1. Principles of Two Dimensional Design

2. THE PRINCIPLES OF COMPOSITION
UNITY AND VARIETY
BALANCE
WEIGHT AND GRAVITY
EMPHASIS
SPACE
The Principles are concepts used to organize or arrange the structural elements of design. Again, the way in which these principles are applied affects the expressive content, or the message of the work.
Unity and Variety are
UNITY is compositional similarity, oneness, togetherness, or cohesive
VARIETY is the differences which give a design or image visual and conceptual interest
Unity can be defined as similarity, oneness, togetherness or cohesion
Variety can be defined as difference - You create variety when the elements are changed.

3. THE VISUAL ELEMENTS OF DESIGN
Line, Shape, Texture, Value, and Color
IN COMBINATION OF MULTIPLE PARTS TO CREATE A HARMONIOUS WHOLE
THE PRINCIPLES OF COMPOSITION
UNITY AND VARIETY
WEIGHT AND GRAVITY
BALANCE
EMPHASIS
SPACE
It is the process of arranging the forms of two- and three-dimensional visual art into a unified whole for the purpose of formal clarity and artistic expression.
One element becomes dominant and another element becomes a subordinate.
A dialogue is created between positive and negative shapes and opposing forces add vitality rather than creation confusion.

4. COMPOSITION IS AN ART AND NOT A SCIENCE
UNITY AND VARIETY
UNITY
Unity can be defined as similarity, oneness, togetherness or cohesion
VARIETY
Variety can be defined as difference. You create variety when elements are changed.
Learning to find the right balance between unity and variety is the key to a visually successful work.
COMPOSITION IS AN ART AND NOT A SCIENCE
Unity can be defined as similarity, oneness, togetherness or cohesion
Variety can be defined as difference - You create variety when the elements are changed..
Repeating a similar shape but changing the size can give variety and unity at the same time. Keeping the same size, but changing the color can also give variety and unity at the same time. In visual composition, there are many ways you can change something while simultaneously keeping it the same.

5. Unity/Variety
Unity/Variety We face a new compositional challenge with each design we make. There is no simple formulas; each idea has its own expressive requirements.
Andy Warhol, 16 jackies, 1964 same image but different, each image is slightly different due to the printing style
Hannah Hoch, Cut with a Kitchen Knife, 1919, Collage, 44 x 35” is crowded with conflicting images and fragmentary words. Created shortly after the end of World War I, reflects the tumultuous economic and political conditions in postwar Germany. She uses a collection of conflicting images to suggest chaos.
Hannah Hoch
Cut with a Kitchen Knife, 1919
Collage, 44 x 35”
Andy Warhol
16 Jackies
1964 slikscreen

6. Unity/Variety
Devorah Sperbe
After The Last Supper
″h x 29′w.
20,763 spools of thread
Devorah Sperber, Virtual Environment I , 220,000 spools of thread
optical allusion, after the last supper 2005, viewing glass on a stick reflects the image upside down
Devorah Sperber built this life-sized replica of Leonardo da Vinciﾕs The Last Supper from 20,763 thread spools strung onto aluminum ball chain. As if thatﾕs not awesome enough, when seen through the sphere, the familiar image of Jesus and his disciples come into focus
Daniel Buren
The Two Plateaus
1985 – 6
Unity and variety are the cornerstones of composition, combined effectively the composition is both cohesive and active.

7. GESTALT PRINCIPLES of DESIGN
The visual perception
that emphasizes the importance of
the whole composition through the
combination and use of :
grouping,
containment, repetition,
proximity,
continuity and closure
to create visual unity

8. GESTALT
Gestalt Psychology emphasizes the importance of unity, connection and completion.
THEORY:
VISUAL INFORMATION IS UNDERSTOOD AS A WHOLE BEFORE IT IS EXAMINED SEPARATELY.
Eaxmlpe:
Msot peolpe can raed any snetnace as lnog as the frsit and lsat lteters of ecah wrod are crroect.

9. Grouping Repetition Proximity Continuity Closure
Therefore, you can create deliberate relationships among different visual elements
USING:
Containment
Grouping Repetition Proximity Continuity Closure

10. CONTAINMENT TO FRAME OR CREATE A BOUNDARY
Frances Bacon
Three Studies for Figures at the Base of a Crucifixion 1, 2, 3

11. CONTAINMENT
Alberto Giacometti
Jean Genet
oil

12. CONTAINMENT
Robert Mapplethorpe Thomas in a Circle photograph

13. Our minds group objects by similar shapes and colors
GROUPING B C A
Gestalt Theory:
Our minds group objects by similar shapes and colors

14. GROUPING
Gustav Klimt, Death and Life, 1915,
oil on canvas, 5’10”x6’6”

15. REPETITION Repetition occurs when we use the same visual element or
effect over
and over
Rene Margritte Golconde, 1953

16. In design the distance between visual elements is called proximity

17. PROXIMITY can create FUSION
FUSION = POSITIVE / NEGATIVE SPACE
FUSION WITH GRADATION OR TRANSPARENCY CAN DISSOLVE THE LINE BETWEEN POSITIVE / NEGATIVE SPACE

18. PROXIMITY
Michelangelo Creation of Adam 1510

19. CONTINUITY The fluid connection among compositional parts.
Skillful use of continuity can add visual movement to a design.

20. CLOSURE: THE HUMAN MIND WILL AUTOMATICALLY CONNECT VISUAL FRAGMENTS
Closure makes it possible to communicate using implication

21. CLOSURE Chuck Close, Self-Portrait , 2004-2005
oil on canvas 102 x 86”
David Hockney David Graves , 1982
Photos

22. COMBINING GESTALT PRINCIPLES
MANY ARTISTS AND DESIGNERS COMBINE SOME OR ALL THE PRINCIPLES OF GESTALT IN A SINGLE COMPOSITION
Michael Anderson Portrait of David Lynch, Poster 60'' x 60'', 2002

23. PATTERNS AND GRIDS
Pattern is created when any visual element is systematically repeated over an extended area.
Grid is created through a series of intersecting lines.

24. PATTERN AND GRIDS
Faith Ringgold Who’s Bad 1988, Acrylic on canvas, fabric border, 74 x 69”

25. PATTERNS AND GRIDS
Felix Gonzalez-Torres, Untitled (Death by Gun), 1990, Offset print on paper, 44 x 32 inches

26. WEIGHT AND GRAVITY
The orientation of objects within an image can influence the visual weight of the piece.
Bernice Abbot, Exchange Place,
New York, 1934, Photograph

27. Ansel Adams Moonrise, Hernandez, New Mexico 1941

28. Refers to the equal distribution of weight or force among visual units
BALANCE
Refers to the equal distribution of weight or force among visual units

29. BALANCE fulcrum fulcrum ASYMMETRICAL BALANCE
The more common method is to
place objects of equal mass or
weight on each side of the
balancing fulcrum-point
CALLED FORMAL BALANCE
ASYMMETRICAL BALANCE
Looks for unique relationships that appear at first glance as though it ought not to work, yet it through variety creates interest.
CALLED INFORMAL BALANCE

30. This is also referred to as
SYMMETRICAL BALANCE Symmetrical balance, shapes or volumes are mirrored on either side of their vertical or horizontal axis
This is also referred to as
formal balance

31. Downtown - Reflections, 1991
APPROXIMATE SYMMETRY
Approximate Symmetry is created when similar imagery appears on either side of a central axis
Richard Estes
Downtown - Reflections, 1991
Color woodcut
16 1/4 x 10 "

32. creates equilibrium between visual elements that are different in
ASYMMETRICAL BALANCE
creates equilibrium between visual elements that are different in
size,
number,
weight, color or
texture
This is also referred to as informal balance

33. RADIAL SYMMETRY
This is a simple diagram and example of radial balance.

34. What type of balance is this?
Linoleum Print

35. Double Rober with Zipper, Print, 37 x 27 in
What type of balance is this?
Jim Dine
Double Rober with Zipper, Print, 37 x 27 in

36. Paris Street Scene, 1972, oil on canvas, 40 x 60 in
What type of balance is this?
Richard Estes,
Paris Street Scene, 1972, oil on canvas, 40 x 60 in

37. Judy Chicago, Through the Flower, 1972 Drawing
What type of balance is this?
Judy Chicago, Through the Flower, 1972 Drawing

38. Frida Kahlo Las Dos Fridas, 1939
Judy Chicago
Rejection Quintet: Female Rejection Drawing, ” x 39”
Frida Kahlo Las Dos Fridas,

39. BARBEQUE, 1982, oil on canvas, 5’5” x 88’4”
IMBALANCE
ERIC FISCHL
BARBEQUE, 1982, oil on canvas, 5’5” x 88’4”

40. SCALE AND PROPORTION
Scale and Proportion strongly affect compositional balance and emotional impact
Proportion refers to the relative size of visual elements within an image
DI VINCI Vitruvian Man

41. Les Valeurs Personnelles (Personal Values) 1952
RENE MAGREITTE
Les Valeurs Personnelles (Personal Values) 1952