred - in photography this is done by panning the camera to follow the subject
while the exposure is made.

Placement can help show or frame motion. A moving subject placed in the first third of an image will have
room to run. A moving subject placed in the last third may look like it's about ready to hit the edge of the image:
this placement is used if distance already traveled is of interest and could be emphasized to advantage. A
moving subject that has already partially or mostly left the frame can show extreme speed, and/or the moment
left in the wake of its passage.
Direction can influence the perception of speed. Objects moving from left to right may have a sense of moving
faster to those whose language is read from left to right (e.g. English). Likewise, objects moving down or at a
downward slant can seem speedier than those moving up, as in nature it is more work and usually slower to
climb.

Motion lines and afterimages can also be used to indicate motion - these techniques are common in graphic
narrative works. Motion lines trail from near the back of the moving element in the direction of the path it has
just traveled: the longer the lines, the more the motion and speed are emphasized. Afterimages are the
remembered or left-behind glimpses of something as it moves. A subject can be depicted in several places
within the same picture, showing moments along the path of its passage as well as the passage of time. The
afterimages can fade as they get further away from the present subject, and may only be the outlines of the front
half of the subject in various poses it has gone through in moving: they can also get farther apart as they go back
in time, and closer together as they approach the current instant. Afterimages can be used in conjunction with
motion lines or on their own.

Videos and animations can show actual movement. Jewelry, ceramics and other three-dimensional work can
have parts that are meant to be opened or otherwise moved, creating a physical engagement between the viewer
and the work, and giving the viewer something to explore and discover. Artwork that moves by itself in part or
in whole, powered by natural forces (wind, tide, light, etc.) or self-propelled, and in which the motion itself is
used as an artistic element, is called kinetic art (see many great examples here). Other works that change and
move over time, growing, eroding or decaying, are more ephemeral in nature.

Henri Matisse - Dance (II), 1909-1910, oil on canvas, 260 x 391 cm

 .

Ben Grasso - Barge, 2009, oil on canvas, 52x72 in.

Repetition, Rhythm and Pattern(Patagan)

Repeating art elements in regular or cyclical fashion to create interest, movement, and/or harmony and unity.
Rhythms can be random, regular, alternating, flowing, and progressive. Classes of pattern include mosaics,
lattices, spirals, meanders, waves, symmetry and fractals, among others.

Motifs
Motifs can be thought of as units of pattern. In visual arts, they are bounded areas or volumes that contain
designs or any desired combination of art elements: stamps, tiles, building blocks, modules, etc. Motifs can be
copied and arranged in multiple instances to create a desired effect, such as repetition, rhythm and pattern.
Repetition
Repeated use of a shape, color, or other art element or design in a work can help unify different parts into a
whole. The repetition might be limited to only an instance or two: not enough to create a pattern or rhythm,
but enough to cause a visual echo and reinforce or accent certain aspects of the work.
Rhythm
When motifs or elements are repeated, alternated, or otherwise arranged, the intervals between them or how
they overlap can create rhythm and a sense of movement. In visual rhythm, design motifs become the beats.
 Random Rhythm - Groupings of similar motifs or elements that repeat with no regularity create a random
rhythm. Pebble beaches, the fall of snow, fields of clover, herds of cattle, and traffic jams all demonstrate
random rhythms. What may seem random at one scale, however, may exhibit purpose and order at another
scale.

René Magritte - Golconde, 1953, oil on canvas, 81 x 100 cm

.
Proportion and Scale.(Ravelo, Recimo)

Proportion is the relationship of sizes between different parts of a work. For example, how wide it is compared
to how tall it is. Some proportions, such as the golden ratio and the rule of thirds, are thought to be more
naturally pleasing. Scale is the size of something compared to the world in general - an artwork might be
termed miniature, small scale, full scale or life-size, large scale or larger than life, or monumental.

The Golden Ratio, Section, Mean, Rectangle, Spiral, Etc.

The golden ratio is a recurring relationship found in math, art and nature, and is thought by many to be
inherently aesthetically pleasing. In its many forms it boils down to approximately 1.618: a rectangle with
dimensions 1 x 1.62 could be called a golden rectangle. More elegantly and interestingly expressed, two
quantities, a and b, are in the golden ration if a is to b as a + b is to a.

The golden ratio is said to be the basis of the proportions of many works of art and architecture, including
most famously the Parthenon. However, like conspiracy theories, once you start looking for golden ratios, you
can find them everywhere, to absurdity. Whether the artist intentionally employed the ratio, and whether it
helps make the work more aesthetically pleasing, can sometimes be open to debate.

The Rule Of Thirds

As a compositional rule of thumb, the rule of thirds states that it's a good idea to imagine the picture plane
divided into thirds horizontally and vertically, and then to align or place compositional elements along these
guidelines or at their intersections. Placing the subject off-center and the horizon at the upper or lower third
create make a more interest and invite the viewer to look at more of the picture. If the subject is at the center, it
can be more confrontational and in-your-face, and more formally balanced and static. The same idea may be
applied to three-dimensional art - a vase might look more pleasing if it swells to its widest 2/3 of the way up
rather than at the middle. Good artists will neither slavishly follow this rule nor automatically center
everything in the middle of the canvas or viewfinder: rather, they will consider what they want to convey,
experiment, and then choose the composition and proportions that best help express their intent.
 .
photo by Zain Kapasi

.
Slinkachu - Relics, 2010
Miniature scale
Variety and Variation.

Using a range of different qualities or instances of an art element to create a desired visual effect - e.g., a
variety of shapes, colors, etc. Variety can add interest and break the monotony of simple repetitions.

Albrecht Dürer - The Rhinoceros, 1515, woodcut, 21.4 x 29.8 cm

DOODLE ART(Altarejos, Lagunde)

A doodle is an unfocused drawing made while a person's attention is otherwise occupied. Doodles are simple
 drawings that can have concrete representational meaning or may just be abstract shapes.

Barbara Broido
It's the easiest thing to do and easy on the common media, such as paper, pen and pencil. These actions are often
referred to as doodling.

Popular kinds of doodles include cartoon versions of teachers or companions in a school, famous TV or comic
characters, invented fictional beings, landscapes, geometric shapes and patterns, textures, banners with legends,
and animations made by drawing a scene sequence in various pages of a book or notebook.

Doodle Art itself is a style of drawing by doodling, look abstract, there is that does not contain meaning, but
also there are some significant, often resulting work does not have the correct shape but it looks unique and
interesting.
A doodle works usually portray feelings of the author, it can be seen from the resulting scratches, sometimes
slipped out unnoticed by our thoughts.
Doodle art is sometimes capable of reassuring its creator. The more the work is made with feeling, the more
exciting work produced. It makes this kind of work is not just a mere drawing activity, but also has depth of
meaning and style.
Doodle Art also has its own history. Have you heard about the cave painting? it's one of the oldest style of
doodle art, long before anyone even knew the letters and writings, in which doodling as a tool to tell a story
from generation to generation.
 Cave painting

Now Doodle art is growing, its abstract and has unique characteristics make doodle fans increasing day by day.
Even without realizing we are creating doodle works. Stereotypical examples of doodling are found in school
notebooks, often in the margins, drawn by students daydreaming or losing interest during class. Other common
examples of doodling are produced during long telephone conversations if a pen and paper are available.

Doodle art work and creativity is a means which is cheap and fun. It does not require special paper such as
canvas, even doodles can be done on cigarette packs though. Everything is back to the artist in selecting
equipment and doodling style that is comfortable for each individual.

Now doodle art style has been widely in use as one element in graphic design, you can see billboards for:
mobile advertising, TV, etc. which often use these elements. By using elements of doodle art, the messages
conveyed in the work seem more friendly, relaxed, and humane.
Here are some artists who do the doodle art:

1. Uberkraaft

2. Jabson Rodrigues
 4. James Clapham

CRAFTS(Salino,Mejay)
Craft art is a type of art that typically refers to the assembly of handmade goods. This type of art has been
around for centuries, and it typically involves making items that are not only attractive, but useful as well. In
many instances, crafts are generally made from raw natural or recycled materials.
Types of Craft
There are hundreds if not thousands of different varieties of handicrafts. The following list of crafts is included
merely for illustrative purposes:
Textiles
Appliqué, Crocheting, Embroidery, Felt-making, Knitting, Lace-making, Macramé, Quilting, Tapestry art,
Weaving.
Woodcraft
Wood-carving, Wood-turning, Cabinet making, Furniture making, lacquerware.
Paper craft
Paper Modeling, Collage, Decoupage, Origami paper folding, Papier-mâché, Paper Letter Cutting.
Pottery and Glass Crafts
Ceramics (earthenware, stoneware, porcelain), Mosaic Art, Glass Beadmaking, Glass Blowing, Glass Etching,
(see Stained Glass Art Materials/Methods).
Jewelry
Includes metalwork involving processes like embossing, repoussé work, engraving, enamelling (types include
champlevé, basse taille, cloisonné, plique-à-jour), granulation and filigree decoration.
Other Examples of Craftwork
Basket weaving, Beer-making, Book-binding, Doll-making, Enamelling, Floral Design, Ikebana, Jewellery-
making, Knife-making (cutler), Leatherwork, Metalwork, Model-making, Tattoo Designing, Toy-making.

PAPER CUTTING (Cadorniga, Lopez, salino Reshiel)

Papercutting is the art form of cutting paper with sharp scissors or a knife. It can be as simple or intricate as the
paper artist chooses. It has definitely stood the test of time and will continue to be popular art form amongst
many cultures. Many famous paper artists of the past still inspire current paper cutting practices.
HISTORY OF PAPER CUTTING
Paper cutting is an art with a long history. Its first origins date back to the 4th century after the invention of the
paper by the Chinese. Some of their earliest uses for papercutting were for religious decorations or stencils used
for patterns in embroidery. For a long time, this art form was popular among high-society women, but it soon
spread to other classes. Paper cutting practices ranged from the skilled craftsman to its evolution into the folk
art world. People displayed paper cut designs in windows, as paper lanterns, and on furniture, just to name a
few.
Papercutting Cultural Uses
Many other cultures began using paper cutting in a variety of different techniques and as part of celebrations. A
couple of the most popular cultural uses for papercutting are papel picado banners in Mexico or kirigami in
Japan. Papercut silhouettes became popular in England during the Middle Ages. It became an art form in itself.
One of the essential types of paper cutting is letter cutting.
Letter cutting is a form of inscriptional architectural lettering closely related to monumental masonry and stone
carving, often practiced by artists, sculptors, and typeface designers. Rather than traditional stone carving,
where images and symbols are the dominant features, in letter cutting it is the beauty of the stone carver's
calligraphy that is the focus.

Lettering guide
Large, cut-out letters for use on a bulletin or flannel board can be made easily by the fold-and-cut method.

Procedure:

1) Determine the size letter you wish to make and cut as many rectangles of paper as you need letters to spell
out your message. Be sure that all the rectangles are exactly the same size.

2) Make a width gauge by folding one rectangle in half lengthwise two times. The resulting width of this gauge
represents the thickness of each letter "stroke". Use this gauge to guide your folds as you create each letter.

Width gauge

3) Construct a 4-unit by 5-unit grid on each rectangle by folding the paper in half lengthwise two times and
creasing the folds firmly as you did to make the width gauge.

Now, open the paper flat and fold it in half crosswise.

Next, fold the cut edges up one width (use the width gauge as a guide), leaving a half width exposed as shown.

Fold this half width down over the cut edges and crease firmly.
Open the paper flat to reveal the 4-unit by 5-unit grid defined by the fold lines. All the letters (except M and W)
and all the numbers can be constructed on this grid.

Folding the paper

4) Fold and cut letters according to the following directions:

A Fold paper rectangle in half lengthwise. Make two parallel diagonal folds, one unit width apart, from bottom
cut corner to top folded corner as shown. Follow folded guide lines to remove shaded portion as indicated. Open
letter flat.

Letter A
B Fold paper crosswise. With folded edge at top, curve both right hand corners. Fold paper crosswise again,
matching up the two horizontal grid lines. The top fold should appear one half width above the bottom cut edge.
Follow guide lines to remove inside (shaded) portion. Remember to curve the inner right corner. Open letter
flat.

Letter B

C Fold paper in quarters. Curve outside (open) corner and remove inner portion, remembering to curve inner
corner also. Open letter out flat and clip center bar on right hand side.

Letter C

D Fold paper in half crosswise. With fold at top, curve lower right corner and remove center section. Remember
to curve inner right corner also. Open letter flat.

Letter D

E Fold paper in half crosswise. Follow grid lines to cut horizontal bars. Clip center bar shorter than top and
bottom bars. Open letter flat.
Letter E

F Same as E. Remove lower horizontal bar.

Letter F

G Fold paper in half crosswise. Curve open corners and follow grid lines to remove center portion as shown.
Open letter flat and clip right side above center bar.

Letter G

H Fold paper in quarters. Follow grid lines to remove shaded portion as indicated. Open letter flat.
Letter H

I Single vertical bar, one unit width wide. (See L below.)

Letter I

J Fold paper in half lengthwise. Curve lower open corner and remove center section as shown. Open letter flat.
Remove top three units of left vertical bar.

Letter J

K Leave paper flat. Crease diagonals one unit wide as shown. Then follow folded guide lines to remove shaded
portion
Letter K

L Fold paper in half lengthwise. Cut away the first four units on the folded side as shown. Open letter out flat.
Clip off all five units of the right vertical bar. This will produce both an L and an I.

Letter L

M You will need to cut a piece of paper one half width wider than any of the other letters you have made so far.
Be sure that the length of the paper rectangle is the same as all the others.

Fold the paper in half crosswise and crease, then open flat. Now, fold the paper lengthwise. Use the width gauge
to fold the cut edges in toward the center fold leaving one quarter width exposed. Crease these folds firmly.
Open the last fold, leaving paper folded once lengthwise. Crease two parallel folds, one unit width apart, as
shown. Follow creases to cut away shaded portion. Open letter flat.

Letter M

N With paper flat, crease two parallel diagonal folds, one unit width apart, from upper left to bottom right
corner. Cut away shaded portion as shown.

Letter N
O Fold paper in quarters. Curve open corner and remove inner portion as for the letter C. Open letter flat.

Letter O

P Fold paper crosswise midway through the second horizontal unit so that the lower 2-unit section remains
uncovered. Follow guide lines to cut away shaded portions as indicated.

Letter P

Q Fold and cut an Q (see above). Glue a small tab to the back of the lower right corner as shown.

Letter Q

R With paper flat, make two parallel diagonal folds, one unit width apart, from bottom right corner to center of
paper as shown. Now, fold the top section down as you did for the letter P. Follow guide lines to cut away
shaded portions. Open letter flat.
Letter R

S Fold paper in quarters. Curve open corner and remove center portion as indicated. Open letter flat. Clip and
curve each side to form the S.

Letter S

T Fold paper in half lengthwise Remove shaded portion as shown. Open letter flat.

Letter T

U Fold paper in half lengthwise Remove shaded portion as shown. Open letter flat.

Letter U

V Fold paper in half lengthwise and crease as for the letter A. Remove shaded portion as indicated. Open letter
flat.
Letter V

W W is the widest letter is the alphabet. Cut a piece of paper one unit width wider than the other letters. Be sure
to keep the height of the letter equal to that of all the others. Fold and crease a 5-unit by 5-unit grid into the
paper.

Piece of paper

To make the W. fold the paper in half lengthwise. Crease two sets of parallel diagonal lines as shown and cut
away shaded sections. Open letter flat.

Letter W

X Fold paper in quarters. Crease two parallel diagonal lines from open corner to folded corner exactly as shown.
Be sure that the foot of the diagonal crossbar is flush with the bottom of the paper and that the other end (at the
letter center) incorporates both the horizontal and the vertical fold. Follow these guidelines to cut away shaded
portions as indicated.
Letter X

Y Fold paper in half lengthwise. Crease two parallel diagonal folds as shown. Follow these guidelines to
remove shaded portion as indicated. Open letter flat.

Letter Y

Z With paper flat, crease two parallel diagonal lines from lower left to upper right as shown. Cut away shaded
sections.

Letter Z

1 Cut a single vertical bar, one unit width wide (see letter I).

2 Leaving paper flat, follow the grid lines to remove shade portion as shown.

Number 2

3 Fold paper into quarters. Curve corners and remove center portion as shown in diagram. Open flat. Clip left
side and shorten center bar as indicated.
Number 3

4 With paper flat, cut away shaded portion as shown.

Number 4

5 With paper flat, cut away shaded portion as shown.

Number 5

6 Fold paper into quarters. Curve open corner and follow grid lines to remove center portion as indicated. Open
flat and curve right side as shown. Square lower left corner of top opening.
Number 6

7 Leave paper flat. Crease diagonals. Follow fold lines to remove shaded portions as shown.

Number 7

8 Fold and cut as you did for number 3. Do not clip sides or crossbar.

Number 8

9 Identical to number 6. Invert.

Number 9
 Applied Art (Saratorio, Serada, Amper)
PHOTOGRAPHY: You Are a VISUAL ARTIST, Not Photographer

Why “visual artist”?

The term “photographer” is too restrictive.
A photographer only takes photographs.

A “visual artist” makes any sort of visual art. This can include:
 Paintings
 Abstract drawings
 Sculpture
 Photographs
 Digital or print art

“Visual”: We are visual creators and makers. We are fascinated by the visual world, and we strive to
make visual images that inspire, uplift, and excite our viewer.

“Artist”: Yes, you are an artist. If you make stuff, you’re an artist.
The original word ‘poet’ (poets being the original artists) simply meant “maker”.
Therefore, a maker is an artist.
If you make … anything… you’re an artist.
And photographers are artists (photographers make photographs).
A visual artist makes visual art.

Photography is the art, application and practice of creating durable images by recording light or other
electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-
sensitive material such as photographic film.

Photography is a less pure art form than painting and sculpture. But it’s now a more important one, says
Simon Bowcock. Is photography art? There was a quarrel about this recently in The Guardian. ‘Oh no it isn’t,’
said an art critic. ‘Oh yes it is,’ said a photography writer. Now pantomime season is over here in Britain, here’s
a third opinion.
This question is as old as photography itself. It all started as a Victorian argument between photography
pioneers and art-establishment traditionalists. Eventually, the traditionalists lost (or died): nowadays
photographs are increasingly significant in the world’s major art institutions, such as New York’s Museum of
Modern Art and London’s Tate. And despite their inherent lack of uniqueness, works by modern and
contemporary photographers such as Edward Weston and Andreas Gursky are regularly auctioned at Christie’s
and Sotheby’s, occasionally for millions of pounds. Photography is even an important aspect of the practice of
many major artists not usually thought of as photographers, such as David Hockney, Tracey Emin and Gerhard
Richter.
It seems facile, therefore, to argue that photographs cannot be art. So why do some still cling to this
view?
Photographs are taken by an apparatus directly ‘from life’, the image made not by an artist, but by the
light of the world. This leads many to see photographs as straightforward mechanical reproductions of people
and things.
But often, photographs are by no means artless, unmediated records of the world, and have instead been
subjected to a vast range of artistic meddling: scenic, technical, presentational, contextual, and so on. Some of
this interference is occasionally evident in the pictures, as with the intriguing photographs of young Japanese
artist Daisuke Yokota. But more often than not, the hand of the artist is not obvious, especially with more
straightforward-looking photographs. Even the ubiquitous ‘objective’ approach - flat, frontal, deadpan – is a
deliberate aesthetic strategy. But if you can’t see the art in the work, it’s easy to presume that no art is involved.
‘The photograph isn’t what was photographed, it’s something else. It’s about transformation,’ said the
American photographer Garry Winogrand, who took photographs ‘to see what that thing looks like
photographed.’ Although we might expect it to reveal the world as we think we saw it, a photograph can give an
entirely different impression. Viewer perception can be a factor, but more often this is because photographs are
both a direct record created by the world and an interpretation created by the photographer’s choices, whether
conscious or unconscious. In other words, photographs are both document and art.
This documentary aspect means a photograph can, in a sense, never be entirely art. But ‘part art’ does
not equal ‘not art’. Yet many – art critics even – still look at photographs and see all document, and no art.
This duality of art and document – the ‘rendered’ and the ‘real’ - is actually a great strength of
photography. It helps explain why photographs fascinate us so much. Another reason they transfix us is their
dogged superficiality, which can create great mystery: photographs are all inscrutable surface, all show and no
tell. ‘A photograph is a secret about a secret. The more it tells you the less you know,’ said Diane Arbus, a
contemporary of Winogrand.
Purely artistic media just do not have these complexities. Even in a photorealist painting, the marks are
made by the hand of the artist alone, in no way drawn by ‘the pencil of nature’: it is all art and no document.
And while they can still be potent and have much to say, painting and sculpture today are -
comparatively speaking - marginal, arcane activities, practised and consumed by hardly anyone.
By contrast, how many people look at photographs every day? Probably billions. How many people
practice photography? Perhaps more than a billion. If only the tiniest proportion of these people are among the
most interesting artists of the present and of the future, then photography is set to be by far the most significant
and exciting visual art medium in history.
But attitudes in the art world change slowly. So, if we’re still pretending to be stuck in the 19th Century,
I’m in 1839 with the French painter Paul Delaroche, who on first seeing a new-fangled photograph proclaimed:
‘Painting is dead’.
Photography’s art/ document duality, its unpredictable and inscrutable character, and humankind’s ever-
increasing mass engagement with it, all leave more traditional media such as painting and sculpture light years
behind. Since photography is less than two centuries old, and its popularity is only just exploding, we may only
be beginning to explore its artistic possibilities. Yet some still fail to see it as an art form at all.
17 Types of Photography: Which Niche is Right for You?

The best thing about being a beginner and aspiring photographer is that you are free to explore virtually
every photography niche there is. Fashion, photojournalism, sports, events—armed with a camera, you can try it
all out and improve your skill at the same time.
But as you gain more experience in photography, you’ll find that it’s hard to master a specific style if
you don’t stick to it. In fact, it may be the very thing that could be holding you back from being successful in a
particular niche.
In this article, we’ll help you understand some of the most popular niches in photography, what they’re
like, and how you can excel in each of them.

Portrait Photography
 Portraiture is arguably the most explored niche or genre in photography. Today, virtually anybody with a
smartphone practices portrait photography as it’s become natural to hold and aim the camera at a person.

Also known as candid photography, the beauty in portrait photography is in capturing a person’s
personality, sometimes with the use of poses. Professional photographers in this niche normally photograph
supermodels or famous personalities on red carpets or at magazine shoots, but in some cases, they also do
graduation pictures, family portraits, and professional headshots for aspiring models and actors.

For a more compelling portrait, make sure to get close enough to capture the person’s facial expression clearly.

Still Life Photography

As the name entails, this popular photography niche mainly involves taking photos of objects. It crosses over
to product photography, through which advertising agencies have branded items photographed for catalogs,
magazines, and even billboards. You can feature just one main product or several that follow a central theme,
just like in the photo above.

One of the secrets in taking amazing still life photos is to have great lighting, whether outdoor or indoor. In
product photography, many photographers use a light box, in which they place the item so that it gets
illuminated from all angles with diffused light to eliminate harsh shadows.

Landscape Photography
 Those who love to travel have surely taken a lot of landscape photos. Contrary to popular belief, this
genre is not limited to horizontal photos, as it may be necessary to shoot vertically when capturing tall trees,
mountains, and anything else that you may feel compelled to capture while exploring the great outdoors.

Fortunately, this generation also offers us more creative possibilities by making it so much easier to
capture aerial drone shots for a bird’s eye view of landscapes, as opposed to just ground level. But for more
dramatic shots, you’ll need to upgrade from your smartphone or compact digital camera, invest in a better
camera, and use the right lenses for landscape photography.

Food Photography

If we were writing this article about a decade ago, the food photography niche would be a lot harder to
break into. Fortunately, today’s social media generation has influenced us to keep taking photos of our food,
whether for fun or for marketing purposes.
With today’s camera phone specs, it may not even be necessary to use a professional standalone camera
as long as you have a pretty decent camera phone and the right lighting for truly mouthwatering food shots.
Just make sure that the correct white balance is set in order to get accurate colors. You can also boost the
saturation of your images (especially the reds and yellows) to make your food look even more appealing.

Sports Photography

Sports photography is a more professional niche that involves a lot of high-speed shooting.
Photographers who shoot sports are normally armed with long and heavy lenses that are capable of zooming
into where the action is and shooting at fast shutter speeds, without ending up with underexposed images.
Sports arenas are regularly packed with photographers, but the competition for a slot is still pretty tough. If you
want to try your hand at sports photography, crank up your ISO so you can use a fast shutter speed, experiment
with angles, and always be prepared to aim and click that shutter.

Wildlife Photography

Another rewarding and well-paying niche is wildlife photography. Due to the obvious challenge of
capturing good and clear images of wild animals without intruding in their natural habitats, a job in this niche
requires some major upgrade in camera equipment similar to sports photography and a whole lot of safety
measures.
Not everybody can be a wildlife photographer, which is why people pay a good amount of money for
these types of photos. Wildlife photography typically takes place in challenging conditions, in some of the most
dangerous and remote parts of the world.

Macro Photography

Those who want to take truly incredible images tend to like macro photography. Capturing objects to
make them look much bigger than they really are is relatively easy, as long as you have the right equipment.
You can simply equip your smartphone with a clip-on macro lens accessory or, for more ideal high-resolution
results, use a macro lens with a DSLR or mirrorless camera.
If you’re looking for regular photography work, macro photography may not be the right niche for you.
Nonetheless, it’s a great genre for those who want to capture artistic, highly compelling photos.

Event Photography
 Event photography is a wide and popular niche that includes many specific kinds of events, such
as concerts, birthdays, corporate meetings, and even weddings. It usually involves a mix of different
photography techniques as you may be taking pictures of everything from people and their candid moments to
the venue and the food.
What makes a good portfolio for this genre is knowing how to tell a story with your pictures, rather than
just covering the event itself. It will obviously take a lot of practice, particularly in dealing with people and
covering a specific type of event. You’ll also need a variety of lenses to successfully bag each shot in your “shot
list” and not miss any important moments.

Fashion Photography

When people think of a job in photography, many suggest fashion photography. For decades it has
remained one of the most lucrative niches, thanks to the demand for it in advertising and marketing.
Fashion photos typically feature supermodels and celebrities in high-fashion clothes, shoes, and accessories.
Due to the need to showcase the outfits, this niche usually involves a lot of full body shots. However, it can also
involve some portrait shooting, so you may want to practice your portraiture skills if you want to get into
fashion photography.

Depending on the clothing style, fashion can take you anywhere from studios with full lighting setups
and modeling runways to the great outdoors. If you want to break into fashion photography, you’ll need to
equip yourself with a lot of skill in dealing with different kinds of people, in posing, and in both the artistic and
technical aspects of the craft.

Newborn Photography

Newborn, baby, or infant photography is essentially the same as portrait photography, but we’re listing it
as its own niche due to the unique challenges that come with it. Aside from newborns being very fragile, their
eyes are sensitive to light, so you’ll need to get the right gear and learn how to use your camera to make the
most out of the available light. Babies also have difficulty regulating their body temperatures, so your studio
will have to be cold or warm enough, depending on your precious subject’s clothing.
Did we mention that their bowel movements can also be very unpredictable? One newborn photography
session can be the craziest in your entire career, but it can also be the most rewarding.

Street Photography

For those who bring their camera everywhere and enjoy exploring their artistic freedom, street
photography is a particularly appealing niche. It’s a unique genre in photography that documents the human
condition and captures unplanned events as they unfold, usually with no central theme or topic. The best part is
that you can use different types of cameras for street photography.
Usual subjects include street vendors, street food, children, graffiti artworks, and a lot of concrete,
sometimes in black-and-white. They don’t necessarily have to be taken in the streets, as long as they highlight
or portray the reality of the outside world.
Fortunately for many street photographers, such photos often get featured on magazines, blogs, and
newspapers. However, there isn’t always a guarantee of steady income as street photographers usually shoot
wherever they wish and at their own convenience instead of on a per project basis.

Photojournalism

Not to be confused with street photography, photojournalism is a vocation that typically covers specific
scenes and stories for the news. It uses elements of street photography to take objective photos that are more
historic in scope. And because they tend to get published in newspapers, professional photojournalists get paid a
good amount of money for their photos, particularly if they are affiliated with newspapers, magazines, book
publishers, or certain agencies and organizations.
Photojournalism is another niche where it becomes crucial to capture not necessarily picture-perfect
shots, but those candid moments that best tell the story.

Documentary Photography
 Ever heard of war photographers? These brave people of the press are part of the documentary
photography niche, along with other photojournalists that cover social and political problems that are a lot more
historically significant. Like street photography, they capture raw, candid emotion in real-life situations and
significant moments in time but tend to be given more universal captions as they don’t merely cover local rallies
or just any other celebrity.
If you aspire to take timeless photos about world issues or of presidents for some of the greatest
magazines, documentary photography may be for you.

Stock Photography

Stock photography is another growing niche in today’s new generation of professional photographers.
Stock photographers supply and sell photos that will be licensed for specific uses. Although it’s been around for
centuries, the market for stock photos has increased significantly due to the growing demand for it in blogs,
websites, and for digital marketing purposes.

It’s not exactly one of the most popular, but it can be a good source of income. It allows you to work for
yourself at your convenience. Plus, you get passive income from repeat sales—that is, if you don’t mind taking
a lot of pictures and not being able to really explore your artistic freedom.

Weather Photography

Weather photography is basically outdoor photography that mainly showcases different—usually harsh
and extreme—weather conditions, such as hurricanes, snow storms, sandstorms, hailstorms, and even
thunderstorms. Many photographers around the world chase life-threatening storms to capture the beauty of
what we are usually quick to hide and run away from.
When given the chance, this niche will pay you well and reward you with possibly award-winning
images, but whether it’s worth the effort to shoot and risk your life will be up to you.

Architectural Photography

If you’re looking for a niche that offers a constant stream of projects, you may want to look
into architecture photography.
Photos of the exteriors and interiors of buildings and other structures can be of great use to designers,
architects, leasing companies, and potential investors. It’s a mix of artistic and technical skill and may involve
some serious knowledge in the elements of art and proper composition. This niche can sometimes be confused
with real estate photography, which also involves photographing structures (mainly houses, apartments, or
condominiums) and their interiors. You can technically switch between the two, as they both use the same
equipment and involve a lot of the same skills.
If you want to become an architectural photographer, you’ll likely need to invest in some additional
gear, such as a tilt-shift lens, a high-quality tripod, a panorama head, and a bubble level.