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Launching the Imagination
5th
Edition
Chapter Three: Principles of Two-Dimensional Design
1
Chapter Three:
Principles of Two-Dimensional Design
Composition or Design: Combination of multiple
parts into a harmonious whole using Elements &
Principles of Design.
Cornerstones of visual communication: Unity and
Variety
 UNITY: Oneness, or wholeness, in a design that
occurs when all parts work together to create a
cohesive whole.
 VARIETY: Sense of differences. 2
Unity: Gestalt
Unity Involves Gestalt methods:
 Grouping
 Containment
 Repetition
 Proximity
 Continuity
 Closure:
 Combining Gestalt Principles
3
Suggested visual:
Figure 3.7.
Patterns and Grids
Pattern: visual elements systematically repeated over an
extended area.
Grid: a series of intersecting lines.
4
Suggested visual:
Figure 3.18.
Balance
Balance: a sense of equilibrium among
compositional units.
Weight and Gravity: the inclination of shapes to float
or sink; the relative importance of an element.
5
Suggested visual:
Figure 3.22.
1. Symmetrical: mirrored imagery on either side of a
central axis.
2. Approximate: similar imagery on either side of a
central axis.
6
Balance
Suggested visual:
Figure 3.25.
Balance
3. Radial: images are mirrored both vertically and
horizontally.
4. Asymmetrical: imagery is not mirrored.
7
Suggested visual:
Figure 3.32.
Scale and Proportion
Scale: size relationship between two separate
objects (often our own human size).
Proportion: comparative, or relative, relationship
between the parts to a whole within one image.
8
Suggested visuals:
Figures 3.36, 3.38, & 3.39.
Rhythm
Rhythm: sense of movement created by repetition of
multiple units in a deliberate pattern.
9
Suggested visuals:
Figures 3.40, 3.41.
Emphasis
Emphasis: special attention given to some aspect of
a composition (focal point).
• Isolation (anomaly)
• Placement
• Contrast
10
Suggested visual:
Figure 3.51.

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Unity, Balance, Proportion, Scale, Rhythm & Emphasis - Chapter 3

  • 1. Launching the Imagination 5th Edition Chapter Three: Principles of Two-Dimensional Design 1
  • 2. Chapter Three: Principles of Two-Dimensional Design Composition or Design: Combination of multiple parts into a harmonious whole using Elements & Principles of Design. Cornerstones of visual communication: Unity and Variety  UNITY: Oneness, or wholeness, in a design that occurs when all parts work together to create a cohesive whole.  VARIETY: Sense of differences. 2
  • 3. Unity: Gestalt Unity Involves Gestalt methods:  Grouping  Containment  Repetition  Proximity  Continuity  Closure:  Combining Gestalt Principles 3 Suggested visual: Figure 3.7.
  • 4. Patterns and Grids Pattern: visual elements systematically repeated over an extended area. Grid: a series of intersecting lines. 4 Suggested visual: Figure 3.18.
  • 5. Balance Balance: a sense of equilibrium among compositional units. Weight and Gravity: the inclination of shapes to float or sink; the relative importance of an element. 5 Suggested visual: Figure 3.22.
  • 6. 1. Symmetrical: mirrored imagery on either side of a central axis. 2. Approximate: similar imagery on either side of a central axis. 6 Balance Suggested visual: Figure 3.25.
  • 7. Balance 3. Radial: images are mirrored both vertically and horizontally. 4. Asymmetrical: imagery is not mirrored. 7 Suggested visual: Figure 3.32.
  • 8. Scale and Proportion Scale: size relationship between two separate objects (often our own human size). Proportion: comparative, or relative, relationship between the parts to a whole within one image. 8 Suggested visuals: Figures 3.36, 3.38, & 3.39.
  • 9. Rhythm Rhythm: sense of movement created by repetition of multiple units in a deliberate pattern. 9 Suggested visuals: Figures 3.40, 3.41.
  • 10. Emphasis Emphasis: special attention given to some aspect of a composition (focal point). • Isolation (anomaly) • Placement • Contrast 10 Suggested visual: Figure 3.51.

Editor's Notes

  1. The outer edge (format) of a composition defines the design. Principles of Design are how the elements of Line, Shape, Texture, Value, and Color are organized. The principles include unity, variety, balance, scale, proportion, rhythm, and emphasis. Artists must do a delicate balancing act between Unity and Variety. Unity can create stability and calmness. Excessive unity can be monotonous. Variety can create visual & conceptual interest. Excessive variety can create chaos. Opposing forces (contrast) creates opposition (static/dynamic) with size, shape, color, value, or texture. A ratio of 80/20 is especially effective.
  2. Note: Instructors may wish to duplicate this slide for a more thorough study of these terms, using the figures suggested below. Gestalt theory contends that visual information is understood holistically before it is examined separately. We will look at six essential aspects of the application of Gestalt: Grouping: We generally group visual units by location, orientation, shape, and color. Ask students to determine why we see two distinct groups in 3.4A (location). Orientation creates unity in 3.4B. In 3.4C we mentally organize groups by shape. Containment: The format creates unity and determines positive and negative space (vertical, horizontal, circular, etc.). There are three containment elements in figure 3.7. The corporate logos are contained by the face, which is contained by the curtains, and finally by the rectangular format.Repetition: occurs when we use the same element or effect over and over (refer students to figures 3.1 & 3.9). Proximity: distance between visual elements. Unity and compositional energy increases with close proximity (abutting, transparency, mutual tension, etc.). Refer students to 3.11. Continuity: Creates a fluid connection among compositional parts (eye direction & focal points). Refer students to figures 3.12, 3.13. Closure: implication completed in the mind can be more powerful than specification (see figure 3.14). Combining Gestalt principles: Figure 3.15 combines closure, containment, and proximity.
  3. Both patterns and grids can be used to create containment, increase continuity, strengthen proximity, and encourage closure. As a result, patterns and grids tend to increase compositional unity. Grids commonly utilize vertical and horizontal lines, and are helpful with disparate elements.
  4. The compositional forces that most influence visual weight are size, value, type of shape, texture, location, and orientation. The context strongly affects each of these forces. Visual weight refers to the inclination of shapes to float or sink based on their solidity (solid shapes generally weigh more than open shapes); their compositional location (shapes that appear to extend in the upper right tend to rise, and vice versa); and orientation (static & dynamic). Shapes that extend affect weight also. The second use of weight refers to the relative importance of an element within a design. The moon in Adams’ photograph has the most visual weight, and is a focal point.
  5. Each type of balance has its advantages, depending on the idea you want to express. Symmetrical design can communicate calm and stability. Approximate symmetry tends to pull the viewer in, attempting to discern the differences in a seemingly symmetrical design.
  6. Radial balance tends to pull or push the viewer toward the center of the composition. A spiral can increase energy and add movement. Depending on the degree of asymmetry, a design can be stable, dynamic, or nearly chaotic, and create the greatest visual interest. Balance shifts each time an element is added, subtracted, or altered. Dependent on size, location, weight, value, and texture relationships. There are even cases in which a degree of imbalance is necessary, particularly when combined with dramatic or tense concepts.
  7. Both of these concepts strongly affect compositional balance and emotional impact. Exaggeration can draw the viewer’s attention. Understatement creates a sense of mystery, while overstatement creates emphasis.
  8. Rhythm can be created by alternating elements of pause and emphasis or a sequential flow pattern. It can be created through repetition of any element of design.
  9. Visual elements in a composition must work together as a team. Selected elements dominate or stand out, while others are subordinate or supportive. A focal point is a compositional device used to create emphasis. Isolation: Any anomaly or break from the norm tends to stand out. Separation and connection: A separation or anomaly gives emphasis; a clear pattern creates a connection. Placement: The compositional center is especially potent. Centricity draws us in and eccentricity forces us outward. Location: the relative distance from the center; can be directed through eye movement or pointers. Contrast: Created when two or more forces (elements of design) operate in opposition. Examples include static/dynamic, small/large, solid/texture, curvilinear/rectlinear. A balance of 80/20 is especially effective. In your compositions, consider a contrast in scale, shape, or color for example.