![Some PRINCIPLES of DESIGN:
Balance (Harmony, Unity)
Variety (Contrast)
Repetition (Rhythm, Pattern)
Movement and Direction
Emphasis (Focal Point[s])
Tension
Complexity & Simplicity
Proportion](https://image.slidesharecdn.com/designs-150127135741-conversion-gate02/85/Design-s-15-4-320.jpg)
Design s.15
- 1. ““Principles of Design”Principles of Design” organizeorganize the partsthe parts of a composition,of a composition, bringing clarity, coherence and meaning.bringing clarity, coherence and meaning... Introduction to Art Woodcut by Tom Killian
- 2. COMPOSITIONCOMPOSITION “…the placement or arrangement of visual elements or ingredients in a work of art… as distinct from the subject of a work. It can be thought of as the organization of the elements of form according to the principles of design.” (derived from Wikipedia definition)
- 3. Effective use ofEffective use of design principlesdesign principles • holds the viewer’s attention; adds interest • directs the viewer’s eye into and around the composition • makes the composition more understandable, more “readable”
- 4. Some PRINCIPLES of DESIGN: Balance (Harmony, Unity) Variety (Contrast) Repetition (Rhythm, Pattern) Movement and Direction Emphasis (Focal Point[s]) Tension Complexity & Simplicity Proportion
- 5. BALANCE: Jacob Lawrence Frank Lloyd Wright equilibrium achieved through placement of colors, values, shapes, masses or weight.
- 6. SYMMETRICAL BALANCE Gilbert and George Symmetrically balanced compositions, divisible into matching parts, tend to be more static and decorative. Marc Quinn (marble)
- 7. Jay DeFeo “The Rose” Victor Vasarely RADIAL BALANCE
- 8. Zechin Japanese wood-cut print ASYMMETRICAL BALANCE Compositions arranged with asymmetrical balance tend to be more dynamic, formally and emotionally, and to suggest more spatial depth. Giorgio Dechirico
- 9. What qualities in a composition lead to UNITY or HARMONY? --- repetition of similar colors, shapes, lines, textures, images or materials, throughout a composition --- formal elements arranged to lead the viewer’s eye AROUND and throughout the composition Pablo Picasso
- 10. H VARIETY Robert Rauschenberg Hieronymus Bosch (15th c.) Jessica Stockholder Differences of color, shape, material, etc. add interest and move the viewer’s attention around a composition.
- 11. CONTRAST (of color, form and texture, for example) command a viewer’s attention, and may contribute to an illusion of depth.
- 12. VALUE CONTRAST Rembrandt Claude Monet clarifies forms and edges, makes a composition more readable, may contribute to a sense of depth (space) and may add a sense of drama. Kerry James Marshall
- 13. REPETITIONREPETITION Cambodia of shapes, colors, images, etc. can unify and createof shapes, colors, images, etc. can unify and create a sense of rhythm in a composition.a sense of rhythm in a composition.
- 15. Movement Jackson Pollock the look and feeling of action; also, form leading the viewer’s gaze in a particular direction. Peter Paul Rubens 16th -17th c.
- 17. Movement and Direction: Jacques Louis David John Bartlett
- 18. Andrew Wyeth HORIZONTAL lines suggest calm, quiet, stasis.
- 19. Jan Van Eyck Samuel Bak VERTICAL lines may evoke a sense of forcefulness, power or stability.
- 20. What creates a FOCAL POINT or area of EMPHASIS, to which our attention is drawn? Diego Velasquez • directional, pointing (or “framing”) lines • areas of greater detail & complexity • contrast of colors, values, textures or shapes • central placement of imagery • recognizable imagery
- 21. TENSION Richard Serra Tension may be evoked through precarious balance, ambiguity of forms, or a “tense” quality of mark-making. “ a controlled dramatic or dynamic quality” eb.com Jean Michel Basquiat Alison Saar
- 22. Kasimir Malevich Economy / Simplicity Only what is essential to the expression is utilized. Japan 18th c. Cyclades 3300-2000 BC
- 23. Judy Pfaff sculptural installation COMPLEXITYCOMPLEXITY --- abundance or even excess--- abundance or even excess of visual information or detailof visual information or detail Audrey Flack oil painting
- 24. Parthenon, Greece Roselyn Delisle ceramic vessel PROPORTION --- the relation of parts to the whole and parts to each other.
- 25. Max Ernst frottage drawings created using rubbings over textured surfaces.