Principle of Design Art Education

1. Definition
Principles of Design

2. • Designing often necessitates considering the
aesthetic, functional, economic and sociopolitical
dimensions of both the design object and design
process.
• Design Process involves: Research,Thought,
Modeling, Interactive Adjustment, and Re-design
• Application of Design: Diverse kinds of objects
may be designed, including clothing, graphical user
interfaces, skyscrapers, corporate identities,
business processes and even methods of designing

3. Basic aesthetic considerations that guide
organization of a work of art.
Generally, all the Principles of Design apply to any
design made.
How one apply the Principle of Design determines
how effective the design is in conveying the
desired message and how attractive it appears.
There is seldom only one correct way to apply
each Principle of Design.

4.  Design Elements and Design Principles describe
fundamental ideas about the practice of good visual design
that are assumed to be the basis of all intentional visual
design strategies.
 The elements form the 'vocabulary' of the design, while the
principles constitute the broader structural aspects of its
composition.
 Awareness of the elements and principles in design is the
first step in creating successful visual compositions.These
principles, which may overlap, are used in all visual design
fields, including graphic design, industrial design,
architecture and fine art.

5. Additional Principles
of Design
Variety
Dominance
Unity

6.  Pattern (also known as
Repetition) repeating visual
elements such as line, color,
shape, texture, value or image
tends to unify the total effect
of a work of art as well as
create rhythm.
 It is indicating movement by
the Repetition of elements.
 Pattern increases visual
excitement by enriching
surface interest.

7. Cloud Child' by Iyan De Jesus; Oil on Canvas

8. Contrast
Contrast is the
juxtaposition of opposing
elements eg. opposite
colours on the colour wheel
- red / green, blue / orange
etc.
Contrast in tone or value -
light / dark. Contrast in
direction - horizontal /
vertical.
The major contrast in a
painting should be located
at the center of interest.

10. Balance
Visual balance comes from
arranging elements on the
page so that no one section is
heavier than the other. Or, a
designer may intentionally
throw elements out of balance
to create tension or a certain
mood.
A large shape close to the center
can be balanced
by a small shape close to the
edge. A large light
toned shape will be balanced by a
small dark toned
shape (the darker the shape the
heavier it appears to be)

13. Repetition
Repeating visual
elements such as line,
color, shape, texture,
value or image tends to
unify the total effect of a
work of art as well as
create rhythm.
Repetition can take the
form of an exact
duplication (pattern), a
near duplication, or
duplication with variety
Repetition with variation is interesting, without variation repetition can become monotonous.
The five squares above are all the same. They can be taken in and understood with a single glance.
When variation is introduced, the five squares, although similar, are much more interesting to look at.
They can no longer be absorbed properly with a single glance. The individual character of each square
needs to be considered.
If you wish to create interest, any repeating element should include a degree of variation.

15. Harmony
Harmony in visual design
means all parts of the
visual image relate to and
complement each other.
Harmony pulls the pieces
of a visual image
together.
Harmony can be achieved
through repetition and
rhythm.
Patterns or shapes can
help achieve harmony. By
repeating patterns in an
interesting arrangement,
the overall visual image
comes together.

17. Dominance
Dominance gives a
design interest,
counteracting confusion
and monotony.
Dominance can be
applied to one or more
of the elements to give
emphasis

18. Unity is the relationship among the elements of a visual that helps all the
elements function together. Unity gives a sense of oneness to a visual image. In
other words, the words and the images work together to create meaning.

19. Unity
Relating the design
elements to the idea
being expressed in a
painting reinforces the
principal of unity.
Example: a painting with
an active aggressive
subject would work
better with a dominant
oblique direction, course,
rough texture, angular
lines etc.
Example: a quiet passive
subject would benefit
from horizontal lines, soft
texture and less tonal
contrast.
Unity in a painting also
refers to the visual linking
of various elements of the
work.

20. Emphasis creates a focal point in a design; it is how we bring attention to what is
most important. Emphasis is what catches the eye and makes the viewer stop and
look at the image. Emphasis is usually an interruption in the fundamental pattern or
movement of the viewers eye through the composition, or a break in the rhythm. .
Subordination is defined as minimizing or toning down other compositional
elements in order to bring attention to the focal point.
Focal point refers to an area in the composition that has the most significance, an
area that the artist wants to draw attention to as the most important aspect.
In the example below, it is very clear that the emphasis is on the red circle. It is the
largest object in the composition. Conversely, although there are many gray circles,
they are small in size, very muted in color, and blend in rather than stand out from
the background.
The large circle is an extremely intense (pure) color which contrasts dramatically
with the muted gray circles and background. The large, intensely red circle is
bordered with an intense green that is a complementary color to the red, and equal
in its intensity. Complementary colors (across from each other on the color wheel)
with a high degree of intensity draw the most attention.
Therefore, the red circle is the focal point of the composition.

21. EMPHASIS
Subordination is defined as minimizing
or toning down other compositional
elements in order to bring attention to
the focal point.
Focal point refers to an area in the
composition that has the most
significance, an area that the artist
wants to draw attention to as the most
important aspect.
In the example, it is very clear that the
emphasis is on the red circle. It is the largest
object in the composition. Conversely,
although there are many gray circles, they are
small in size, very muted in color, and blend in
rather than stand out from the background.
The large circle is an extremely intense (pure)
color which contrasts dramatically with the
muted gray circles and background. The
large, intensely red circle is bordered with an
intense green that is a complementary color
to the red, and equal in its intensity.
Complementary colors (across from each
other on the color wheel) with a high degree
of intensity draw the most attention.
Therefore, the red circle is the focal point of
the composition.

22. Emphasis can be achieved in a number of ways
• Interruption of Rhythm or Repetition
• Contrast achieves emphasis by setting the point of
emphasis apart from the rest of its background. Contrast
of color, texture, shape, size or scale will call attention to
a specific point.
• Placement in a strategic position will call attention to a
particular element of a design.
• Prolonged visual involvement through intricacy (contrast
of detail) is a more unusual form of emphasis, not as
commonly used in Euro-American design, though it is
common in many other cultures. In this case, many
points of emphasis are created that are to be discovered
through close attention to the intricacies of the design.

23.  Variety (also known as alternation) is the
quality or state of having different forms
or types.
 The differences which give a design
visual and conceptual interest: notably
use of contrast, emphasis, difference in
size and color.

25.  Proportion is a measurement of the size and
quantity of elements within a composition.
 In ancient arts, proportions of forms were enlarged
to show importance.This is why Egyptian gods and
political figures appear so much larger than
common people.
 The ancient Greeks found fame with their
accurately-proportioned sculptures of the human
form, Canon of Proportion.
 Beginning with the Renaissance, artists recognized
the connection between proportion and the illusion
of 3-dimensional space.

26. RonaldVentura, ‘Blind Child’, 2011. Oil on canvas

27.  Rhythm is the repetition or alternation of
elements, often with defined intervals
between them.
 Rhythm can create a sense of movement,
and can establish pattern and texture.
 Movement is caused by using elements
under the rules of the principles in picture to
give the feeling of action and to guide the
viewer's eyes throughout the artwork.

28. There are many different kinds of
rhythm, often defined by the feeling
something evokes when viewed.
 Regular: A regular rhythm occurs
when the intervals between the
elements, and often the elements
themselves, are similar in size or
length
 Flowing: A flowing rhythm gives a
sense of movement, and is often
more organic in nature
 Progressive: A progressive rhythm
shows a sequence of forms through
a progression of steps

29.  There are Principles of Design that are similar
to one another or can compliment each other
such as Harmony and Unity, Pattern and
Rhythm, Emphasis, Dominance and
Proportion but differ on a certain degree
because of purpose and function.

30. Please read through the following PDF Files orWebsite on the Internet
http://www.edb.utexas.edu/minliu/multimedia/PDFfolder/DESIGN~1.PDF
https://605.wikispaces.com/Rhythm

31.  Create an original lay-out and painted chart of the Elements of
Design
 It must contain an illustration, label and a short definition of the
Principle of Design
 Portrait or Landscape follow the proper margin and presentation:
Plate Number andTitle, Score, Materials and Date Submitted;
Name and Section will be placed on the back of each work
Criteria:
Factual Representation 10 pts
Craftmanship 5 pts
Lay-Out of Design 5 pts
Submisson: October 5, 2016

32. PORTRAIT
LANDSCAPEPlate No. 2: Principle of Design Chart Score: _______
Materials: Pencil, Watercolor, Techpen Date Submitted: ______
Plate No. 2: Principle of Design Chart Score: _______
Materials: Pencil, Watercolor, Techpen Date Submitted:__________
Remember: Name and Section will be
set on the back of the Oslo Paper