Lesson 6: Elements and Principles of arts

Learning Outcomes By the end of this lesson, you should be able to:
1. Enumerate the different elements of visual and auditory art:
2. Differentiate the principles of art:
3. Provide examples of the interrelatedness of some of the elements and principles of
art, 4 explain the relevance of the elements and principles of art in the study of art and
its products (artworks); and
5. Illustrate examples of hybrid art and dissect what art forms are combined therein.
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.
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 and 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, recreated at the foyer of the Museu d'Art Contemporani
19Barcelona (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.
Figure 52. Francisco de Goya, “Porque esconderlos?” (Why Hide Them?) (1797-99)
Etching and aquatint. This print is work No. 30 of the Caprichos series (First edition,
Madrid, 1799). Museo del Prado Collection. 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.

Figure 53. Theodore Gericault, “The Raft of Medusa” (1818-19) Oil on canvas. Musée
du Louvre, Paris.
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.
Figure 54, Piet Mondrian, “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 design of the vase in Figure 55 is foliage, a sample from a series that
made use of morning glories.
Figure 55. Louis Comfort Tiffany (designer), Tiffany Furnaces (Maker), Vase made of

favrile glass. (ca. 1913), Gift of Louis Comfort Tiffany Foundation, 1951. The
Metropolitan Museum of Art, New York

Shapes may also be implied. For instance, Raphael’s famous painting “The Madonna of
the Meadows” depicts three figures: Mary, the 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.
Figure 57. Anish Kapoot, “Cloud Gate” (2004) located in Chicago, Illinois
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 sculpture was unveiled in 2004. The dent in the
middle offers a gap in which people can pass through and gaze at the sculpture 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 undertaken by Sir Isaac Newton in 1666. A ray of
sunlight passing through a prism reveals an array of colors akin to that of a rainbow. An
upshot of this color theory is the creation of a color wheel.
ps://decoart.com/blog/article/31B/color_theory_basics_the_color_wheel Figure 58.
Color Wheel courtesy of Jaime Costiglio.

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:
Primary colors – red, yellow, and blue Secondary colors green, orange, and violet
Tertiary colors – six in total, these hues are achieved when primary and secondary
colers 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). Light colors –
taken as the source of light in the composition 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. Tint- this is a lighter color than the normal value
(e.g.. pink for red) Shade this is a darker color than the normal value (e.g.. maroon for
red) c. Intensity – this is 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. Bright or warm colors – positive energy 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
décor. However, color harmonies are also integral considerations not only for pictorial
arts but also for other art forms. Monochromatic harmonies – use the variations of a
hue. An example is Claud Monet’s “Houses of Parliament.”

Figure 59. Claude Monet, “Houses of Parliament” (1900/1). Oil on canvas. Mr. and Mrs.
Martin A. Ryerson Collection (Bequeathed, 1933). Art Institute Chicago.

Has Complementary harmonies involve two colors opposite each other in the color
wheel. Since they are at contrary positions, the reaction is most intense.
Figure 60. Cima da Conegliano (Giovanni Battista Cima), “Three Saints: Roch, Anthony
Abbot, and Lucy.” Oil on canvas transferred to wood (ca. 1513). The Metropolitan
Museum of Art, New York.
Notice the altar piece featuring Saint Anthony Abbot and Saint Roch (Figure 60). Along
with them is Saint Lucy, patron of the blind, whose red and green garb beautifully
showcases an example of complementary harmonies. Analogous harmonies make use
of two colors beside each other in the color wheel.

Figure 61. Edgar Degas, “Before the Race” (1882-1884) Oil on panel Henry Walters
(Bequeathed, 1931) Walters Art Museum (WAM).
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 Munch 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. Edvard Munch (Puts/Selaman of Public
domain), via Wikimello
Figure 61. Edgar Degas, "Before the Race" (1882-1884) Oil on panel Henry Walters
(Bequeathed, 1931) Walters Art Museum (WAM).

6. Texture Like space, texture can be either real or implied. This element in an artwork is
experienced through the sense of touch (and sight). This element renders the art object
tactile.

Figure 63. Frans Pourbus the Younger, “Margherita Gonzaga, Princess of Mantua.” Oil
on canvas Bequest of Collis P. Huntington. 1990. The Metropolitan Museum of Art, New
York.
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 simulate 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.
Figure 64. School of Ogata Krein (Japanese, 1858-1716), Inn) with Rinpa Style Kanzan
and Jittoku (Edo period) Three cases, lacquered wood with mother-of-pearl and pewter
inlay on gold lacquer ground, Pouch: printed cotton with sarasa pattern: Ojime metal
bead. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929. The
Metropolitan Museum of Art. New York

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. 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: UNITE INTRODUCTION TO ART
APPRECIATION
a. As forms and objects recede, the smaller they become.
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.

Photo courtesy of J. Paul Getty Mirscum Image is under Open Content Program Figure
65. G. Herbert & Horace C. Bayley, photographer, Partington – New Railway Viaduct,
Interior, negative May 1893 (print 1894), Gelatin silver print.
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.

Figure 66, Gustav Caillebotte, “Rue de Paris, temps de plule” (Paris Street in Rainy
Weather), 1877. Oil on canvas
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.
Figure 67. Berenice Abbott, “Chanon Building, New York,” (about 1935). Gelatin silver
print Gift of Nina and Leo Pircher.
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 perceptible, 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 variations in tempo, some of which are: Largo slowly and broadly Andante –
walking pace Moderato at moderate speed Allegro – fast Vivace – lively Accelerando
gradually speeding up Rallentado – gradually slowing down Allargando – getting slower,
broadening 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:
Pianissimo [pp] – very quiet Piano [p] – quiet Mezzo-piano [mp] – moderately quiet
Mezzo-forte [mf]- moderately loud Forte [f-loud Fortissimo [ff]-very loud When
composers indicate an increase, or decrease in loudness, they use the terms crescendo
for the former; and decrescendo or diminuendo for the latter.
3. Melody 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 characteristic 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: Monophonic – single melodic line
Polyphonic – two or more melodic lines 94 Homophonic – main melody accompanied by
chords
Akin to artworks whose 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. 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 principles 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 This principle refers to the distribution of the visual elements in
view of their placement in relation to each other.
Figure 68. Isamu Noguchi. "Cube." Entrance of Marine Midland Building, Manhattan.
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.

Figure 69. UP Diliman Oblation Statue

b. Asymmetrical – the elements are not the same (or of the same weight) on each side,
putting the heaviness on one side. 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.
Figure 70. Claes Oldenberg and Coosje van Bruggen, “Plaintor” (2001) Meredith
Corporation Collection, Des Moines.
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 perfection. 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.
Figure 71. Leonardo da Vinci, “Vitruvian Man” (1490). Pen and ink with wash over
metalpoint on paper. Gallerie dell’Accademia in Venice, Italy ne other, eight) hich a or 97

Leonardo da Vinci’s “Vitruvian Man” is an exploration on the ideas of the Roman

architect Vitruvius, in which the human body is an example of a classical proportion in
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’is
after, 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).
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. Allc 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.
Figure 72. “Vasudhara Mandala” (dated to 1777; Samvat 897), Distemper on cloth. Gift
of Stephen and Sharon Davies Collection, 2015. The Metropolitan Museum of Art, New
York.

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 and interconnectedness. 8. Movement This
refers 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 of 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.
 La BerceuseFigure 73. Vincent van Gogh, “La Berceuse” (Woman Rocking a Cradle,
Augustine-Alix Pellicot Roulin, 1851-1930) Oil on canvas. The Walter H. and Leonore
Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 1996 Bequest of
Walter H. Annenberg, 2002. The Metropolitan Museum of Art, New York.
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 a broad sense, it is easy to decipher visual arts from auditory
arts. In the same vein, when looking at more specific art forms, there is a considerable
ease when one is confronted with the challenge of differentiating a painting from a
sculpture a print from 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 al the tail end of the twentieth century is interdisciplinarity. Rooted on the
realization that the problems of society 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 a 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-medium-based 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. From 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 tapped, 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,
telecommunications, 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.