PRINCIPLES OF DESIGN
The principles of design are artistic/aesthetic guidelines applied to the use of the elements of design. There are no universally accepted guidelines that outline exactly which concepts are THE principles of design; different writers and designers will often organize and describe the principles in slightly different ways. In the end, however, they are talking about the same artistic “pieces” and how they work together. You should be able to recognize, define and apply these general concepts:
Balance
Balance is a feeling of visual equality in shape, form, value, color, etc. Objects, values, colors, textures, shapes, forms, etc., can be used in creating a balance in a composition. Formal balance or symmetry occurs when all the elements on one side of the enter are identical but mirrored to those on the other side. Informal balance or asymmetry occurs when the elements on one side are not identical to those on the other, yet appear visually equal because they are actually balanced by the negative space. Radial balance is similar to formal balance, but based on a circle with the center as a focal point and the elements equally applied around it.
Unity
Unity is the appearance of visual order obtained by placing elements of design together so a sense of harmony and completeness is created within a work of art. Appropriateness is an aspect of unity: the ideas, themes, motifs or purpose of the elements, media or materials used in created the work of art must work or “fit” together. Unity can be achieved through repetition (repeating specific elements of design in a regularly recurring sequence within a composition) and progression or movement (elements that cause the eye to move through a composition). Relating the design element to the idea being expressed reinforces the idea of unity. It is a visual linking of the various elements of the work.
Emphasis
Emphasis is that part of an artwork that is most important and presents the main idea of the work. It is referred to as the center of interest. Dominance creates a center of interest, attracts attention or makes one part of the composition most important. It can be achieved in various ways, such as using color, size, value, etc. Subordination (sub-dominance) refers to those elements that are less dominating but provide essential interest and background to the composition. Rest areas are those places within a composition that are relatively vacant, usually regarded as negative shapes or spaces..
Rhythm
Rhythm can be described as visual movement achieved as the viewer’s eye progresses throughout a composition, moving and resting in regular or varied measures. It may be accomplished through the repetition of shapes, colors, textures, lines, etc. It also contains rest areas that are relatively free from detail. Rhythm can be achieved through repetition, as discussed above. It can also be achieved through transition, a change from one part to another, either gradually or abruptly. Using a sequence of steps between opposites, such as from light to dark or smooth to rough is called gradation and can also create rhythm in a work. Variation modifies similar elements so that they differ in some respects from the group to which they belong. Too much variation can disrupt the rhythm of a given work.
Contrast
Contrast is the combination and placement of opposing elements: opposite colors on the color wheel (red/green); light and dark tones; horizontal and vertical lines. The major contrast of a work of art should be located at the center of interest. Too much contrast scattered throughout a work can destroy the unity of the work and make it difficult to look at. Unless a feeling of chaos and confusion is what the artist is seeking, she must carefully consider where to place the areas of maximum contrast.
Scale/Proportion
Proportion is the comparison of elements in size, quality, variety, scale, purpose or meaning. It is an analysis of the different parts of the work of art, comparing them to each other. This comparison allows a comprehension of the relationship between the parts. Scale compares several parts of the work to the entire work and looks at the relationship between the parts and the whole. It implies the use of proper areas, sizes, weight and counterbalances to create a feeling of unity with the idea being presented. With scale, lines can become shapes and shapes can become lines, dependent upon the size.
Perspective
Foreshortening One Point Pers. Two Point Persp. Aerial/Atmospheric Overlapping
Perspective is an approximate representation, on a flat surface (such as paper), of an image as it is perceived by the eye.Since objects in our environment look smaller when they are farther away, the easiest way to show depth is to vary the size of objects, with closer objects being larger and more distant objects being smaller. As well, we perceive objects that are higher on the page and smaller as being further away than objects which are in the forefront of a picture. Of the many types of perspective drawings, the most common categorizations of artificial perspective are one-point perspective, two-pointperspective, overlapping, foreshortening and aerial perpective. One point and two point perspective refer to the number of vanishing points in the perspective drawing. A vanishing point in the point at which parallel lines in the work seem to converge or “disappear”. Two-point perspective can be used to draw the same objects as one-point perspective, rotated: looking at the corner of a house, or looking at two forked roads shrink into the distance, for example. One point represents one set of parallel lines, the other point represents the other. Looking at a house from the corner, one wall would recede towards one vanishing point, the other wall would recede towards the opposite vanishing point. Foreshortening refers to the visual effect or optical illusion that an object or distance is shorter than it actually is because it is angled toward the viewer. When objects are partially obscured by other objects in front of them (overlapping), we perceive them as further back than the covering objects. Aerial or atmospheric perspective uses color and value contrasts to show depth. Objects which are further away generally have less contrast and softer tones. Objects in the foreground have more contrast and stronger tones.
Movement
Implied Movement Optical Illusion Optical Movement
Movement refers to the implied motion in a work of art or the way the composition of the artwork leads your eye to move over and around it. Live figures portrayed in unstable body positions cause us to feel that motion is imminent, called anticipated movement. We know from past experience with these positions that some kind of movement will occur. This heightens the feeling of motion. Indistinct or blurry outlines can also indicate movement. Overlapping figures in progressive poses can indicate a feeling a movement. Similarity of elements, or flowing, circular elements will give a more connected flowing rhythm to a picture, while jagged, or unrelated elements will create a more unsettling, dynamic picture.The repetition of geometric forms, called optical illusions, will cause your eye to produce motion where none is present.