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ORGANIZATION IN THE    VISUAL ARTSPresented by:ERIC F. PAZZIUAGAN, RN, MAN
Harmony Essential to beauty. Visual arts: achieved by establishing a  pleasing relationship between the  various element...
   To relieve monotony, there must be    variety.    ◦ The spice of life and of art.    ◦ May be achieved by the diversit...
 Architect: instead of using a long line of  windows, may group the windows and  introduce space between the groups. Mon...
Balance All parts are equally distributed around  a central point. Weights are equally distributed on  each side of a ce...
Formal balance Symmetrical balance Achieved by making both sides  exactly alike. Objects of the same size and  shape, w...
Informal or asymmetricalbalance Occult balance More difficult to achieve the formal  balance; however, the results are m...
   Generally used when we want to    attract the attention of observers and    set them thinking about the object    unde...
Proportion Determined by a comparison of the sizes  of different parts of an object or of an  arrangement. Achieved when...
Rhythm Achieved by the regular or  harmonious recurrence of lines, forms,  and colors. Organized movement, a beat, a  re...
 Through the use of color, charming  patterns will be formed that will carry  the eye from one part of a room to  another...
 It is used as the most effective way of  creating aesthetic unity in  prose, music, dance, painting, architec  ture, and...
Emphasis/ Subordination Some parts easily catch our attention  and interest while other parts are not  noticed at all. P...
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Organization in the visual arts

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Transcript of "Organization in the visual arts"

  1. 1. ORGANIZATION IN THE VISUAL ARTSPresented by:ERIC F. PAZZIUAGAN, RN, MAN
  2. 2. Harmony Essential to beauty. Visual arts: achieved by establishing a pleasing relationship between the various elements. Unity: various parts of the design will give an appearance of belonging together. Repetition of angles and curves, shapes, lines and colors will give a harmonious effect.
  3. 3.  To relieve monotony, there must be variety. ◦ The spice of life and of art. ◦ May be achieved by the diversity of materials used and slight contrast in color, texture, shape and space arrangements. Painting and interior decoration: complementary hues when used will give contrast. Sculptor: use of conrast of texture, such as smooth and rough, in his work.
  4. 4.  Architect: instead of using a long line of windows, may group the windows and introduce space between the groups. Monotony produced by vertical lines of columns in buildings may be relieved by transition lines. If the wall paper in room is figured, the use of plain curtains will make it more beautiful and restful. Artist must ne careful that the variety he introduces does not destroy the harmonious effect.
  5. 5. Balance All parts are equally distributed around a central point. Weights are equally distributed on each side of a center of fulcrum, as in see-saw. Gives a feeling of stability and rest. Makes an object or room not only interesting but also pleasant to look at.
  6. 6. Formal balance Symmetrical balance Achieved by making both sides exactly alike. Objects of the same size and shape, when arranged on two sides of a center, will produce formal balance. Gives an atmosphere of dignity and formality.
  7. 7. Informal or asymmetricalbalance Occult balance More difficult to achieve the formal balance; however, the results are more interesting. Achieved when objects of unequal weights or unequal attractions are placed at the correct distances from the center as when a large object or an object of stronger attraction is placed near the center, while the smaller object or one with less striking attraction is moved
  8. 8.  Generally used when we want to attract the attention of observers and set them thinking about the object under observation. ◦ Active balance: suggests spontaneity and movement. ◦ Gives an impression of casualness.
  9. 9. Proportion Determined by a comparison of the sizes of different parts of an object or of an arrangement. Achieved when one part of an object does not seem too big or too small for other parts. Painting: the principle of good proportion is useful in combining colors successfully and in determining the margins for mounting. ◦ There should be more of one color than the others.
  10. 10. Rhythm Achieved by the regular or harmonious recurrence of lines, forms, and colors. Organized movement, a beat, a repetition. Through the repetition of lines or forms, a pattern is produced, which the eye follows as it moves from the right to left. A series of units repeated one after
  11. 11.  Through the use of color, charming patterns will be formed that will carry the eye from one part of a room to another. Repetition of color in different parts of the room produces a rhythmical effect which is not only charming but pleasing. Rhythmical patterns help the aye to move easily from one part of the room to another or from one part of a design to another.
  12. 12.  It is used as the most effective way of creating aesthetic unity in prose, music, dance, painting, architec ture, and sculpture. Space arts: rhythm is used in repetition, alternation, and gradation of the elements of art, line, form, color and texture.
  13. 13. Emphasis/ Subordination Some parts easily catch our attention and interest while other parts are not noticed at all. Produced by the design or form that catches our attention while the rest are subordinated. Pattern emphasized usually forms the center of interest. Giving importance to the parts or to the whole.

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