1he prevalllng Lheme of Aslan arLs have been rellglon and naLlonal hlsLory

ln rellglon Lhe maln lnLeresL was noL so much ln acLual docLrlnes buL ln Lhe
llfe and personallLy of Lhe 8uddha and/or Lhe personallLles and llves of Lhe
Plndu gods ln naLlonal hlsLory Lhe lnLeresL was ln Lhe legendary heroes of
Lhe pasL

lngapore 1halland hlllpplnes Malaysla lndonesla

1exLure
1he LexLure ls Lhe quallLy of a surface or Lhe way any work of arL ls represenLed
Llnes and shadlng can be used Lo creaLe dlfferenL LexLures as well lor example lf
one ls porLraylng cerLaln fabrlcs one needs Lo glve Lhe feellng of Lhe rlghL LexLure
so LhaL lL closely resembles whaL Lhe arLlsL ls Lrylng Lo convey
edlLlorm
lorm may be creaLed by Lhe formlng of Lwo or more shapes or as Lhree
dlmenslonal shape (cube pyramld sphere eLc) lL may be enhanced by Lone
LexLure and colour lorm ls consldered Lhreedlmenslonal showlng helghL wldLh
and depLh Lxamples of Lhese are sculpLure LheaLre play flgurlnes
edlLpace
pace ls Lhe area provlded for a parLlcular purpose lL may have Lwo dlmenslons
(lengLh and wldLh) such as a floor or lL may have Lhree dlmenslons (lengLh
wldLh and helghL) pace lncludes Lhe background foreground and mlddle
ground pace refers Lo Lhe dlsLances or areas around beLween or wlLhln
componenLs of a plece 1here are Lwo Lypes of space poslLlve and negaLlve space
oslLlve space refers Lo Lhe space of a shape represenLlng Lhe sub[ecL maLLer
negaLlve space refers Lo Lhe space around and beLween Lhe sub[ecL maLLer
edlLLlne
Llne ls mosL easlly deflned as a mark LhaL spans a dlsLance beLween Lwo polnLs(or
Lhe paLh of a movlng polnL) Laklng any form along Lhe way As an arL elemenL
llne perLalns Lo Lhe use of varlous marks ouLllnes and lmplled llnes ln arLwork and
deslgn mosL ofLen used Lo deflneshape ln Lwodlmenslonal work lmplled llne ls
Lhe paLh LhaL Lhe vlewers eye Lakes as lL follows shapes colours and form along
a paLh buL may noL be conLlnuous or physlcally connecLed such as Lhe llne
creaLed by a dancers arms Lorso and legs when performlng an arabesque
edlLColor
Color perLalns Lo Lhe use of hue ln arLwork and deslgn ueflned as prlmary
colors (red yellow blue) whlch cannoL be mlxed ln plgmenL from oLher hues
secondary colors (green orange purple) whlch are dlrecLly mlxed from
comblnaLlons of prlmary colors lurLher comblnaLlons of prlmary and secondary
colors creaLe LerLlary (and more) hues 1lot and 5boJe are references Lo addlng
varlaLlons ln voloe oLher LerLlary colors are derlved by mlxlng elLher a prlmary or
secondary color wlLh a neuLral color eg 8ed + WhlLe lnk
edlLvalue
value or Lone refers Lo Lhe use of llghL and dark shade and hlghllghL ln an
arLwork 8lackandwhlLe phoLography depends enLlrely on value Lo deflne lLs
sub[ecLs value ls dlrecLly relaLed Lo conLrasL
edlLhape
hape perta|ns to the use of areas |n two d|mens|ona| space that can be def|ned
by edges sett|ng one f|at spec|f|c space apart from another hapes can be
geometr|c (eg square c|rc|e tr|ang|e hexagon etc) or organ|c (such as the
shape of a pudd|e b|ob |eaf boomerang etc) |n nature hapes are def|ned by
other e|ements of art pace L|ne 1exture Va|ue Co|or Iorm

THE PRINCIPLES OF DESIGN
BALANCE
Balance in design is similar to balance in physics

A large shape close to the center can be balanced
by a small shape close to the edge. A large light
toned shape will be balanced by a small dark toned
shape (the darker the shape the heavier it appears to be)
GRADATION
Gradation of size and direction produce linear perspective. Gradation of of colour from warm to cool and tone from dark to
light produce aerial perspective. Gradation can add interest and movement to a shape. A gradation from dark to light will
cause the eye to move along a shape.

REPETITION
Repetition with variation is interesting, without variation repetition can become monotonous.

The five squares above are all the same. They can be taken in and understood with a single glance.

When variation is introduced, the five squares, although similar, are much more interesting to look at. They can no longer
be absorbed properly with a single glance. The individual character of each square needs to be considered.
If you wish to create interest, any repeating element should include a degree of variation.
CONTRAST
Contrast is the juxtaposition of opposing elements eg. opposite colours on the colour wheel - red / green, blue / orange
etc. Contrast in tone or value - light / dark. Contrast in direction - horizontal / vertical.
The major contrast in a painting should be located at the center of interest. Too much contrast scattered throughout a
painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and confusion are what you are
seeking, it is a good idea to carefully consider where to place your areas of maximum contrast.
HARMONY
Harmony in painting is the visually satisfying effect of combining similar, related elements. eg.adjacent colours on the
colour wheel, similar shapes etc.
DOMINANCE
Dominance gives a painting interest, counteracting confusion and monotony. Dominance can be applied to one or more of
the elements to give emphasis

&NITY
Relating the design elements to the the idea being expressed in a painting reinforces the principal of unity.eg. a painting
with an active aggressive subject would work better with a dominant oblique direction, course, rough texture, angular lines
etc. whereas a quiet passive subject would benefit from horizontal lines, soft texture and less tonal contrast.
Unity in a painting also refers to the visual linking of various elements of the work.