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The principles-of-art-design

This document outlines the five principles of art design: harmony, rhythm, balance, proportion, and emphasis. It provides examples and definitions for each principle. Harmony involves visually pleasing agreement among elements and can include harmony of lines/shapes, size, color, texture, and ideas. Rhythm involves the repetition of a motif to create movement. Balance can be symmetrical, with equal visual weights on both sides of an axis, or asymmetrical. Proportion concerns the size relationships between parts and the whole. Emphasis allows certain elements to stand out through techniques like arrangement, decoration, contrasting color, or unusual features. Other principles discussed include novelty, variety, utility/function, and contrast.

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THE PRINCIPLES OF ART DESIGN GROUP 3 HUMANITIES BSMT-1B
DESIGN • A plan or drawing produced to show the look and function or workings of a building, garment, or other object before it is built or made. • The proper arrangement of the different art elements in order to produce something beautiful.
THERE ARE 5 PRINCIPLES OF ART DESIGN WHICH ARE: • 1) HARMONY • 2) RHYTHM • 3) BALANCE • 4) PROPORTION • 5) EMPHASIS
EXAMPLES OF DESIGN
1) HARMONY • Is the principle which produces an impression of unity through the selection and arrangement of consistent objects or ideas. • If there is harmony, there is order and every orderly arrangement is harmonious. • To create harmony, appearance as well as its use to have considered. • Visually pleasing agreement among the elements in a design.
Harmony has five aspects which are: 1.1 Harmony of lines and shapes 1.2 Harmony of size 1.3 Harmony of color 1.4 Harmony of texture 1.5 Harmony of idea
• TRANSITIONAL LINES • OPPOSING LINES • REPETITION 1.1 HARMONY OF LINE AND SHAPES
1.1 HARMONY OF LINES AND SHAPES • Transitional line- Softens and modifies other lines. • It is a usually curved, graceful line which connects two or more opposing lines.
1.1 HARMONY OF LINES AND SHAPES • Repetition- If a small rectangle is placed within another a bigger triangle so their sides are parallel. • Repeating. Repetition shows harmony.
1.1 HARMONY OF LINES AND SHAPES • Contrasting/Opposing lines- A straight line which intersects each other and form angles.
1.1 HARMONY OF LINES AND SHAPES
1.2 HARMONY OF SIZE • This refers to good proportion. • As you can see in the picture, Both figures in Egon Schiele’s painting occupy the same amount of space. The figure with the yellow bonnet sits on a dark mat while the figure with the dark bonnet sits on a yellow mat. Both bonnets and mats occupy the same amount of space. Schiele’s use of repetition gives the work an interesting harmony due to the size relationships of the various elements.
1.3 HARMONY OF COLOR • Means using two or more colors in decorating an article or object. It does not mean mixing the colors. • Color combination giving the most pleasure are most likely to be those possessing harmony or unity.
1.3 HARMONY OF COLOR
1.4 HARMONY OF TEXTURE • The character of texture can be determined by feeling the object with the fingertips or by looking at it. • Coarse and fine materials used together do not give harmonious effect and so should be avoided.
1.4 HARMONY OF TEXTURE
1.5 HARMONY OF IDEA • It is not enough that shapes, sizes and textures have something in common: There must be harmony in the idea presented together.
1.5 HARMONY OF IDEA
2) RHYTHM  Is the regular, uniform or related visual movement made through the repetition of a unit or motif.  Is the basis of almost all performing arts because it is the principle which is more quickly felt.  A strong, regular, repeated pattern of movement or sound.  Synchronization.
2) RHYTHM  MOTIF- a decorative design or pattern.  -A dominant feature or part repeated in a design or decoration.  Repetition of a unit creates a feeling movement or rhythm.  Rhythm is classified into two: Formal and Informal  Formal/Uniform rhythm- The repetition of a motif in regular arrangement.  Informal/Free rhythm- The repetition of a motif with variation in its form and arrangement.
2.1 FORMAL RHYTHM
2.2 INFORMAL RHYTHM
RHYTHM  Not all movements in a design are rhythmical.  Rhythm can be observed when the units are of the same sizes and distances from one another.  If a unit is repeated in one-direction, it produces are border design, and in two- directions, a surfaced pattern.  Rhythm is not only applied to graphic arts but also to architecture, music, textiles, laces, furniture, glassware, dresses, and many more.
3) BALANCE  A quality which gives the feeling of rest, peace, repose, and stability.  A state of equilibrium or equipoise; equal distribution of weight, amount, etc.  In arts, we don’t exactly arrange the objects of equal physical weights to produce balance. It is the visual weight of lines, forms, values, etc.  VISUAL WEIGHT – The quality which gains and holds attention.
BALANCE Balance is divided into two:  3.1 Symmetrical Balance  3.2 Asymmetrical Balance
3.1 SYMMETRICAL BALANCE  Symmetrical balance is the balance of equal visual weights placed at equal distances from the axis.  Symmetrical balance can be described as having equal "weight" on equal sides of a centrally placed fulcrum. It may also be referred to as formal balance. When the elements are arranged equally on either side of a central axis, the result is Bilateral symmetry.
MORE EXAMPLES OF SYMMETRICAL BALANCE
3.2 ASYMMETRICAL BALANCE  Asymmetrical design is typically off-centered or created with an odd or mismatched number of disparate elements. When the left and right sides of the design are unequal it is said to have asymmetrical balance.  Is the balance of unequal visual weights, the heavier one being nearer the axis and the lighter one farther.  It is also called Informal, Occult or Free Balance.
MORE EXAMPLES OF ASYMMETRICAL BALANCE
4) PROPORTION  Size relationships of one part to another part or the whole.  A quality of art which shows pleasing relationship between a whole and its parts and between the parts themselves.  Expressed in terms of ratios.
Proportion in ArchitectureProportion in Painting Proportion in Sculpture
This is a real sense of proportion in each of the two paintings at the side. Without the effective use of the principle of the proportion, you would not experience the majesty of the mountain cliffs in the painting on the left or the beauty in the right. PROPORTIO N
PROPORTIO N Greek oblong or rectangle with the ratio of two is to three (2:3)- The standard Greek proportion for two- dimensional or flat surfaces.
• The Parthenon, a building in Athens, Greece, is considered the most perfectly proportioned architectural structure in the world. • A Greek standard for three-dimensional objects or solids is the ratio, 5:7:11, which is especially used in buildings and in determining the proportion of margins for framed pictures.
3 ASPECTS OF PROPORTION 4.1 Proportion in the grouping of objects 4.2 Proportion in space divisions 4.3 Proportion in scales
3 ASPECTS OF PROPORTION • Grouping of objects – also called arrangement, may show good or bad proportion. *It is more pleasing to group 3 objects with another three, two objects with three than to group two objects with two or two with four. Because odd number are more interesting than even numbers. * Very small objects should not be grouped with very large ones. Otherwise, they will be out of proportion.
5 EMPHASIS  Artists use emphasis to make certain parts of their artwork standout and grab your attention.  It may be the outline, form, color, texture, size, idea, or value of an object/artwork.
EMPHASIS
EMPHASIS
METHODS OF EMPHASIZING OBJECTS 5.1 BY ARRANGEMENT OR GROUPING OF OBJECTS • An orderly group of things considered as a unit. • Should be located at the center and should be the biggest and brightest in colors.
METHODS OF EMPHASIZING OBJECTS 5.2 BY DECORATION • An object or an act intended to increase the beauty of a person, room, etc. • Something nice that you put on or in something else to make it look more attractive.
METHODS OF EMPHASIZING OBJECTS 5.3 BY COLOR CONTRAST • It depends on how high the saturation is. With less saturation, the tonal contrast becomes noticeable. With more saturation, the color contrast takes over.
METHODS OF EMPHASIZING OBJECTS 5.4 BY THE USE OF PLAIN BACKGROUND SPACE • Simple decorations which are placed against sufficient plain background will be more emphatic than when the background space is small.
METHODS OF EMPHASIZING OBJECTS 5.5 BY UNUSUAL LINES, SHAPES, AND COLORS • Novelty or newness can also draw attention to a specific element of work. It is difficult to keep the eye away from extraordinary figures or subjects.
METHODS OF EMPHASIZING OBJECTS 5.6 BY ACTION OR MOVEMENT • Dynamic illustrations usually attract more attention than passive ones.
NOVELTY OR NEWNESS VARIETY OR VARIATION UTILITY, ADAPTABILITY, OR FUNCTION CONTRAST OTHER ART PRINCIPLES
OTHER ART PRINCIPLES NOVELTY OR NEWNESS • A new dress style appears more attractive and interesting than ordinary dress design. Novelty provides the best opportunity for developing one’s creative ability.
OTHER ART PRINCIPLES NOVELTY OR NEWNESS
OTHER ART PRINCIPLES VARIETY OR VARIATION • A set of furniture which is arranged in a certain way and remains as it is for long periods of time appears to be monotonous. Variation in the arrangement or style of furniture makes the space the furniture occupies more interesting and attractive.
OTHER ART PRINCIPLES VARIETY OR VARIATION
OTHER ART PRINCIPLES UTILITY, ADAPTABILITY OR FUNCTION • A work of art must not only possess beauty but also utility. The object must be adaptable to the purpose for which it is made.
UTILITY, ADAPTABILITY OR FUNCTION OTHER ART PRINCIPLES
CONTRAST • This art principle is synonymous to opposition or contradiction. It has some relationships with balance and emphasis. Two contrasting lines or colors may balance each other. The center of interest in a composition is in contrast with the subordinating parts in the same composition. OTHER ART PRINCIPLES
CONTRAST OTHER ART PRINCIPLES