The document discusses the basic design principles that artists use to create artworks: unity and variety, balance, emphasis and subordination, contrast, repetition and rhythm, and scale and proportion. It provides examples of how different artists have utilized these principles in their works through compositions, colors, shapes, sizes, and placement of elements. Mastering these design principles allows artists to effectively organize the visual tools in their toolbox to skillfully build artworks.

1. How An Artwork Is Built Chapter 3

2. From Toolbox to Creation How does an artist use the visual tools in their toolbox to create an artwork? They organize these tools into compositions, also called design We’ll be looking at the basic design principles: Unity and variety Balance Emphasis and subordination Contrast Repetition and rhythm Scale and proportion

3. Bad Design Even those without formal art training can see when bad design is at work

13. Good Design It’s Easy to Spot

18. Charles Demuth (1883–1935). The Figure 5 in Gold . 1928. 35-1/2" × 30" (90.2 × 76.2 cm). Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

19. Unity and Variety Unity-the appearance of oneness The feeling that the design is complete and all elements are working together Variety-diversity Most artists try to find a balance

20. Yves Klein

21. Jacob Lawrence. Going Home . Line study. 1946. 21-1/2" × 29-1/2". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

22. Pieter de Hooch. Interior of a Dutch House . 1658. 29" × 35". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

23. Pieter de Hooch. Interior of a Dutch House . Line Study. 1658. 29" × 35". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

24. Robert Rauschenberg. Gift for Apollo . 1959. 43-3/4" × 29-1/2" × 41" (111.1 × 74.9 × 104.1 cm). Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

25. Balance Balance-equilibrium Symmetrical Balance-left and right are near or exactly match each other

26. James Hoban. A Design for the President's House . Elevation. 1792. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

27. James Hoban. A Design for the President's House . White House. Front View. 1997. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

28. Damien Hirst. Posterity—The Holy Place . 2006. 89-5/8" × 48". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

29. Asymmetrical Balance Asymmetrical balance-the left and right sides are not the same Instead, balance is achieved through the size and meaning of the elements

30. Lavinia Fontana. Noli Me Tangere . 1581. 47-3/8" × 36-5/8". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

31. Visual Weight A large form is heavier than a small one A form close to the edge of the frame is heavier A complex form is heavier than a simple one Warm colors are heavier and advance toward the viewer Intense colors are heavier The weight of a color increases as the background approaches its complementary hue

32. Nicolas Poussin (French, 1594–1665). The Holy Family on the Steps . 1648. 72.4 × 111.7 cm. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

33. Edgar Degas (1834–1917). Jockeys Before the Race . c. 1878–1879. 42-1/2" × 29". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

34. Edgar Degas (1834–1917). Jockeys Before the Race . Line Study. c. 1878–1879. 42-1/2" × 29". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

35. Emphasis and Subordination Emphasis-used to draw the attention of the viewer Subordination-used to create areas of lesser interest By using these two principles the artist shows the viewer where to look

36. Directional Forces Like emphasis and subordination, directional forces tell the viewer where to look Directional forces have the added advantage of showing the viewer where to look next.

37. Francisco Goya. Bullfight: The Agility and Daring of Juanito Apinani . Plate 20. 9-1/2" × 14".Francisco Goya. Bullfight: The Agility and Daring of Juanito Apinani . Line Study. Plate 20. 9-1/2" × 14". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

40. Annie Leibovitz

41. Contrast Contrast-opposing elements Dark vs. light Large vs. small Thick vs. thin

42. Luster-Painted Bowl . Hispano-Moresque, Manises. Spain. c. 1400. Height 5-1/2", diameter 17-4/5". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

43. Repetition and Rhythm Repition-repeating elements Rhythm-regular repeating elements

44. Liubov Popova. The Pianist . 1915. 106.5 × 88.7 cm. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

45. Ogata Korin (1658–1716.) Cranes . Japanese, Edo period (1615–1868). c. 1700. 166 H × 371 cm (65-3/8" × 146-1/6"). Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

46. José Clemente Orozco. Zapatistas . 1931. 45" × 55" (114.3 × 139.7 cm). Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

47. Scale and Proportion Scale-the size of one thing in relation to another Proportion-size relationship of the parts that make up a whole

48. Scale Relationships. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

49. Claes Oldenburg and Coosje van Bruggen. Shuttlecocks . One of four.1994. 215-3/4" × 209" × 191-3/4". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

50. Michelangelo Buonarroti. Pietà. 1501. Height 6'8-1/2". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

51. Roettgen Pietà . 1300–1325. Height 34-1/2". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.