3. ELEMENTS OF DESIGN
Elements are the building blocks of all two and three
dimensional work. They are the basic visual vocabulary that
is used to build complex pieces of art
Knowing the elements allows us to get under the surface
appearances of a piece of art and grasp its structure.
In other words: Elements are the things that make up the
painting, drawing, design etc.
4. ELEMENT #1 - LINE
Line is the path of a point
moving through space.
Contour lines define
shape
repeated lines make
texture or modelling
converging lines (like in
the image to the right)
give the illusion of space.
5. ELEMENT #1 - LINE
Lines can be emotional: geometric lines are tense and
mechanical, organic ones are fluid and natural.
6. ELEMENT #1 - LINE
Line can be considered in two In the image below,
ways: either the linear marks Leonardo da Vinci used a
made with a pen or brush, or soft, sensitive line to
the edge created when two create a graceful image
shapes meet
Line is a mark on a surface that
describes a shape or outline.
Types of line can include
actual, implied, vertical,
horizontal, diagonal and Leonardo da Vinci - “Angel for the
contour. Madonna of the Rocks” c. 1383-85
7. ELEMENT #1 - LINE
This image has the same
subject as the Leonardo da
Vinci image seen in the last
slide...However, the artist
Willem de Kooning has
created a very different
feeling by using a heavy,
gestural line.
“Woman 1” by Willem de Kooning
1950-52 - Oil on canvas
8. ELEMENT #1 - LINE
The woman's face in this image is
created with a mechanical line creating
an emotionally detached feeling.
Although the subject matter is the
same in all of the three works we just
looked at, the differences in line
quality have created works with very
different impact.
How you use line is one of the most
important decisions to be made in
creating a work of art
9. ELEMENT #2 AND #3 -
SHAPE / FORM
Shape is a closed 2D area that
has a definite outline created
by a line, colour, texture or
value that separates it from
A circle is a shape, a sphere is
the background.
its related 3-D form.
Form is a shape given 3-
dimensional volume by using
texture, colour or value.
11. ELEMENT #2 AND #3 -
SHAPE / FORM
The forms in the image on the right
(ocean liner) are clearly defined. The
image looks 3D because of the
perspective and shading.
By contrast, this folk painting of a ship
relies on simple shapes to show us the
image
12. ELEMENT #4 - TEXTURE
Texture refers to the actual
surface of any object, natural or
manufactured. There are three
types:
Simulated – A realistic
rendering or photograph of
texture
Actual – The feeling of the
surface on the actual objects
Texture = surface quality.
Invented – An invented texture We experience actual texture when we touch objects and
made by the artist with tools or feel their roughness, smoothness or patterns, which we
a pattern made with the media. can simulate or imply in images.
13. ELEMENT #4 - TEXTURE
Texture is the dominant
element in this work. The
work takes advantage of
our expectations of how
texture should be used: fur
may delight the touch but it
repels the tongue. A cup
Meret Openheim – Object (Paris 1936)
and spoon, of course, are
made to be put in the
This is a surrealist
mouth. sculpture!
14. ELEMENT #5 - COLOUR
Colours also have symbolic and emotional associations.
Associations are culturally based.
(i.e. Red=anger, Blue=sadness, White = purity)
Colour is our visual response to the
wavelength of light reflected from a
surface. Colour has three properties:
hue, value and intensity. Colours can
be used in a wide variety of
combinations called harmonies.
Some of these are monochromatic,
complementary or analogous.
15. Sunflowers by Vincent Van Gogh Barlett Pears by John Olin Gardner Untitled by Christine Taylor
COLOUR HARMONY COMBINATIONS: WHICH
IS WHICH?
Monochromatic? Complementary? Analogous?
16. The painting by Phyllis
Bramson (left) has intense,
complimentary colours that
equate to strong conflicting
emotions. The other work,
“Zodiac” by Alphonse
Mucha (1860-1939), uses
subdued, analogous colours
to create a very different
feeling.
USES OF COLOUR
17. ELEMENT #6 - VALUE
Value - relative light and darkness.
The overall lightness and lack of contrast in
the left image conveys a sense of spirituality
and harmony. This is a light value work.
The dramatic mood of “Paradise Lost” by Gustave
Dore (1866) is created, in large part, by the high
contrast of light and dark. This is a dark value work.
18. ELEMENT # 7 - SPACE
Space is created by using
other elements and
principles.
In visual art, space can be
real (as in architecture) or
a three dimensional
illusion (perspective).
19. ELEMENT # 7 - SPACE
An artist can create the
illusion of depth using
overlapping, diminishing
scale, atmospheric
perspective, linear
perspective, warm and cool
colours and vertical
location. Raphael's School of Athens - 1509
20. POSITIVE / NEGATIVE
SPACE
Artists can use the empty space
(called ‘negative’ space) to create
interesting contrast in an artwork
Healthy Living Ad
View of the Pyramid. Louvre, Paris.
21. ELEMENT # 7 - SPACE
Although his use of linear
perspective is not accurate,
the painting by Vincent
Van Gogh still implies an
illusion of space/ depth.
The Bedroom at Arles, c. 1887 Vincent Van Gogh
23. PRINCIPLES OF DESIGN
When two or more elements are used in a composition, they
begin to interact. The ability to control this interaction is the
main task of the artist or designer.
The Principles of Design are the laws that govern the way
that line, colour or other elements combine for certain
emotional or aesthetic effects.
By comparison, the elements of design are the components
of design themselves, the objects to be arranged.
24. Why is this building
famous?
Bonnano de Pisa. Bell Tower of the
Cathedral at Pisa. Begun 1174.
25. PRINCIPLE #1: BALANCE
Balance is a physical or visual equilibrium. There are three
main types in art:
formal (symmetrical),
informal (asymmetrical) and
radial balance
A sense of balance is innate; as children we develop a sense
of balance in our bodies and observe balance in the world
around us. Imbalance disturbs us. Balance makes a design
or painting more comfortable for viewers. In assessing
pictorial balance, we always assume some sort of vertical
axis. We usually expect to see some type of equal visual
weight distribution on either side of the centre line.
27. SYMMETRICAL VS.
ASYMMETRICAL
The second illustration is balanced because bright colours
have more visual weight than dark ones – thus it takes two
dark squares of the same size to balance one red square of
the same size.
28. INFORMAL BALANCE
This painting shows asymmetrical/
informal balance – objects are not
exactly the same on the right and
left side, yet the painting still
appears to have the same amount
of visual weight on the right and
left side.
Giotto. Madonna Enthroned.
C. 1310. Uffizi, Florence.
29. SYMMETRICAL /
FORMAL BALANCE
This famous abstract
painting is perfectly
symmetrical. This is also
called “formal balance”.
Can you place the line of
symmetry on the painting?
Frank Stella. Gran Cairo. 1962.
Whitney Museum of American Art
New York.
30. RADIAL BALANCE
In radial balance, all the
elements radiate or circle
out from a common central
point. It is used frequently
in architecture, and only
sometimes in painting
because it creates an
obvious focal point. Photo of the coffers on Pantheon ceiling - Rome
31. PRINCIPLE #2:
EMPHASIS
Emphasis is the creation of visual importance or focus.
Emphasis is often created through contrasting one of the
elements like colour. It is used to attract and guide the
viewer’s attention or to convey action or emotion.
32. TO CREATE EMPHASIS:
Arrange most elements
horizontally and insert a few
vertical forms.
Have most elements in your design
as regular geometric shapes and
lines and insert an organic shape,
as in Frank Miller’s image on the
right.
Frame of “Sin City” by Frank Miller
33. TO CREATE EMPHASIS:
Create a work in which
many objects are
approximately the same
size, and one is much
larger.
“Earth” Jeff Soto
34. TO CREATE EMPHASIS:
Make a work of art in
which most natural forms
are distorted, but there is
one occasional
recognizable section.
Lucas Samaras
Photo-Transformation
November 22, 1973
35. TO CREATE EMPHASIS:
Create a work in which
most colours are dark, and
contrast with bright
colours.
Lucas Samaras
Large Drawing #45. 1966.
Museum of Modern Art, New York.
36. PRINCIPLE #3: RHYTHM
Rhythm is a flow or movement
in a design through patterns in
timing, spacing, repeating or
accenting of one of the
elements.
In visual art, rhythm is
basically related to movement.
As a design principle, it is
based on repetition.
37. PRINCIPLE #3: RHYTHM
The repetition in this work
creates a sense of
movement.
Marcel DuChamp
Nude Descending a Staircase, No. 2.
1912. Philadelphia Museum of Art.
38. PATTERNS MAKE
RHYTHM
Rhythm can always be achieved through patterning. Artists
can use exact patterns to create rhythm.
Andy Warhol.
‘Marilyn', Andy Warhol. 1961
Campbell’s Soup Cans. 1962.
39. PRINCIPLE #4: UNITY
Unity occurs when one or
more of the elements are
similar across the design.
It creates a sense of dignity
and cohesion.
40. AN EASY WAY TO GAIN
UNITY...
to make separate elements look as if they belong together- is
by proximity, or simply putting these elements close
together.
Think about it: in the hallway at lunch, can you see which
groups of people are friends (unified), by how they sit and
stand together in the hall?
Audrey Flack. 1977-78.
Wheel of Fortune.
41. UNITY
Unity can be achieved by repetition
In this painting, viewers can see unity through the repetition of
shape. Rectangles, triangles and circles repeat, and in addition,
viewers can see an amazing number of parallel diagonals.
Pablo Picasso.
The Studio. 1927-28.
42. UNITY OF SHAPE
Examples of unity through repetition and overlapping
Audrey Flack.
Crayola.
1972-73.
43. UNITY OF COLOUR
“Red Sings the Blues” by Andrea Lyon
Unity is created here by the
use of similar (analogous)
colours
44. PRINCIPLE #5: VARIETY
Variety occurs when
changes in the elements
are used to create interest
The differences give a
design visual and
conceptual interest.
Salvador Dali. The Temptation of St. Anthony. 1946.
Often, variety involves the
unexpected use of contrast Surrealist artists often use the
in size, colour, or texture. concept of variety to create interest
in their work.
45. PRINCIPLE #6:
PROPORTION
Proportion is the relationship of parts to the whole or one thing
to another. Proportion refers to relative size, size measured
against some mental norm or standard.
The Surrealist painter Rene Magritte so
altered the normal scale relationships that
we encounter in life that he created the
intriguing painting seen here.
Rene Magritte. La Chambre D’Ecoute.
46. PROPORTION
Some works of art are
known particularly for
their sheer size
Mount Rushmore.
Claes Oldenburg and Coosje van Bruggen
Spoonbridge and Cherry, 1985-1988
47. PROPORTION
Viewers have a general idea about what
is right and wrong in the proportions
of the human body.
Many of our ideas of human
proportions were set almost 2500
years ago during the period of Greek
Classical art. Although no figure was
considered perfect, it was the role of
the artist to create the perfection not
found in nature. Polyclitus. The Spear Carrier.
Roman copy of Greek original.
450-440 BC. National Museum, Naples.
48. MESSING WITH
PROPORTION
In Picasso’s The Old Guitarist
distorted body proportions are
evident. The old man has
elongated thin arms and legs,
enlarged body, hands and feet.
These distortions, along with the
colour, become an expressive
statement on the debilitation of old
age.
Picasso. The Old Guitarist. 1903.
The Art Institute of Chicago.
49. How can YOU use your knowledge of the
Elements & Principles of Design to
change your art?
