ARTA WEEK 7

• Principles of Design


  The visual strategies used by artists, in conjunction with the elements of arts, for expressive purposes

  
• Principles of Design


  • Foundation in creating an art
  • To create a better effect
  • Helps the artist convey their intent
  • Artist has the right to choose which principles to use
• Design


  The proper arrangement of the different art elements in order to produce something beautiful
• Principles of Design

  • Harmony
  • Rhythm
  • Balance
  • Proportion
  • Emphasis
  • Movement
  • Pattern
  • Unity/Variety
  • Novelty
  • Utility, Adaptability or Function
  • Contrast
• Harmony


  In visual design, all parts of the visual image relate to and complement each other, producing an impression of unity and completeness
• Five Aspects of Harmony

  • Harmony of Lines and Shapes
  • Harmony of Size
  • Harmony of Color
  • Harmony of Texture
  • Harmony of Idea
• Rhythm


  The regular, uniform or related visual movement made through the repetition of a unit or motif
• Types of Rhythm

  • Regular Rhythm or Formal Rhythm
  • Alternating Rhythm
  • Progressive Rhythm
• Balance


  The distribution of the visual weight of objects, colors, texture and space, giving a feeling of rest, repose, equilibrium or stability
• Types of Balance

  • Symmetrical
  • Asymmetrical
  • Radial
• Proportion


  Shows pleasing relationship between a whole and its parts, and between the parts themselves, achieved through proper arrangement of space divisions
• Emphasis


  Tends to carry the eyes from the center of interest or dominant part of any composition, creating a design that catches the viewer's attention
• Methods of Emphasizing Objects

  • Arrangement or grouping of objects
  • Decoration
  • Color contrast
• Types of Emphasis

  • Directional Lines
  • Isolation
• Movement


  The result of using the elements of art that they move the viewer's eye around and within the image
• Pattern


  The uniform repetition of any elements of art or any combination thereof
• Unity or Variety


  The elements fit together comfortably, but too much unity creates monotony and too much variety creates chaos
• Novelty or Newness


  Provides the best opportunity for developing one's creative ability
• Utility, Adaptability or Function


  A work of art must not only possess beauty but also with utility, and the object must be adaptable to the purpose for which it is made
• Contrast


  Synonymous to opposition or contradiction, related to balance and emphasis, used to intensify the properties within the work
• Rule of Thirds


  A guideline which appears to the process of composing visual images like designs, films, paintings and photographs, where the image must be divided into 9 equal parts and elements should be placed along these lines or their intersections

  
• HARMONY OF LINES AND SHAPES


  • repeating lines and shapes

  • contrasting or opposing lines

  • transitioning lines
• Harmony of size 


  • refers to good proportion
• Harmony of color 


  • using 2 or more colors in decorating an article or object
• Harmony of Texture


  • coarse textures should not be combined with fine textures
• Harmony of Idea 


  • Combining antique and modern furniture is not a good idea
• THE PRINCIPLE OF RHYTHM 


  ✓is the regular, uniform or related visual movement made through the repetition of a unit or motif.

  ✓is created by repetition of a unit, and repetitive patterns convey a sense of movement.

  ✓in the visual arts, the viewer perceives rhythm by grouping elements such as color, line and shape.
• Regular Rhythm or Formal Rhythm

  • Donald Judd’s sculpture in particular was based on the repetition of simple geometric shapes mounted on walls or set on the floor in a steady, evenly spaced pattern.
  • Minimalism. An abstract art movement begun in the 1960s that emphasizes the use of pure and simple shapes and mQaterials.
• Alternating Rhythm


  a type of rhythm in which different elements in a work repeat themselves in predictable order.
• Progressive Rhythm

  • Such variations are seen in progressive rhythm, in which the rhythm of elements of a work of art such as shape, texture, or color change slightly as they move, or progress toward a defined point in the composition.
  • Minor variations in rhythm can add interest to a composition.
• THE PRINCIPLE OF BALANCE

  • The distribution of the visual weight of objects, colors, texture and space.
  • Gives a feeling of rest, repose, equilibrium or stability.
  • Visual weight – gains and holds the attention of the viewers.
• Formal or Symmetrical Balance 


  • The balance of equal visual weights placed at equal distance from the axis.

  • similarity of form or arrangement on either side of a dividing line or plane, or to correspondence of parts, as in size, shape, or position.
• Informal or Asymmetrical Balance


  • The balance of unequal visual

  weights.

  • The type of balance in which there

  are more than slight differences

  between the divided areas of a

  work, yet there is an overall sense

  of balance.
• Radial Balance


  • The elements are arranged around

  a central point and may be similar.

  • Often, radially balanced designs are

  circular.
• THE PRINCIPLE OF PROPORTION


  • Shows pleasing relationship between a whole and its parts, and between the parts themselves.

  • Can be achieved through proper arrangement of space divisions.

  • refers to the relative size and scale of the various elements in

  a design.

  • The issue is the relationship between objects, or parts, of a whole.
• The Principle of EMPHASIS.


  • Tends to carry the eyes from the center of interest or dominant part of any composition.

  • design that catches the viewer’s attention.
• Directional Lines


  Lines that lead the eye to a focal point
• Isolation

  • Here a group of performers is found standing silently within a barren landscape. Even though there are many of them and they are dressed in their costumes, they are less likely to draw the viewer’s eye than the delicately rendered woman in “street clothes,” who is seated apart in the lower right and looks beyond the edge of the canvas (Fichner-Rathus,2008).
  • Picasso’s emphasis on the woman’s aloneness draws us to her along the edge of the canvas (Fichner-Rathus,2008).
• The Principle of Movement 


  • The result of using the elements of art that they move the viewer’s eye around and within the image.
  • Can be created by diagonal or curvy lines, either real or implied, by edges, by the illusion of space, by repetition, by energetic mark-makin
• The Principle of Pattern


  • The uniform repetition of any elements of art or any combination thereof.

  • Example: Zentangle Patterns