SPACE

The three-dimensional field in which objects and events occur and have relative position and direction. In painting, as in Architecture, space is of great importance. In Architecture, the exterior of a building is seen as it appears in space, while the interior is seen by one who is inside an enclosing space.

Sculpture involves very little space relationship or perception of space

Painting does not deal with space directly. It represents space only on a two-dimensional surface.

FORM
Describes the structure or shape of an object. Form applies to the overall design of a work of art. Form directs the movements of the eyes. Since form consists of size and volume, it signifies weight. Every kind of form has its own aesthetic affect. All visual arts are concerned with form. SCULPTURE and ARCHITECTURE deal with three-dimensional forms. SCULPTURE deals with exterior form alone because one cannot get inside a statue. The sculptor is restricted to masses in relation to other masses of interpretation. Michelangelos David idealizes and conventionalizes forms and features, like the best of the Golden Age Greek sculpture.

Good architecture allows outward forms to be governed by what goes on inside them. A house is a place for a family to live in, therefore the inside should be carefully designed to meet the needs of the family. If the exterior form of the house expresses clearly the interior form, the house becomes a good piece of art. A church must express on the outside, that inside is a place of worship for it to become a good work of art. Throughout the use of forms therefore, is the guiding principle FORM FOLLOWS FUNCTION. This means that the inner content of purpose or function governs the outer appearance. In addition to function, another factor in determining form is the way in which a building is constructed. The skyscrapers would not have been built had it not been made necessary by rising land values resulting from urban congestion. Great architecture, therefore, is produced only when the elements of function and construction are integrated by creative design. Triangles, circles and rectangles are favourite designs used by painters. Tables, buildings, picture frames, and furniture are usually composed of cubes or rectangular solids. Oranges, electric bulbs, lakes and domes are shaped as spheres. Trees, mountains and flowers are cones. The trunk of trees, human arms or legs, and pencils are cylinder. Architecture is also concerned with shapes of planes, openings, and silhouettes of building forms.

In painting or other two-dimensional arts, the form, usually an area on a flat surface enclosed by a line, stands out because of the difference in color, value or texture. This is the reason why it is sometimes difficult to recognize circles, cubes, or triangles or other geometric forms in paintings, because they are seen as parts of the objects or as the objects themselves. To develop our ability to recognize these shapes or forms is to see objects around us as having a particular color, tecture or tone.

FORMS are classified into: regular forms, irregular forms, centralized forms, linear forms, radial forms, clusterd forms,and grid forms. REGULAR FORMS are those whose parts are related to one another in a consistent orderly manner. They are generally stable and symmetrical in about one or more axis. Examples are platonic solids.

IRREGULAR FORMS Are those whose parts are dissimilar and unrelated to one another. They are generally asymmetrical and dynamic.

CENTRALIZED FORMS Consist of a number of secondary forms clustered to produce a dominant, central, and parent form.

LINEAR FORMS Are arranged sequentially in a row or a series of forms along a line. It can result from a proportional change in a forms dimensions, or the arrangement of a series of form along a line.

 RADIAL FORMS Are compositions of linear form that extend outward from central form in a radial manner.

GRID FORMS Are modular forms whose relationships are regulated by 3dimensional grids. A grid is a two or more intersecting sets of regularly spaced parallel lines. The square grid generates a spatial network of reference points and lines and within this modular framework any number of form and spaces can be visually organized.

VOLUME
The amount of space occupied in three dimensions. It therefore refers to solidity or thickness. It is perceived by contour lines or outlines or shapes of objects, and by surface, light and shadow. This is the primary concern of architects because a building always encloses space. The building must have everything neatly at place no matter what angle the lights fall on it or from what view we look at it. The outlines and shadows change everytime the viewer shifts his position. The viewer, therefore, may obtain not one but many different impressions from a single work. The sculptor is also concerned with volumes because his figures actually occupy space and can be observed from any direction. The direction of sunlight will determine the areas of light and shadows. The outlines and shadows change every time the viewer changes his position. Because painting is two-dimensional, volume is an illusion because the surface of the canvas is flat. The painter can only suggest volume.

VALUES OF COLOR Value is the lightness or darkness of a color. It as the amount of light in an object. A surface that absorbs all colors or light rays will appear black. A surface that reflects all colors equally will appear white. Tints of a color in oil paint or watercolour may be produced by adding white pigment or water respectively. Shade of a color is produced by adding a little black pigment to the color. Similar to the value scale in dark-and-light, value of a color can be shown in seven steps. Black and white are omitted as these are impossible to be represented on paper for obvious reasons. Dark orange is brown and yellowish brown is tan. Colors of light are yellow, while navy blue (blue and black) is shade. Indigo is deep blue-violet and vermillion is brilliant red.

PSYCHOLOGICAL EFFECTS OF VALUES IN COLOR The effect of color values are similar to those in dark-and-light. Light values or tints make the size of objects appear larger because these values reflect light. Therefore, they are more advancing than dark hues. An individual seems to look larger in light colored clothing. Light hues also seem to recede when seen from above, as in a ceiling. Hence, rooms can be made to appear higher by painting the ceiling with light colors. In perspective, distant objects appear to have light values because these values suggest distance or background. Dark hues or values seem to decrease the size of objects because these values absorb light. Large people should wear dark colored clothes to make them appear smaller. A dark color also suggest foreground or nearness. In this case, floors and rugs must be of dark hues. Besides dark colored floors make the room appear stable. Store goods on display must be so arranged that those with low or dark values are below and those with light or high values are above, to give impression of stability. White on black background is more conspicuous than black on white background because white reflects light while black absorbs it. A color appears darkeragainst a white background but lighter against a black or gray. Related values are quiet and restful and tend to merge into each other. Contrasting hues emphasize each other.

Republic of the Philippines

EASTERN VISAYAS STATE UNIVERSITY Tacloban City