New Visual Elements and Principles of Design

7/30/2019 New Visual Elements and Principles of Design

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The Elements are the building blocks used tocreate a work of art. Good or bad - all graphicdesign work or paintings will contain most of if notall, the seven elements of design.

The Principles of design can be thought of as whatwe do to the elements of design. How we apply thePrinciples of design determines how successful weare in creating a work of art.


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Visual elements of composition:

Point

Line

Plane or shape

Value or tone

Texture

Volume or form

Colour


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Point

A point marks position in

space. It has no mass at

all. Graphically a pointtakes form as a dot, a

visible mark.

A point can be an

insignificant fleck of amatter or concentrated

locus of power.


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Point


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LINEA line is the track made by the moving point

W. Kandinsky

A line is an infinite series of

points. It is the connection

between two points, or it is thepath of a moving point. A line

can be a positive mark or

negative gap. Lines appear at

the edges of objects and wheretwo planes meet.

Lines are drawn with a pen,

pencil, brush, mouse or digital

code.


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LINE


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LINE


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LINE


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LINE


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LINE


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LINE


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LINE

Calligraphy is the art of fine writing, so highly developed in

Arabic cultures, Japan and China.

Example of expressive possibilities of pure line.


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LINE


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LINE

Christo the 24-mile (39 km)-long artwork Running Fence, Sonoma, California

Edges may be read as lines

in 3D as well as 2D works


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LINE

The reclining rocking chair suggests, by its long, flowing lines, the restful feeling that one expects to experience

when lying in the chair. As the lines flow thought the lengthened curves, it is difficult to follow the single line,

rather, we are visually drawn into the abstract expressive quality of the lines.


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LINEtypographic illustration


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Plane or Shape

A plane is a flat surface extending in height

and width. A plane is the path of moving line.

A line closes to become a shape, a bounded

plane. Shapes are planes with edges.

Ceilings, walls, floors, and windows arephysical planes. A plane can be solid or

perforated, textured or smooth.


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Plane or Shape


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Plane or Shape


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Plane or Shape typographic illustration


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SHAPE (2D areas, flat)A shape is a self contained

defined area of geometric or

organic form. A positive shape

in a painting automaticallycreates a negative shape.


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SHAPE (2D areas, flat)A positive shape in a painting

automatically creates a

negative shape.


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SHAPE (2D areas, flat)A positive shape in a painting

automatically creates anegative shape.


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VALUE orTONE

the relative lightness or darkness of an area. Values are most

easily perceived when colour hues are subtracted. Black and white

photographs of coloured artworks translate hues into a range of graysfrom very dark to very light.


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VALUE orTONE

Caravaggio The Fortune Teller

Black and white photographs of coloured

artworks translate hues into a range ofgrays from very dark to very light.


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VALUE orTONE typographic illustration


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TEXTURE


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TEXTURE typographic illustration

TEXTURE


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TEXTURETexture can be physical (tactile) or

visual.

Rendering a

drawing

plane

TEXTURE


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TEXTURETexture can be

physical (tactile) or visual.

Rendering a

drawing

plane


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TEXTURE

Certain artists have gone to great

lengths to capture the visual

effects of textures. One of the

masters in this respect is

Dominique Ingres. InhisPortrai t of the Princ esse de

Brogl ie, the facial skin and hair

are rather stylized and simplified,

in dramatic contrast to the

extreme attention to detail in

rendering textures of the fabrics.

The lush satiny dress fabric is so

realistically painted that we can

guess exactly how it feels.


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VOLUME or FORM

The volume of any solid,

liquid, plasma, vacuum or

theoretical object is how

much three-dimensionalspace it occupies, often

quantified numerically.

One-dimensional figures

(such as lines) and two-

dimensional shapes (such

as squares) are assignedzero volume in the three-

dimensional space.


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VOLUME or FORM


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VOLUME or FORM

Although term VOLUME and

FORM apply to 3D objects,

sometimes two-dimensional

works may create on flat surface

the illusion of forms. In manythree-dimensional works,

distinguish both outer, or

PRIMARY CONTOURS and

SECONDARY CONTOURS

developed within the primary

contours. Often the primary

contour is the outline that allows

us to identify the subject of the

work, if it is representational.

In the ancient Fish from Vettersfelde, found

in Germany, primary contour is the shape of

a fish. The secondary contours are the

raised and engraved areas across the body.


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COLOUR


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BALANCE

Balance is a fundamental human condition: we require physical

balance to stand upright and walk; we seek balance among the

many facets of our personal and professional lives.

In design, balance acts as a catalyst for formit anchors and

activates elements in space.


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BALANCE

Balance implies that the visual elements within the frame have a

sense of weight. Large objects generally weigh more than small

objects and dark objects weigh more than light colored objects. The

position of the elements is also critical. We unconsciously assumethe center of a picture corresponds to a fulcrum. A heavy weight on

one side can be balanced by a lighter weight on the other side if the

lighter weight is located at a greater distance from the fulcrum.


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BALANCEBalance in design is similar to balance in physics

A large shape close to the center can be balanced by a small

shape close to the edge.

A large light toned shape will be balanced by a small dark toned

shape (the darker the shape the heavier it appears to be)


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BALANCE

There are three

different types ofbalance:

- symmetrical

- asymmetrical- radial


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BALANCE typographic illustration


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BALANCE typographic illustration


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Repeating visual elements

such as line, color, shape,

texture, value or image

tends to unify the totaleffect of a work of art as

well as create rhythm.

Repetition can take the

form of an exact duplication

(pattern), a near

duplication, or duplication

with variety.

REPETITION or PATTERN


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REPETITION

orPA

TTERN


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Repetition without variation appears dull and monotonous


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Repetition with variation appears stimulating and visually attractive


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GRADATION

Gradation of size and

direction produce linear

perspective. Gradation of

colour from warm to cool and

tone from dark to lightproduce aerial perspective.

Gradation can add interest

and movement to a shape.

A gradation from dark to light

will cause the eye to movealong a shape.


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GRADATION


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CONTRAST

Contrast is the combination of opposing elements e.g. opposite

colours on the colour wheel - red / green, blue / orange etc.

Contrast in tone or value - light / dark.

Contrast in direction - horizontal / vertical.The major contrast in a painting should be located at the center of

interest.

Too much contrast scattered throughout a painting can destroy

unity and make a work difficult to look at. Unless a feeling of chaos

and confusion are what you are seeking, it is a good idea tocarefully consider where to place your areas of maximum contrast.


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CONTRAST


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CONTRAST

Contrast enhances appearance


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DOMINANCE

Dominance gives a

painting interest,

counteracting confusion

and monotony.

Dominance can be

applied to one or more of

the elements to give

emphasis.


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DOMINANCE


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UNITY

Relating the design elements to the idea being

expressed in a painting reinforces the principal of unity;

e.g. a painting with an active aggressive subject wouldwork better with a dominant oblique direction, course,

rough texture, angular lines etc. whereas a quiet

passive subject would benefit from horizontal lines, soft

texture and less tonal contrast.Unity in a painting also refers to the visual linking of

various elements of the work.

UNITY


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UNITY


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HARMONY

Harmony in painting is the visually satisfying effect of

combining similar, related elements, e.g. adjacent

colours on the colour wheel, similar shapes etc.


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HARMONY

Harmony: brings together a

composition with similar

units. If your composition

was using wavy lines and

organic shapes you wouldstay with those types of lines

and not put in just one

geometric shape. (Notice

how similar Harmony is to

Unity).


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PROPORTION orSIZE

Proportion refers the size relationship of visual elements to

each other and to the whole picture. One of the reasons

proportion is often considered important in composition is thatviewers respond to it emotionally. Proportion in art has been

examined for hundreds of years. One proportion that is often

cited as occurring frequently in design is the Golden mean or

Golden ratio.

PROPORTION orSIZE


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PROPORTION or SIZE


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PROPORTION orSIZE


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PROPORTION

Golden Ratio: 1, 1, 2, 3, 5, 8, 13, 21,34 etc. Each succeeding number

after 1 is equal to the sum of the two

preceding numbers. The Ratio

formed 1:1.618 is called the golden

mean - the ratio of bc to ab is thesame as ab to ac. If you divide each

smaller window again with the same

ratio and joining their corners you

end up with a logarithmic spiral. This

spiral is a motif found frequently

throughout nature in shells, horns

and flowers.


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PROPORTION

Many artists are aware of the rule of thirds, where a picture is divided

into three sections vertically and horizontally and lines and points of

intersection represent places to position important visual elements.

Moving a horizon in a landscape to the position of one third is often

more effective than placing it in the middle, but it could also be placed

near the bottom one quarter or sixth. There is nothing obligatory about

applying the rule of thirds. In placing visual elements for effective

composition, one must assess many factors including color,

dominance, size and balance together with proportion.


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PROPORTION


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PROPORTION


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All lines have directionHorizontal, Vertical orOblique. Horizontal

suggests calmness,stability and tranquility.Vertical gives a feelingof balance, formalityand alertness. Obliquesuggests movementand action.

DIRECTION


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MONOCHROMATIC

Having or appearing to have

only one color or composed of

radiation of only one

wavelength: monochromatic

light.

Red Square Composition


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MONOCHROMATIC


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MONOCHROMATIC


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POLYCHROMATIC

Having or exhibiting many colors, or

composed of radiation of more

than one wavelength:

polychromatic light.

Klee, Paul-Red_Balloon-1922


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POLYCHROMATIC

Kandinsky, Composition VII


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POLYCHROMATIC

magazine addcd cover


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STATIC

Mondrian Composition

"static" has nothing to do

with electricity -- it simply

means unmoving, or

without force. By contrast,

"dynamic" means forceful,

or moving.

Static composition in a

picture is quite often

centered and almost

always well balanced.


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STATIC

Rafael Portrait of Baldassare Castiglione


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STATIC

annual report poster


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DYNAMIC

Delacroix - Liberty Leading the People


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DYNAMIC

Salvatore Dali-tuna - polychromatic,

dynamic,


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DYNAMIC


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DYNAMIC

Apicrop annual report

cover

double spread


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OPEN

CLOSED

OPEN

Objects, shapes, colour and

value extend beyond picture

plane/shape boundaries.


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OPEN

OPEN


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Wassily Kandinsky

Composition V


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OPEN

Matisse Fruit and Coffee

OPEN


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EdggarDegas-Dancer adjusting

her shoe


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CLOSED

Vincent Van Gogh - Sunflowers


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CLOSED

Claude Monet Madame Monet and Son

CLOSED


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E.C. Tarbell Three

Sisters

INE


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LINE

The technique of the brush

drawing with white highlights

on blue paper was one Drer

became acquainted with in

Venice. The interplay of white

and dark parallel and cross-

hatchings which gently follow

the curves of the face create

the plastic effect of the light

and dark shades.

A. Durer - Head of an Angel 1506Brush drawing on blue Venetian paper, 270 x 208 mm, Vienna


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LINE

Albrecht Durer - Study of DraperyBrush drawing on a dark ground with white highlight, 400 x

235 mm

Staatliche Museen, Berlin


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LINE

Albrecht Durer Hands Study


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LINE


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LINE

Rembrandt van Rijn - A Woman Sleeping paint brushdrawing - 1655


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LINE

Carp paint brush drawing

The quality of your line is very


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The quality of your line is very

important and it can make or

break a gesture drawing.

Emphasize the complex rhythmsof en object by alternating thick

and thin strokes, saving your

strongest lines for the dominant

rhythms. You can also reinforce

the interlocking, sculptural quality

of the shapes by emphasizing the

lines on forms that cross over and

in front of other forms.

You may want curves in your

drawing to evolve one into the

other, not start and stop like asputtering car.


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Five brush-strokesNot Anything

by Jan Zaremba


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Contour Drawing


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Contour Drawing


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Blind Contour Drawing


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Blind Contour Drawing


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Continuous Line

Continuous Line Drawing


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Continuous Line Drawing


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Gesture Drawing

Gesture Drawing


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g

Silh tt D i


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Silhouette Drawing

Silhouette Drawing


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Orchid o a Hills

Line and spatial effects


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Line and spatial effects

line and stroke expressive qualities and variations


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LINE


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LINE


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LINE


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LINE


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New Visual Elements and Principles of Design

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