This document discusses the key elements and principles of visual art design, including line, shape, space, color, texture, size, and movement. It defines each element and principle and provides examples to illustrate techniques for achieving balance, rhythm, emphasis, and unity in a composition. The elements are the basic components that make up a work of art, while the principles are concepts used to organize those elements on the page.

2. Organization of
Visual Arts
Principles of Design
Prepared By :
Santos, Mercy Amor T.
David, Djoanna

3. Organization of Visual Arts
• Composition
An orderly arrangement of
elements using the principles of
design.

4. Elements of Visual Arts
The elements are components or
parts which can be isolated and
defined in any visual design or
work of art. They are the structure
of the work, and can carry a wide
variety of messages.

5. POINT
–The line or shape basis.

6. LINES
– is a mark on a surface that
describes a shape or outline.
– has a psychological impact
according to its
direction, weight, and the
variations in its direction and
weight.

7. Types of Line
• Horizontal Line
– A line which is paralleled to the horizon or on
the Earth’s surface.
– suggests a feeling of rest or repose.

8. Types of Line
• Vertical Line
– A straight line goes from top to bottom.
– communicate a feeling of loftiness and
spirituality.
– Also imply that our body is
stiff, dignified, formal or still.

10. Types of Line
• Diagonal Line
– A line having a slanted or oblique direction.
– Suggests a feeling of movement or direction.
– Most active line.

11. Types of Line
• Curved Line
– A line which is not straight.
– Suggests comfort, safety, familiarity, relaxatio
n.

12. Types of Line
• Actual Line
– These are lines that are physically present in
a design.
– The pure line, used in writing, and in visual
arts as contour, creating pure shapes, form
and spaces.

13. Types of Line
• Implied Line
– Lines that may not have been explicitly
drawn, but that the composition of the work
makes it appear that they are there.

14. Types of Line
• Contour Line
– It’s an outline.
– A line that defines or bounds anything --
defines its edge.

15. SHAPE/FORM
– Are formed from lines.
– Can be classified as two or
three dimensional lines.

16. Categories of Shape
• Organic forms
– are irregular in outline, and often
asymmetrical.
– are most often thought of as naturally
occurring.

17. Categories of Shape
• Geometric forms
– are those which correspond to named regular
shapes, such as
squares, rectangles, circles, cubes, spheres,
cones, and other regular forms.

18. SPACE
–Where shapes/forms are
implied.
– It can distract, focus, or alter
our impression about the
object.

20. COLOR
– is one of the most powerful
of elements.
–It has tremendous
expressive qualities.
–is the visual perceptual
property corresponding
in humans.

21. Dimensions of Color
• Hue
– The name of the color, such as red, green or
blue.
– It indicates the color’s position on the color
wheel.

22. Dimensions of Color
• Value
– Defined as the relative lightness or darkness
of a color.
– It is an important tool for the designer/artist, in
the way that it defines form and creates
spatial illusions.
– It is the contrast between black and white
and all the tones in between.

24. Dimensions of Color
• Intensity or saturation
– is the brightness of a color

26. Psychological Implications of Color
• Red
– is associated with blood, and with feelings
that are energetic, exciting, passionate or
erotic.

27. Psychological Implications of Color
• Orange
– is the color of flesh, or the friendly warmth of
the hearth fire.

28. Psychological Implications of Color
• Yellow
– is the color of sunshine. This color is
optimistic, upbeat, modern.

29. Psychological Implications of Color
• Green
– Suggests nature (plant
life, forests), life, stability, restfulness, naturaln
ess.

30. Psychological Implications of Color
• Blue
– suggests coolness, distance, spirituality, or
perhaps reserved elegance.

31. Psychological Implications of Color
• Violet
– is the color of
fantasy, playfulness, impulsiveness, and
dream states.

32. MOVEMENT
– is the process of relocation
of objects in space over time.
–We can speak of movement
as; literal or compositional.

33. MOVEMENT
• Literal movement
– is signaled by symbolic forms that suggest
speed and motion.

34. MOVEMENT
• Compositional movement
– It consider how the viewer's eye moves
through the composition.
– How the components relate and lead the
viewer's attention.

35. Classifications of Compositional
Movement
• Compositional movement may be
classified as static.

36. Classifications of Compositional
Movement
• Movement may also be classified
as dynamic.

37. TEXTURE
– It is the quality of an object
which we sense through
touch.

39. SIZE
– relative magnitude of an
object.
– refers to variations in the
proportions of objects, lines
or shapes.

40. SIZE
• Size Variation
– Notice how size can effect how close or far
something can appear to be from the viewer.

41. Principles of Design
• The principles of design are the recipe
for a good work of art. The principles
combine the elements to create an
aesthetic placement of things that will
produce a good design.
• The Principles of Design are concepts
used to organize or arrange the structural
elements of design.

42. Balance
– is a feeling of visual equality
in
shape, form, value, color, etc
.
– It is a way to compare the
right and left side of a
composition.

43. Two ways of Balance
• Symmetrical or Formal Balance
– When the elements are arranged equally on
either side of a central axis.

44. Two ways of Balance
• Asymmetrical or Informal Balance
– there are no mirror images in a composition.

45. Proportion
– refers to the relative size and
scale of the various elements in
a design.

47. Rhythm
– is a movement in which some
elements recurs regularly.
– described as timed movement
through space.

48. Rhythm may occur through:
• Repetition
– involves the use of patterning to achieve
timed movement and a visual "beat".

49. Rhythm may occur through:
• Alternation
– is a specific instance of patterning in which a
sequence of repeating motifs are presented in
turn.

50. Rhythm may occur through:
• Gradation
– employs a series of motifs patterned to relate
to one another through a regular progression
of steps.

51. Emphasis
– is the center of interest.
– is also referred to as point of
focus, or interruption.

52. Emphasis can be achieved through :
• Repetition
– creates emphasis by calling attention to the
repeated element through sheer force of
numbers.

53. Emphasis can be achieved through :
• Contrast
achieves emphasis by setting the point of
emphasis apart from the rest of its
background.

54. Emphasis can be achieved through :
• Contrast
Contrast of color, texture, or shape will call
attention to a specific point.

55. Emphasis can be achieved through :
• Contrast
Contrast of size or scale as well.

56. Emphasis can be achieved through :
• Contrast
Placement in a strategic position will call
attention to a particular element of a
design.

57. Unity
– It refers to the coherence of
the whole.
– harmony of all the parts.

59. References :
• http://www.princetonol.com/groups/iad/files/elements2.htm
• http://char.txa.cornell.edu/language/element/element.htm
• http://char.txa.cornell.edu/language/principl/principl.htm
• http://www.studiocodex.com/lines01.html#
• http://deviantnep.blogspot.com/2008/02/line.html
• http://www.msuiit.edu.ph/ipag/studies/humanities/organization.html
• http://budgetdecorating.about.com/od/usingcolor/ss/color_wheel_9.h
tm
• http://www.ncsu.edu/scivis/lessons/colormodels/color_models2.html
• http://www.goshen.edu/art/ed/Compose.htm#size

60. for
Listening!!
^_^