Chapter 6: Elements and Principles of Art

Activating Student’s Schemata

In the chapter on Subject and Content, it was mentioned that arts have a specialized language.
And to be able to understand this language, the familiarity with some of the elements and
principles that make it legible is required. Think of it as the letters – the stringing of letters to
formulate words, and perhaps even the different pronunciations and enunciations that assist
comprehension.
The next chapter endeavors to take art and break it into its smaller parts. Like a scientist who
takes a splice or a sample and places it under a microscope, the next lesson will allow for a better
view, not of the final picture; rather, the parts that complete it.

Learning Objectives

By the end of this lesson, you should be able to:

 enumerate the different elements of visual and auditory art;
 differentiate the principles of art;
 provide example of the interrelatedness of some of the elements and principles of
art;
 explain the relevance of the elements and principles of art in the study of art and
its products (artworks); and
 illustrate examples of hybrid art and dissect what art forms are combined therein.

Topic 1: Elements of Art: Visual

Taking off from the scientific reference, elements of art are akin to the atoms that are
defined as the units or “building blocks” of matter. Together, in a variety of combinations of
formations, they have the ability to create molecules such as water, or the more complex sucrose.
These formulations are almost the same with elements of art when they are joined together, in a
variety of ways. In the same line of reasoning, the elements of art are the aspects of an artwork
that can be isolated from each other.
These elements of art are generally produced when something is done to the medium
after the technique is carried out. It must be underscored, however, that all works of art require
all elements to be present. Some art forms also necessitate some of the elements as they are
inherent in the very nature of them. For example, sculptures automatically have the following
elements with or without the decision of the artist to include them: shape, form, and space.
Without these elements, there is no sculpture to begin with. Elements are the necessary
preconditions for the creation of art.
To enumerate, the elements of art and design are the following: line, shape and form,
space, color, and texture.
1. Line – A line refers to a point moving at an identifiable path – it has length and direction. It
also has width. It is one-dimensional, however, it has the capacity to either define the perimeters
of the artwork (edges) and/or become a substantial component of the composition. Although a
line is “simple,” it has variations in view of its orientation/direction, shape, and thickness. These
variations import not only the visual elements into the artwork, but suggest meaning or message
being conveyed by the artist. Known for using lines to
provide the outline or contour of the figures he
portrays in his work, Keith Haring first executed the
public mural “Todos juntos podemos parar el sida”
(Together We Can Stop AIDS) in Barcelona in 1989.
In 2014, it was created at the foyer of the Museu d’Art
Contemporani de Barcelona (Barcelona Museum of
Contemporary Art) to commemorate it. Haring battled
with HIV/AIDS to which he succumbed to in 1990.
A quality that is ascribed to lines is its ability to direct the eyes to follow movement or
provide hints as to a work’s focal point. The orientation in which we are most accustomed to
such as the assertive force of gravity grounding objects, or the sideways or up-and-down
vibration that informs us of an earthquake, the gustiness of wind from the window, or the
direction of the rainfall conjures different images of lines.
a. Horizontal and vertical lines – refers to the orientation of the line. Horizontal lines
are normally associated with rest or calm. Landscapes often contain these elements as
works like these often connote a visual sense of being parallel to the ground. It also
alludes to position of the reclined body at rest. Vertical lines, on the other hand, connote
elevation or height, which is usually taken to mean exaltation or aspiration for action.
Together, these lines communicate stability and firmness.
b. Diagonal and crooked lines – diagonal lines convey movement and instability,
although the progression can be seen. Crooked or jagged lines, on the other hand, are
reminiscent of violence, conflict, or struggle.
c. Curved lines – these are lines that bend or coil. They allude to softness, grace,
flexibility, or even sensuality.
One of the most important Spanish artists is Francisco de Goya. Known
for his prints, he is a master of etched works and use of aquatint. He
made use of this medium to articulate his political views about the ills of
society, war scenes, and even the dreamlike and grotesque while still
engaging with what was happening around him. As with most etchings
and other types of prints, lines are dominant visual components.
Lines may not necessarily be explicit or literally
shown. As what many examples will portray, implied
lines may be just as powerful, if not more. In “The
Raft of Medusa,” the position and orientation of the
bodies that are aboard the raft are predominantly
diagonal in direction. This creates not only movement
but also tension in the scene. Based on an actual event,
the painting depicts the 1816 wreckage of the French
government ship called Medusa.

2-3. Shape and Form

These two are related to each other in the sense that they define the space occupied by the
object of art. Shape refers to two dimensions: height and width, while form refers to three
dimensions: height, width, and depth. Even if shapes are part of a bigger picture, each can be
identified by breaking the visual components apart and making distinctions based on what we
know and what we have seen. Two categories can be used as a broad distinction:
a. Geometric – these shapes find origin in mathematical propositions. As such, its
translation and use are often man-made. These include shapes such as squares,
triangles, cubes, circles, spheres, and cones, among others.

Piet Mondrain, “Composition with Color Planes

and gray lines 1” (1918) Oil on canvas private
collection

b. Organic – organic shapes are those readily occurring in

nature, often irregular and asymmetrical. The designs of
the vase is foliage, a sample from series that made use of
morning glories.
Shapes may also be implied. For instance, Raphael’s famous painting
“The Madonna of the Meadows” depicts three figures: Mary, young
Jesus (right), and the young John the Baptist (left). The positions in
which the group takes allude to a triangular shape reinforced by the
garb of Mary.

4. Space – Related to shape and form is space. It is usually inferred

from a sense of depth, whether it is real or simulated. Real space is three-dimensional. Like what
has been previously mentioned, sculptures are a perfect example of artworks that bear this
element. However, this can only be
manifested in two-dimensional artworks
through the use of different techniques, or
the use (or non-use) of area around a
drawing or picture.

In the middle of the AT&T Plaza at the Millennium Park in the Loop Community area in
Chicago, the iconic “Cloud Gate” occupies a considerable space. Shaped like a bean, hence its
other referent, the public sculptures were unveiled in 2004. The dent in the middle offers a gap in
which people can pass through and gaze at the sculptures in a different perspective.
However, not all works are sculptures. In two-dimensional artworks, they may be
implied.
a. Positive and negative space – usually identified with the white space is the negative
space. The positive space, on the other hand, is the space where shadow is heavily used.
 b. Three-dimensional space – can be simulated through a variety of techniques such as
shading. An illusion of three-dimensionality can be achieved in a two-dimensional work.

5. Color – Color is perhaps one of the elements that

enhances the appeal of an artwork. Its effect has range,
allowing the viewer to make responses based on
memory, emotion, and instinct, among others. This
element is a property of light, as it is reflected off the
object. Color is not intrinsic to an object and without
light, one cannot perceive color. Much of what we know
about colors begins with the notion of a Color Theory
that was first unraveled by the experiments undertake by
Sir Isaac Newton in 1666. A ray of sunlight passing
through a prism reveals an array of color akin to that of a
rainbow. An upshot of this color theory is the creation of a
color wheel.

The color wheel corresponds to the first property of color, hue.

a. Hue – this dimension of color gives its name. It can be subdivided into: (1) Primary
colors – red, yellow, and blue; (2) Secondary colors – green, orange, and violet; and (3)
Tertiary colors – six in total, these hues are achieved when primary and secondary colors
are mixed.
b. Value – this refers to the brightness or darkness of color. Often, this is used by artists
to create the illusion of depth and solidity, a particular mood, communicate a feeling, or
in establishing a scene (e.g., day and night). (1) Light colors – taken as the source of light
in the composition and (2) Dark colors – the lack or even absence of light.

However, we can identify the color even when a range is presented to us. Expectations
are also established based on the notion that yellow is within the light value; whereas, violet is in
the dark. Each primary color has a range of values based on the addition and diminishing
quantity and quality of light. (1) Tint – this is a lighter color than the normal value (e.g., pink for
red) and (2) Shade – this is a darker color than the normal value (e.g., maroon for red).
c. Intensity – this the color’s brightness or dullness. It is identified as the strength of
color, whether it is vivid or muted. To achieve a specific intensity of a color, one may add
either gray or its complementary color. (1) Bright
or warm colors – positive energy and (2) Dull or
cool colors – sedate/soothing, seriousness or calm.
To better understand intensity of color, color
harmonies are to be considered. In interior design,
 we often hear designers refer to color schemes – a guide for selecting not only wall paint
but also furniture and decor. However, color harmonies are also integral considerations
not only for pictorial arts but also for other art forms. (1) Monochromatic harmonies –
use the variations of a hue. An example is Claude Monet’s “Houses of Parliament.”;

(2) Complementary harmonies – involve two

colors opposite each other in the color wheel.
Since they are at contrary positions, the reaction is
most intense. Notice the altar piece featuring Saint
Anthony Abbot and Saint Roch. Along with them
is Saint Lucy, patron of the build, whose red and
green garb beautifully showcases an example of
complementary harmonies.

(3) Analogous harmonies – make use of two

colors beside each other in the color wheel.
Other harmonies have emerged such as triadic
harmonies, which make use of three colors from
equidistant sites within the color wheel. This, however,
does not mean that artists will limit themselves to these
kinds of harmonies. These are but jump-off points that
artists and other creatives use.
All in all, color presents a multitude of
possibilities that affects how works of art are taken in
by the viewer. Just taking a look at fiery and passionate reds of
the clouds and the sky in Edvard Munch’s “The Scream,” would
bring oneself to ask: Did Much depict a romantic sunset or a
warning of coming horrors? A clue is not in the colors alone, but
rather, in the face of the man himself that is prominent in the
painting. His shriek would point to the latter. What is illustrated
is that colors and imagery work together to deliver a message,
whether the one intended by the artist, or what is facilitated by
our own experiences.

6. Texture – Like space, texture can be either real or implied.

This element in an artwork is experiences through the sense of
touch (and sight). This element renders the art object tactile.
Often, texture is commonly associated with textiles. In the portrait rendered by court painter
Frans Pourbus the Younger, Princess Margherita’s garb is adorned in opulent bead and stitch
work that are befitting her rank. This was achieved using the techniques employed by the artist in
creating the work.

a. Textures in the two-dimensional plane – texture can be implied using one technique or a
combination of other elements of art. By creating
this visual quality in the artwork, one can imagine
how the surface will feel if it was to be touched.
Some of the words used to describe texture are the
following: rough or smooth, hard or soft, hairy,
leathery, sharp or dull, etc. To be able to stimulate
the texture of a surface in a flat, two-dimensional
plan is one important skill that an artist must be
familiar with, especially if his idea or concept
necessitates it.
b. Surface texture – refers to the texture of the three-
dimensional art object.

The elements of art make it possible to engage with the

visual and tactile qualities of the artwork through a
“common language” that may be widely understood.
Through these elements, there is something from which the idea, concept, message, or intended
mood of the artist may be inferred. It offers a starting point or a baseline from which analysis
may take place. This kind of analysis is called formal analysis of art.

Topic 2: Planes and Perspective

Some art forms work with actual spaces, such as sculptors, architects, and stage
designers. However, with pictorial art that is two-dimensional, notions of depth and hence
perspective requires the implementation of principles and techniques in creating an illusion that
will fool the eye to three-dimensionality when in reality there is none. Picture plane is the actual
surface of the painting or drawing, where no illusion of a third dimension exists. Here, the
elements lay flat, as if one was looking through a window into what lies on the other side of the
glass.
During the Renaissance, specifically in the fifteenth century, chiaroscuro was developed.
It made use of light and dark contrasts and tones in which paintings not only looked three-
dimensional, but also more dramatic. Aside from this technique, linear perspective changed the
way pictorial representation was done. Credited to Renaissance artists, its early proponents
include Leon Battista Alberti, Paolo Uccello, and architect Filippo Brunelleschi in the early
fifteenth century, who were published in Alberti’s On Painting in 1435. Its use was based on the
following observations: (a) As forms and objects recede, the smaller they become and (b) We
were taught that parallel lines never meet. However, when they, too, seem to converge when they
recede into a distance, at a point, they both disappear. This point of disappearance is called the
vanishing point.

An example often used to illustrate linear perspective is the

railroad where tracks disappear off at a distance.
 A viewpoint may also be construed as
normal (view standing up), low (view from a
lower angle), or high (view looking down on a
scene) depending on the position the viewer
takes. There are three types of perspective,
grounded on the number of vanishing points
used by the artist: (a) one-point perspective –
often used in depicting roads, tracks, hallways,
or rows of trees; this type of perspective shows
parallel lines that seem to converge at a specific
and lone vanishing point, along the horizon line;
(b) two-point perspective – pertains to a painting
or drawing that makes use of two vanishing points, which can be placed anywhere along the
horizon line. It is often used in depicting structures such as houses or buildings in the landscape
that are viewed from a specific corner; and (c) three-
point perspective – in this type of perspective, the
viewer is looking at a scene from above or below. As
the name suggests, it makes use of the three vanishing
points, each corresponding to each axis of the scene.

Topic 3: Elements of Art: Auditory

Together with literature, music as an art form is classified as auditory art. However, some
would argue that it is under the broad category of performance art. Either way, music, much like
the visual arts, has its own building blocks or elements.
Perhaps one of the most widespread forms of art, whose intersection in daily life is most
predictable, is music. Music is sound organized in a specific time. It is considered an implement
to cultural activities, answering a specific role or function. During the times when man had to
hunt for food, music was used as a corral to herd animals, or as an element of specific rituals or
rites. Singing or dancing to music was also often included in opportunities for members of
society to gather and interact. Some are adept with the skill and sense to produce music, while
others consume it as listeners, audiences, and even performers.
 If there is an important quality that music has, it is having the capacity to transcend
barriers, even that of differences in language or conventions in sound. Different demographics,
groups, and individuals may have specific preferences as to the genre of music. However, in
order to establish this preference, listeners often take to its elements for its evaluation. Some of
the common elements of music are the following: rhythm, dynamics, melody, harmony, timbre,
and texture.
1. Rhythm – Often associated to the terms beat, meter, and tempo, rhythm is the element of
music that situates it in time. It is the pulse of the music. Beat is the basic unit of music while
tempo refers to its speed (beats/second). Beats can be organized into a recognizable recurrent
pattern, which is called the meter. Classical terms are used to refer to the variation in tempo,
some of which are: (a) largo – slowly and broadly; (b) andante – walking pace; (c) moderato – at
moderate speed; (d) allegro – fast; (e) vivace – lively; (f) accelerando – gradually speeding up;
(g) rallentado – gradually slowing down; (h) allargando – getting slower, broadening; and (i)
rubato – literally “robbed time,” rhythm is played freely for expressive effect.
2. Dynamics – the element of music that refers to the loudness or quietness of music is
dynamics. Classical terms are used to refer to the different levels pertaining to this: (a)
pianissimo [pp] – very quiet; (b) paino [p] – quiet; (c) mezzo-piano [mp] – moderately quiet; (d)
mezzo-forte [mf] – moderately loud; (e) forte [f] – loud; and (f) fortissimo [ff] – very loud. When
composers indicate an increase, or decrease in loudness, they use the term crescendo for the
former; and decrescendo or diminuendo for the latter.
3. Melody – refers to the linear presentation (horizontal) of pitch. By horizontal, it means that in
musical notation, it is read in succession from left to right. Pitch is the highness or lowness of
musical sound.
4. Harmony – if melody is horizontal, harmony is vertical. It arises when pitches are combined
to form chords. When several notes are simultaneously played, this refers to a chord. Harmony
can be described in terms of its “harshness”; dissonance is the harsh-sounding combination while
consonance is the smooth-sounding combination.
5. Timbre – timbre is often likened to the color of music. It is a quality that distinguishes a voice
or an instrument from another. Dependent on the technique, the timbre may give a certain tone or
characteristics to music, much like how a painter evokes different effects or impressions onto the
canvas.
6. Texture – the number of melodies, the type of layers, and their relatedness in a composition is
the texture of music. It may be: (a) monophonic – single melodic line; (b) polyphonic – two or
more melodic lines; and (c) homophonic – main melody accompanied by chords.
Akin to artworks style, medium, and technique emphasize some of the elements in visual
arts, a composition and genre of music may emphasize the elements of music previously
outlined. Some elements may even be de-emphasized or omitted altogether. Like what was
mentioned, these elements may be isolated from each other. However, as visual or musical
compositions, the combination of these elements in art is what we initially engage with.
Most often, elements do not only coexist in the artwork, but are fused together or overlap
with each other. In visual arts, most artworks have overlapping elements.
Topic 4: Principles of Art
To reiterate, the appreciation and engagement of art relies substantially on being
equipped with the appropriate language that allows it to be more comprehensible. If the elements
of art were like the letters (i.e., combining these letters will form words, phrases, and sentences),
then the principles of art would perhaps be the closest to the rules of grammar and composition.
Learning these principles will lessen the intimidation and might even open vast possibilities for
the novice looker to have a more pleasurable experience of art. These principles will provide
explicit ways in which these elements are used, how they are manipulated, how they interact, and
how they inform the overall composition of the artwork to assist the artist in conveying his
intention. It is the principle of art that influence the effect achieved by the elements, and the
linkages of other principles. These principles are: balance, scale and proportion, emphasis and
contrast, unity and variety, harmony, movement, rhythm, and repetition and pattern.

1. Balance – The principles refer to the

distribution of the visual elements in
view of their placement in relation to
each other.

There are three forms of balance:

(a) Symmetrical – the elements used on one side are reflected to the
other. This offers the most stable visual sense to any artwork;
(b) Asymmetrical – the elements are not the same (or of the same
weight) on each side, putting the heaviness on one side; and (c) Radial
– there is a central point in the composition, around which elements
and objects are distributed.
2. Scale and Proportion – Scale pertains to the size
in relation to what is normal for the figure or object
in question. Sculptures of exaggerate scale are
common all over the world as many artists are taken
by the whimsical quality of these objects. One
cannot help but smile upon seeing them in public
spaces. In the Philippines, Arturo Luz has created
enormous sculptural versions of the paper clip. For a
long time, it occupied a prominent spot at the
entrance of the Ayala Museum. Proportion, on the
other hand, is the size of the components, or of
objects in relation to one another when taken as a
composition or a unit. This can also refer to values
such as amounts or number of elements or objects in
the composition.

One of the most common cannons asserted relates to

the proportion of the body. This varies from one
culture or tradition to another. For the Egyptian
artists, the human form follows a square grid and is
informed by the palm of the hand as a unit of
measure. To complete a standing human figure, 18
units (squares) are needed from head to foot. On the
other hand, Greeks held that numerical relationships
– the golden ratio – was the key to beauty or to
protection. In the golden ratio, the figure is divided
into two unequal segments wherein the smaller is the
same ratio to the larger segment, and that the longer
segment is the same ratio in relation to the whole. In
figures, it can be valued at 1:1.618. Leonardo da
Vinci’s “Vitruvian Man” is an exploration on the
ideas of the Roman architecture. For da Vinci, man’s
body can be used to better understand the symmetry
that exists in nature and the universe. Proportion can be: (a) Natural – relates to the realistic size
of the visual elements in the artwork, especially for figurative artworks. When it is the accuracy
in relation to the real world that the artist, this is now referred to as the principle of scale; (b)
Exaggerated – refers to the unusual size relations of visual elements, deliberately exaggerating
the immensity or minuteness of an object. In relation to this, there are notions in scale that
differentiate when an element is smaller than expected (diminutive), and when something
appears to be larger than what is presumed (monumental).; and (c) Idealized – most common to
those that follow canons of perfection, the size-relations of elements or objects, which achieve
the most ideal size-relations.

3-4. Emphasis and Contrast – Emphasis allows the attention of the viewer to a focal point(s),
accentuating or drawing attention to these elements or objects. This can be done through the
manipulation of the elements or through the assistance of other principles, especially that of
contrast. Contrast is the disparity between the elements that figure into the composition. One
object may be made stronger compared to other objects (hence, emphasis). This can be done in
many ways using the elements of art. For instance, space, specifically the use of negative and
positive space, is an example of contrast. Another example is the use of complementary colors in
a work of art.
5-6. Unity and Variety – Unless intended to be otherwise,
compositions are intended to imbue a sense of accord or
completeness from the artwork. This is unity. Variety, on the
other hand, is the principle that aims to retain the interest by
allowing patches or areas that both excite and allow the eye to
rest.

7. Harmony – Like what is hinted above, unity and variety is

related to the principle of harmony, in which the elements or
objects achieve a sense of flow an interconnectedness.
8. Movement – This refer to the direction of the viewing eye as
it goes through the artwork, often guided by areas or elements
that are emphasized. These focal points can be lines, edges,
shape, and color within the work of art, among others.
9. Rhythm – This is created when an element is repeated, creating
implied movement. Variety of repetition helps invigorate rhythm
as depicted in the artwork.
10-11. Repetition and Pattern – Lines, shapes, colors, and other
elements may appear in an artwork in a recurring manner. This is
called repetition. In addition, the image created out or repetition is
called pattern. With repetition, there is a sense of predictability
that is conveyed, which in turn imbues the feelings of security
and calmness.

Topic 5: Combined or Hybrid Art

Looking at the elements and principles of art previously discussed, it is apparent that art
may be defined under strict lines that separate one art form or style to another. In board sense, it
is easy to decipher visual arts form auditory arts. In the same vein, when looking at more specific
art forms, there is a considerate ease when one is confronted with the challenge of differentiating
a painting from a sculpture, a print form a drawing, or a soundtrack from a poem. However, with
the complexity of contemporary times in which experimentation and innovation are encouraged,
the arts are not exempted from the increasing overlaps, merger, and fusion of different aspects of
art production and their resultant consumption. One of the buzzwords at the tail end of the
twentieth century is interdisciplinary. Rooted on the realization that the problems of society that
are becoming more and more complex, it is necessary that solutions become innovative, wherein
alternative routes to what is familiar, common, and customary are given premium. It was also
direct upshot of postmodernist ideas in which barriers were more porous – strict delineation of
art forms was overthrown to make way for collaborations and partnerships between fields,
professionals, and creatives. The idea of a single-medium0based art seems like a strange past that
no longer holds in an interdisciplinary reality we live in.
In contemporary art, these developments were mirrored in the multifaceted nature of
artworks that were created. It is not surprising that themes, subjects, and the problematique
addressed shaped and produced new kinds of articulation in which two or more art forms and
styles are combined. Some examples of combined arts include dance, theater, installation art,
film, video art, documentary, photography, puppetry, design, and other forms of production.
These combined art forms are interesting specimens that can be studied to understand
what art forms and styles have been combined, and furthermore, what skills, techniques, or
creative processes can be put together to produce interesting and innovative compositions. In
combined arts, improvisation is often tapped in addition to practical and logical considerations of
creating an artwork. Form a specific vista of an art form, there is a seeming road map to creation.
However, in combined arts, the artist is challenged to deconstruct an idea or stimulus, from
which the content, narrative, technique, art forms, and styles will take form. Often improvisation
or inventiveness is necessary to create an artwork that is to some extent unprecedented. As
different art forms and styles are trapped, inspiration may come from numerous sources, and
documenting the process of fusing these influences may be part of the production. A clear
example of combined art is a theatrical performance that taps into many art forms such as music,
2D and 3D art, literature, lighting and set design, among others.
Another movement that is reminiscent of the motivations of the Renaissance, and whose
emergence is hinged on the frontiers of science and technology, is called hybrid arts. Referencing
and tapping into the fields of robotics, artificial intelligence, biotechnology, natural and
computer sciences, telecommunication, information, digital and interface technologies (software
programs, speech and face recognition, social media and online platforms, among many other
emergent developments), artists whose works tread under this movement disrupt the norms in
terms of what is considered as art, and even the way people envisage artistic production. More
than anything else, hybrid arts are driven by the expansion of the imagination and what is
possible through the “blistering pace of scientific and technological development” (Piirma,
2014). At its heart is an inquiry – and through information and data, the capacity of the artist to
move around platforms, and the implementation and manipulation of newfound tools in
production, the artist is able to address that inquiry.
 SUMMARY

In any art appreciation course, the module or lesson on the elements and principles of art
are considered one of the rudimentary stages in easing the student into a meaningful experience
with art, regardless of its form. A familiarity with these building blocks of composition and
formal analysis will aid the viewer in his or her attempt to come into terms with the intention of
the artist.

The elements and principles of art are essential to any artwork. Some of them will be
more obvious than others, becoming the anchors in which the viewer may latch on to engage
with the artwork. The focal point(s) that draw the attention of the viewer is also interesting to
note, as this provides insight as to the interest and values that are of most weight to him or her.
These perhaps will help create a bridge in which a person, who may not normally find pleasure
in looking at art, may consider future engagements with it. In short, familiarity of the elements
and principles has the potential to break the barriers in which art becomes ineffable.

SUGGESTED READINGS

- The 7 principles of arts and design - https://www.liveabout.com/principles-of-art-and-

design-2578740
- The relationship between elements and principles in art -
https://study.com/academy/lesson/the-relationship-between-elements-principles-in-art.html
- The ultimate collection of elements of art examples and definitions -
https://artclasscurator.com/elements-of-art-examples/

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