1. The Principles of Design
Chapter 3
The Principles of Design
Balance
Contrast
Emphasis/Focal Point
Variety
Unity/Harmony
Scale/Proportion
Rhythm
We will not do in-depth study of all of the Principles of Design
NOTE: “Principles of Art” means the same as “Principles of Design”

2. What are The Principles of Design?
The Principles of Design are the ways that artists use the Elements of Art to create good Compositions (or artwork) Composition means the same as Design

3. There are 11 Principles of Design
Balance Contrast
Emphasis Variety
Unity/Harmony Proportion
Rhythm Movement
Pattern Repetition
We will not do in-depth study of all of the Principles of Design
NOTE: “Principles of Art” means the same as “Principles of Design”

4. Balance:
This principle of design refers to the visual equalization of the elements in a work of art.

5. Actual Balance
means that the actual piece of art is literally balanced by physical gravitational force . It is usually 3D and can stand upright on its own, such as a sculpture.

6. Pictorial Balance Refers to 2D works
Equilibrium is created by an even distribution of visual weight on each side of a central axis
It also refers to an even distribution of weight among all elements of a composition
At first look one might think that this painting is not balance because most of the mass is on the right side of the composition. The color helps to give visual weight to the left as well as the diagonal strokes that counter balance the strong diagonal that sweeps to the left.

7. Visual Weight refers to the relative visual attraction or visual weight of elements in a composition

8. The are three major types of pictorial balance
Horizontal balance - elements on the left and right side of the composition seem to be about equal. Vertical balance - the elements at the top and bottom of the composition are in balance. Radial balance - design elements radiate from the center point. Frequently used in ceramics, jewelry, basketry, stained glass, and other crafts.

9. Horizontal Balance Balance on left and right sides of the of the image.
Axis
What has the most visual weight in this picture?
What on the right side of the painting draws our attention?
What other items in the painting have visual weight?

10. Vertical Balance
We also have to consider vertical balance. (Balance on the top and bottom of the image.)
The Viewer is more
comfortable when there
is more visual weight at
the bottom of the composition.
It gives a feeling Stability, calmness, balance.

11. Radial Balance
The elements radiate or circle out from a common central point.
Radial balance is common in nature.

12. Marc Chagall - The Flying Rabbi
Imbalance
Occurs when opposing forms are out of equilibrium in a composition
An artist may chose to use imbalance in a composition to enhance a theme or topic, or to elicit a response.
Imbalance can create shock and discomfort.
It can be used to capture a sense of movement.
More visual weight on top elicits a feeling of instability.
Marc Chagall - The Flying Rabbi

13. Imbalance Sometimes artists aim to shock the viewer or to play into the viewer’s discomfort by creating works with imbalance
By allowing the composition to remain unbalanced, or weighted on the left, the drama of the moment is intensified. The long shadow seems to pull the soldier to the ground, as he stumbles from the impact of the bullet. The imbalance of the composition is a response to the imbalance of the soldier.

14. Using Imbalance to Create Tension
The further up in the format the main visual interest occurs, the more unstable and dynamic the image becomes.
Tightrope Walker W. Kandinsky

15. Symmetrical Balance Also called bilateral or formal balance
Shapes or forms repeated in a similar position on either side of a central axis
Mirror image
Can be static or even boring
Can create a feeling of calmness, and stability
Used for a formal or dignified feeling

16. Symmetrical Balance is a response to the design of our own bodies
Vertical Axis and the Body
(The body is symmetrical.)

17. Symmetrical or Formal Balance
Dignified
Stiff
Proper
Strict

18. Symmetrical or Formal Balance
Has a classical feel
Creates a feeling of permanence, strength order, predictability, and stability.
Also considered sedate, calm and dignified.
Used a lot in architecture.

19. Sometimes we want to use symmetrical balance to imply formality and dignity25
Or this annual report for and expensive winery
Designers especially beginning designers, tend to over use center alignment in their layouts. Using center align is safe and reliable, but can be boring. In addition center aligned text is hard to read since the viwer’s eye must search for the beginning location of each new line.

20. 2. Asymmetrical Balance or Informal Balance
When the right and left sides of a composition bear visibly different shapes, colors, textures, or other elements, and yet they are arranged or “weighted” in such a way that the work feels balanced.
Appears casual and less planned, but in fact, is harder for the artist to create.

21. 2. Asymmetrical Balance or Informal Balance
a way of organizing the parts of a design so that one side differs from the other without destroying the overall balance and harmony.
Comfortable
Casual
Easy

22. Asymmetrical Balance in Sculpture.
Fig. 3.13, p.74: DEBORAH BUTTERFIELD. Verde (1990). Found steel. 79” x 108” x 31”.

23. What type of balance is shown here?
George Seurat, (French) , Sunday Afternoon on the Island of La Grand Jatte
Here the larger figures to the right are balanced by the many smaller figures to the left. Also, Seurat added additional "light" to the left. How does this add balance to the painting?

24. Contrast
A design principle that emphasizes differences between the art elements.
For example, a painting may have bright colors that contrast with dull colors or angular shapes that contrast with rounded shapes.
Sharp contrast draws attention and can direct a viewer to a focal point within a work of art.
The bright, angular shapes of this boat are a sharp contract to the muted, organic shapes in the background.

25. In this work we see sharp lines and shapes against softer lines and shapes. We also see sharp contrast between colors.
                                                   
Marlene Healey, Sections of my Destiny

26. Focal point or Area of Emphasis
Area where the eye tends to center. It is the focus of the viewer's attention.
A focal point is created by making one area or element most important visually with all other areas contributing but subordinate.

28. Ways to Achieve Emphasis:
Emphasis by Contrast
Emphasis by Isolation
Emphasis by Placement or Central Placement
Strategically placing objects and images

29. Ways to Achieve Emphasis: 1. Contrast
Emphasis by contrast of Color (& size)
Most visually dominant

30. Ways to Achieve Emphasis: 1. Contrast
Emphasis by contrast of Style, or Technique
This head stands out because the style in which it was rendered is realistic, while all of the other heads were rendered in an abstract style.
This head is the focal point of the painting

31. Ways to Achieve Emphasis: 1. Contrast
Emphasis by contrast of Shape
This football player stands out because the numeral shapes are different from all of the other shapes in the photo

32. Ways to Achieve Emphasis: 2. Isolation
If an element is set apart from a group of elements, that isolated element attracts more attention and is the focal point.

33. Ways to Achieve Emphasis: 2. Isolation

34. Ways to Achieve Emphasis: 2. Placement
In the Dining Room by Berthe Morisot
The young woman appears to be in the center of this painting. A lot of times, we naturally look in the center of the picture

35. In Francisco Goya’s, The Shootings of May Third 1801, where is the area of emphasis?
                                            

36. Goya "lights" up the painting in much the same way a spotlight lights up the actors on a stage. Goya creates a very light value around the area he wants you to see. The man in the white shirt is the focal point of the painting. He uses value contrast to emphasize this area. The bayonets act as directional lines to point the viewers eye to the man under fire.

37. Variety
Variety is achieved when the art elements are combined in various ways to increase visual interest.
For instance, an assortment of shapes that are of a variety of sizes attracts more attention than an assortment of shapes all the same size.

38. How is the artist showing variety in this work?

39. Kandinsky used a variety of lines, shapes and colors to give this painting interest.

40. Unity/Harmony
This principle refers to the visual quality of wholeness or oneness that is achieved through effective use of the elements of art and principles of design
Repetition of a color, shape, or other element is one way to create unity in and artwork
By repeating horizontal and vertical geometric shapes, Frank Lloyd Wright has achieved a high degree of unity in this architectural design

41. Unity
Unity – Means that there is a consistency or agreement among the elements in design; they look as though they belong together.
How is unity achieved in this painting?
Stir sticks , & ellipses repeat
Vertical lines on the cans and in the reflections repeat
Shadows all point the same direction
The gray reflective texture of the cans is repeated
Unity means the same as Harmony

42. What do you think Cezanne used to keep this painting, Mt
What do you think Cezanne used to keep this painting, Mt. Victoria, unified or working together?
                                           

43. Cezanne used blues, yellows and greens
Cezanne used blues, yellows and greens. By using related colors (remember blue and yellow make green), the piece appears to work as a whole. Angular shapes are repeated throughout the painting. The repetition of shapes also helps unify the painting.

44. Ways to Achieve Unity and Variety with Unity
Grid
Color harmony
Keeping one or more aspects of the work constant
Continuity

45. Unity with Variety
Fig. 3.1, p.68 ANDY WARHOL Ethel Scull Thirty-Six Times (1963). Synthetic polymer paint silkscreened on canvas. 79-3/4” x 143-1/4”.
Unity is created by using a grid, photos of the same person, and the same size rectangles throughout
Variety is created by contrast of position or poses of the person. Various different colors.

46. Types of Unity
Visual Unity - Artwork that is unified by color, shape, composition or some other visual design principle.
Conceptual Unity - artwork that has a common theme or concept throughout it.
Sometime an artwork will have both conceptual and visual unity.

47. Conceptual Unity vs. Visual Unity
Conceptual unity Example – elements have common theme; they have unity of idea or concept.
Example: a family album
There is unity of theme

48. Example of Visual Unity
means that the visual elements of design are seen a cohesive whole (The Design Works)
The repetition of similar colors, shapes, & textures help to create the visual unity in this painting
“The whole must be predominant over the parts. You must first see the whole pattern before you notice the individual elements.”

49. Conceptual Unity Example A stamp collection has unity of theme

50. Is there Visual Unity? Is there Intellectual unity? Both have been used.

51. Scale is essentially another word for Size
Large Scale is a way to say Big

52. Small Scale is a way to say Little

53. Human Scale Reference One way to think of artistic scale is to consider the scale of the work in relation to human size.
12’ x 12’ 6” Aluminum Robert Indiana

54. Distortion of Scale

55. Proportion
Is the comparative relationship, or ratio of things to one an other.
When comparing the size of the objects in this composition, you see that the objects are not too large or too small for each other. They are of a realistic size.

56. Remember: Proportion is a matter of comparisons
Proportion = the relative size of an object in comparison to another object or in comparison with some mental norm or standard.
(The term proportion is often used with math and ratios.) 1:2 ratio, or 1: 1 ratio
Can we tell how big this painting is?
We need to have a familiar object or a “mental norm in order to judge the size of the painting
The quarter is a “mental norm” that we can use for comparison

57. Distortion of Scale
Altering the viewer’s sense of scale can create visual shock and humor.
Can challenge the viewer to rethink the subject and the historical aspects of the object.

58. Distortion of Scale
Sometimes artists chose to distort or exaggerate the proportions of the subjects involved.
                                  
In this case the artist chose to use these "puffed up forms" to exaggerate the size of the people. By showing the figures larger than life size, he is attempting to celebrate the life within, and perhaps to mock their role in the world.
Fernando Botero, A Family

59. Hierarchal Scaling
Large scale can make for a very obvious focal point, or create visual emphasis.
Hierarchal Scaling = in art history, visual scale (how big something is in a painting) was often directly related to the importance of the subject.
For Example: A King, Jesus, or the Pope would be bigger than surrounding people.
C Fra Filippo Lippi. Saint Lawrence Enthroned with Saints and Donors. c. late 1440s. Altarpiece from the church of the Villa Alessandri, Vincigliata Fiesole, central panel only. Tempera on wood, gold ground; overall, with added strips: 3ﾕ 11 3/4ﾓ 3ﾕ 9 1/2ﾓ ( cm). The Metropolitan Museum of Art, New York (Rogers Fund, 1935, a).

60. Rhythm in Visual Art?
Rhythm is a design principle based on repetition.
It involves a repetition of elements that are the same or only slightly different.
Rhythm refers to a way of utilizing the art elements to produce the look and feel of rhythmic movement with a visual tempo or beat

61. Undulating rhythm of lines
Visual rhythm refers to the beat marking the movement of the viewer’s eye through the work.
What words describe the mood of this rhythm?
Soft, flowing
This painting has the feeling of repetition in the curved vertical stripes that vary from thick to thin. We often say the music is soft or loud, but in this case the colors are soft.

62. 1 2 How is the rhythm in the two paintings below different? Louder
Bridget Riley’s painting has rhythmic feel it flows.
Bridget Riley. Series 35. Olive Added to Red and Blue, Violet and Green, Single Reversed Diagonal Gouache on paper, 3ﾕ 2 1/8” x 2ﾕ 3/8”. 1 2
Louder
More dramatic
Crescendo
Decrescendo

63. Rhythm and Motion Here tree trunks produce a sinuous
and graceful rhythm
“A Rhythmic pattern can establish an emotional response in a viewer”

64. Rhythm in visual art is related to movement
The movement of the viewer’s eye across recurrent motifs. (shapes, lines, texture, etc.)
Bridget Riley’s painting has rhythmic feel it flows.
Bridget Riley. Series 35. Olive Added to Red and Blue, Violet and Green, Single Reversed Diagonal Gouache on paper, 3ﾕ 2 1/8” x 2ﾕ 3/8”.

65. The Canon of proportions
A mathematical system developed by the Greeks for depicting the ideal human body.
Alexandre Cabanel, The Birth of Venus (1863), oil on canvas, 130 x 225 cm. Paris, Musée d'Orsay
Michelangelo’s David

66. Violating the Canon of Proportions for Expressive Purposes
Alice Neal has intentionally distorted the proportions of these figures in order to create an emotion or effect.

67. The End