3. This handout will be
delivered in your respective
barangay every Monday.
Answers of the exercises/activities will be
written in a separate sheet and will be
submitted every Friday.
Quarterly Assessment will be given
separately on a specified date.
4. LEARNINGCOMPETENCIES
• Visualize personal design
• Draw the appropriate techniques make a
work of art
• Evaluate contemporary art forms based on
elements and principles
5. Organization
refers to the “order” in a work of art. It refers to
the ways the element are arranged, combined,
and configured to make a whole.
A plan is the “skeleton” of the work of art. It
is essential because it holds the work together.
6. The artist determines what the center of interest
of the artwork will be, and composes the
elements accordingly.
Unity- a phenomenon where the gaze of the
viewer will then tend to linger over these points
of interest, elements are arranged with
consideration of several factors into a harmonious
whole which works together to produce the
desired statement
7. There are numerous approaches or
“organizational techniques” in achieving a sense
of unity within an artwork, depending on the
goals of the artist.
For example:
A work of art is said to be aesthetically
pleasing to the eye if the elements within the work
are arranged in a balanced compositional way.
8. Emphasis can be achieved in a number of ways.
Repetition creates emphasis by calling attention
to the repeated element through sheer force of
numbers.
9. Organization in the Visual Arts
The visual arts, organization is governed by
different principles of the art design that the
artist in making the art become more beautiful
and interesting to the observer. Through
combination of lines, colors, and forms, an
artist can give the observer new, varied, and
satisfying experience.
10. Through combination of lines, colors, and
forms, an artist can give the observer new, varied,
and satisfying experience. The beauty principles
of art design are rules or guides to help one put
these elements together to achieve beauty.
11. 1. Rhythm
described as timed movement through space;
an easy, connected path which the eye follows a
regular arrangement of motifs. The presence of
rhythm creates predictability and order in a
composition.
Visual rhythm may be best understood by
relating it to the rhythm in sound.
12. Rhythm depends largely upon the elements of
pattern and movement to achieve its effects.
The parallels between rhythm in a visual
composition. The difference is that the timed
"beat" is sensed by the eyes rather than the
ears.
Can be created in a number of ways.
13. Linear rhythm
-refers to the characteristic flow of the
individual line.
-is not as dependent on the pattern but is
more dependent on the timed movement of the
viewer's eye.
14. a. Repetition
-involves the use of patterning to achieve timed
movement and a visual "beat.“
-This repetition may be a clear repetition of
elements in a composition, or it may be a more subtle
kind of repetition that can be observed in the
underlying structure of the image.
15. b. Alternation
is a specific instance of patterning in which a
sequence of repeating motifs is presented in turn
(e.g. short/long; fat/thin; round/square;
dark/light) to make the artwork more interesting
and attractive.
16. c. Gradation
employs a series of motifs patterned to relate to
one another through a regular progression of
steps. This may be a gradation of shape or color.
Some shape gradations may, in fact, create a
sequence of events, not unlike a series of images
in a comic strip.
17. 2. Emphasis
referred to as a point of focus, or interruption.
The artist or designer uses emphasis to call
attention to something, or to vary the
composition in order to hold the viewers’ interest
by providing visual “surprises.”
Emphasis can be achieved in a number of ways.
18. a. Repetition
creates emphasis by calling attention to the
repeated element through sheer force of
numbers. If a color is repeated across a map, the
places where certain colors cluster will attract
your attention.
19. b. Contrast
achieves emphasis by setting the point of
emphasis apart from the rest of its background.
Various kinds of contrasts are possible. The use of
a neutral background isolates the point of
emphasis.
20. c. Placement in a strategic position
will call attention to a particular element of a
design.
21. 3. Unity
is the underlying principle that summarizes all of
the principles and elements of design. It refers to
the coherence of the whole. The sense that all of
the parts are working together to achieve a
common result; a harmony of all the parts.
22. Unity can be achieved through the effective and
consistent use of any of the elements. But
pattern — that is, underlying structure is the
most fundamental element for a strong sense of
unity. The consistency of form and color are also
powerful tools that can pull a composition
together.
23. unity also exists in variety. It is not necessary for all of
the elements to be identical in a form providing they
have a common quality of meaning or style.
For example, fashions from a specific period share
common features of silhouette, materials, and color that
identify the style of the day, or the look of a particular
designer..
24. Unity can also be a matter of concept. The
elements and principles can be selected to
support the intended function of the designed
object; the purpose of the object unifies the
design.
25. 4. Balance
the condition or quality which gives a feeling of
rest, repose, equilibrium or stability.
In art, we do not exactly arrange objects of equal
physical weights or sizes to produce balance. It is
the “visual weights” of lines, forms, values,
textures’, and colors that we really balance.
26. Visual weight is that “quality which gains and holds
attention.” In other words, it is the power of
attraction of each of the elements of art.
Objects should be balanced horizontally,
vertically or diagonally, that is, the attraction be
distributed on either side of the vertical,
horizontal, or diagonal axis of any arrangement.
27. In order to check whether a picture is balanced on
a vertical axis or not, cover half of it compare the
exposed part with the portion being covered. If
they have equal power of attraction, the picture is
balanced.
28. a. Symmetrical balance
described as having equal “weight” on equal
sides of a centrally placed fulcrum. It may also
be referred to as formal balance. When the
elements are arranged equally on either side of
a central axis, the result is Bilateral symmetry.
29. This axis may be horizontal or vertical. It is also
possible to build formal balance by arranging
elements equally around a central point,
resulting in radial symmetry.
30. b. Asymmetrical balance
also called informal balance, is more complex and
difficult to envisage. It involves placement of
objects in a way that will allow objects of varying
visual weight to balance one another around a
fulcrum point. This can be best imagined by
envisioning a literal balance scale that can
represent the visual “weights” that can be
imagined in a two-dimensional composition.
31. For example:
It is possible to balance a heavy weight with a
cluster of lighter weights on equal sides of a
fulcrum; in a picture, this might be a cluster of small
objects balanced by a large object. It is also possible
to imagine objects of equal weight but different
mass (such as a large mass of feathers versus a
small mass of stones) on equal sides of a fulcrum.
Unequal weights can even be balanced by
shifting the fulcrum point on our imaginary scale.
32. 5. Proportion
is the principle which shows the pleasing
relationship between a whole and its parts and
between the parts themselves.
the arrangement of space divisions in pleasing
relationships. Proportion is established when
two or more objects are placed near or adjacent
to each other.
33. An arrangement or grouping of objects may show
good or bad proportion. In arranging objects, it is
more pleasing to group three objects with another
three, or two objects with three, than to group two
objects with two or two with four. It is because odd
numbers are more interesting than even numbers.
Very small objects should not be grouped with very
large ones. Otherwise, they will be out of proportion.
34. Activity 1. Painting Evaluation.
Choose a painting base on the elements and
principles of art. Answer the following questions.
1. What are elements of art that you see in the
painting?
2. How is the painting displayed in terms of harmony,
variety, rhythm, proportion, balance?
35. _______2. The design principle that is designed on
repetition is called
a. rhythm b. balance c. emphasis
d. focal point e. all of the answers are correct
_______3. The principle of art which deals with the
visual weight of objects and forms in an artwork.
a. balance b. rhythm c. movement
d. proportion e. emphasis f. unity
g. variety
36. _______4. The principle of an art that an artist may use
in order to bring a sense of wholeness or completeness
to his work is called:
a. balance b. rhythm c. movement d. proportion
e. emphasis f. unity g. variety
_______5. A principle of art in which many differences
among the elements are used to create added interest
in the work is called:
a. balance b. rhyth c. movement d. proportion
e. emphasis f. unity g. variety
37. Activity 3.
Draw red star to agree with the statement
and a blue moon to represent disagreement.
_____1. Proportion is established when two or more
objects are placed near or adjacent to the other.
_____2. The artist determines what the center of
interest of the artwork will be, and composes
the elements accordingly.
38. _____3. Objects should be balanced horizontally,
vertically or diagonally, that is, the attraction be
distributed on either side of the vertical,
horizontal, or diagonal axis of any arrangement.
_____4. Unity can be achieved through the
effective and consistent use of any of the elements.
_____5. The use of a neutral background isolates
the point of emphasis.
39. Please submit your answer/ activity
sheets every FRIDAY.
Thank You for your cooperation.
Until next time!
Good-bye!
God bless us all..
