Lec 06 Intro Principles of Design(Ce-214)

7/29/2019 Lec 06 Intro Principles of Design(Ce-214)

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Introduction To

The Principles of Design


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The principles of good design are the tools used by an artist or designer tocreate an effective composition or design. The principles are: b a la n c e , m o v e m e n t ,r e p e t i t i o n , em p h a s is , s im p l i c i t y , c o n t r a s t , p r o p o r t i o n , s p a c e , a n d u n i t y . Thedifference between a weak design and a strong one is completely dependant uponthe artist's knowledge of the design principles and how well he/she appliesthem.

In the study of design we should note there is no longer a clear-cut line betweenfine art and applied art anymore. All art, whether it is Web design, industrial design,fine art, sculpture, commercial art, or graphic art, is subject to the sameprinciplesof good design. Graphic artists compose their designs and page layouts using thesame design principles the fine artists use. Just as a fine artist arranges variouscomponents within a painting to create a pleasing composition, so it is with thegraphic artist. The artist may use a vase of flowers, a bowl of fruit, or a figurine todesign a lovely still life composition. The graphic artist will use headlines, bodies oftext, photos, illustrations, and clipart images to compose a page or Web site.


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Composition may be defined as the combination of multiple parts into a harmonious

whole.The p r i n c ip l e s o f d e s i g n , sometimes referred to as t h e p r i n c i p l es o f o r g a n i z a t i o n are:

BalanceSymmetrical balanceAsymmetrical balanceRadial balance (Radial symmetry)

EmphasisSeparation and ConnectionLocationContrast-size, shape & color

Scale & Proportion

Rhythm

Unity & Variety

GestaltContainmentRepetitionProximityContinuationSimilarityClosure


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To deal with composition some other aspects also need to be discussed

Idea Good art always starts with an idea.

Before beginning any work of art every artist or designer needs to keep in mindthat every composition starts with an idea. To use the design principles

effectively it is necessary that the artist have an idea to express or an objectivein mind. This is vital to the success of any art work. Without an objective, themost conscientious attention to balance, movement, emphasis, contrast,proportion, and space to create a unified composition, will result in uninterestingwork. With an idea, however, even though the principles may be forgotten andused intuitively, a beautiful composition may emerge. Every artist's goalshould be to create a composition that is both unified and interesting tolook at.


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Balance

This image by Robert K. Everest exhibits a sense of balance through its use of color and shape. The colorsseem to flow in a similar fashion: the dark blue at the top which is contrasted by the yellows and greens, whichtherefore moves into reds and purples near the bottom of the painting. The image is asymmetrical in balance.


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Balance is a skill that everyone uses almost all of their waking hours. It is balance that allows you tostand up and walk around. You balance your checkbook and hopefully find a balance between youracademic and social life.

Balance in design is similar to these kinds of balance. Your physical sense of balance will play a part inyour ability to balance the visual information in a composition.

As with physical balance , visual balance requires equilibrium, or equality in size, weight, orforce among design elements. Unlike physical balance, however, visual balance can be createdthrough absence as well as presence.

Balance

Balance can also be described as achievingequilibrium. The problem with this definition is that artistsrarely want things to be equal. It usually means that no partof the composition calls too much attention to itself at theexpense of the rest of the image.

Balance is usually a desirable characteristic of acomposition. There are times, however, when it is desirableto deliberately throw the balance off in order to call moreattention to some aspect of an image.

Balance in a composition shifts each time a visualelement is added or subtracted.


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All elements in a work of art have visual weight. Something important that is offcenter needs to be balanced with a corresponding amount of white space, or intensecolor, or texture. Pieces that balanced and regular in composition tend to be duller,quieter, predictable. A centrally balanced piece can be rescued from being dull bybeing intense and emotional. People like to see off-center, unbalanced compositions...they're more visually exciting and interesting to the human eye.

Balancing the components of a painting can best be illustrated by weighing scales ora child's playground see-saw. Visually the scale can be pictured as an apparatus forweighing or a see-saw which has a beam poised on a central pivot or fulcrum. Inusing this scale or see-saw, balance is not achieved through an actual physicalweighing process, but through visual judgment on the part of the observer. In thisrespect, visual balance refers to a "felt" optical equilibrium between all partsof the painting.


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To balance a composition is to distribute its parts in such a way that theviewer is satisfied that the piece is not about to pull itself over. When componentsare balanced left and right of a central axis they are balanced horizontally. When theyare balanced above and below they are said to be balanced vertically. And whencomponents are distributed around the center point, or spring out from a central line,this is referred to as radialbalance.


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Horizontal Balance


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Vertical Balance


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Horizontalsymmetry

Approximatehorizontal symmetry

Radialsymmetry Asymmetry


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1. These are sy m m e t r i c a l b a l a n c e , also known as symmetry or formalbalance,or passive balance.

2. and a s ym m e t r i ca l b a l a n ce , also known as asymmetry or informalbalance.

Types of Balance


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Sym m e t r i ca l b a l a n ce is when the weight is equallydistributed on both sides of the central axis.Symmetry is the simplest and most obvious type ofbalance. It creates a secure, safe feeling and a sense of

solidity. Symmetrical balance can be achieved in twoways. One way is by "pure symmetry,"and the otherway is by "approximate symmetry."

I n p u r e / s t r i c t sy m m e t r y , shapes or volumes(identical parts) are mirrored on either side of any

axis. A good example of pure symmetry is thehuman face. It is the same on both the right side andthe left side of the nose. Pure symmetry has its place incertain art works, however, because of its identicalrepetition, pure symmetry for a composition can easilybecome too monotonous and uninteresting to look at.

A p p r o x im a t e s y m m e t r y on the other hand has greaterappeal and interest for the viewer. The two sides of acomposition are varied and are more interesting to view.Even though they are varied somewhat, they are stillsimilar enough to make their repetitious relationshipsymmetrically balanced.

Symmetrical Balance


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NEAR SYMMETRYNear symmetry is based on symmetry butthe two halves are not exactly the same.Slight variations will probably not change thebalance but there is more potential forvariety and hence more interest. When thesides become too different, symmetry ceasesto exist and balance must depend on otherconcepts (asymmetry). in many graphicimages since type throws off the symmetrybut the balance is still achieved. It is alsooccasionally used for formal fine art images,especially early Christian religious paintings.

INVERTED SYMMETRYInverted symmetry uses symmetry with onehalf inverted like a playing cards. This is aninteresting variation on symmetry but canmake for an awkward balance.

Symmetrical Balance


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BIAXIAL SYMMETRYA symmetrical composition can havemore than one axis of symmetry. Biaxialsymmetry uses two axes of symmetry --vertical and horizontal. These guaranteebalance: top and bottom as well as leftand right. The top and bottom can be the

same as the left and right, or they can bedifferent. The most regular and repetitiveimage occurs when they are the same.

More than two axes are possible. Snowflakes and kaleidoscopes have three axesof symmetry.

RADIAL SYMMETRY

Radials a related concept and can use anynumber of axes since the image seems toradiate out from the center, like a star.


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Asymmetrical balance is when bothsides of the central axis are notidentical, yet appear to leave thesame visual weight. It is a "felt"equilibrium or balance between theparts of a composition rather thanactual. If the artist can feel, judge orestimate the various elements andvisual weight, this should allow him/herto balance them as a whole. As a result,a more interesting composition willoccur in the work.

The use of asymmetry in design allowsfor more freedom of creativity, becausethere are unlimited arrangements thatmay be devised using asymmetricalbalance. The way to use asymmetry isby balancing two or more unequal

components on either side of thefulcrum by varying their size, value ordistance from the center.

Asymmetrical balance createsequilibrium between visualelements that differ in size, number

weight, color, or texture.

Asymmetrical Balance


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Byvalue

Bycolor


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by texture

byshape


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Emphasis

Michael E. Vermettes watercolor is a great example of emphasis. The bright orange color of the boys jumpsuit againstthe deep blues of the ocean bring the eye to the boy and his activity. He also becomes the center of focus because heis the center of the painting. There is also emphasis on the birds because of their contrast against the blue ocean.


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Emphasis is used to give part of a designparticular prominence.

Emphasis is the stressing of a particular area offocus rather than the presentation of a maze ofdetails of equal importance. When a composition has

no emphasis nothing stands out. However theeffective use of emphasis calls attention to importantareas of the painting. By placing emphasis on certainareas of the composition, an artist creates elementsof interest which causes the eye to return to againand again.

One way of achieving emphasis is by creating centerof interest, a.k.a. a f o c a l p o i n t . A focal point is anarea where the eye tends to center. It is the focus ofthe viewer's attention. A focal point is created bymaking one area of element of the paintingdominant, or most important visually with all otherareas contributing but subordinate. The focal point

may be the largest, brightest, darkest, or mostcomplex part of the whole, or it may get specialattention because it stands out for some otherreason. No more than one component should vie forprimary attention. Where several components getequal billing, emphasis is canceled out.

Emphasis


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The second way to create emphasis

is by contrasting the primaryelement with its subordinates, oremphasis can be created by asudden change in direction, size,shape, texture, color, tone or line.

No matter what element is chosenfor emphasis it should neverdemand all the attention. Emphasisis necessary, but a goodcomposition is one in which all theelements work together for aunifying effect.


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Examples of theeffective use ofEmphasis:

In this painting it iseasy to see how theartist used light toemphasize the chef. Hestands out as the mainfocal point of the entirethe painting.


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The artist created emphasis in this painting through theuse of color. By painting the cowboy's shirt red he wasable to create a center of interest.


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Em p h a s i s ca n b e d o n e i n t h e

f o l l o w i n g w a y

a . Se p a r a t i o n a n d Co n n e c t i o n ( i s o l a t i o n )

b . Lo c a t i o n ( p l a ce m e n t )

c . Co n t r a s t

a . Se p a r a t i o n a n d Co n n e c t i o n :

Any anomaly or break from the norm, tends to

stand out. Because we seek to connect andunify any verbal or visual information we aregiven, a mismatched shape immediatelyattracts attention.Creating a clear pattern can increaseconnection among visual elements. Conversely,any break in the pattern accentuatesseparation/isolation.


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b . Lo c a t i o n :

The very location of a line or shape within the format can attractattention. The composition center is particularly powerful.


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c . Co n t r a s t

Contrast is created when two or more forces operate in opposition. The objectiveof contrast is to produce maximum visibility.


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- contrast in size:When it comes to being noticed B I G G E R is always better. There is a

place for all different sizes in the scheme of things. It is not alwaysdesirable to be noticed first. Learning how to use size to controlemphasis is important.

Size, as you will soon learn, also relates to relative scale.

- contrast in shape:An unusual shape can call attention to itself but it is not as strong a

contrast as size or value/color.

Other contrasts like direction and texture can also be used to controlemphasis.

Taken together all of these contrasts affect visibility, regardless of

where the object is placed.

- contrast in color:

One of the greatest possible contrasts in art is the difference between

black and white (value contrast). Color contrasts can be strong but

usually not as strong as value contrasts. Bright colors are moreattractive (attract attention) than dull colors. There is roomfor a great deal of manipulation in color and value. That is one of thereasons that color is so difficult to use well.

To make something stand out use strong value contrast. If color isused make it bright, preferably against a dull background. Differentcolors that are the same value do not show as much as you wouldexpect (top right example).


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Melissa Whites painting shows strong contrast between the foreground and the background of this costalscene. The sunny, orange shades of the background give more emphasis to the dark shape of the coast. The

reflection of the sun in the water also helps to create a contrast of the coast.


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It has two section:

1.Dominance2.sub-ordiance

Dominance:

Dominance is important for emphasis. In an artistry one of some elementsdominate the work first by virtue of their position with the composition andsecond by color.Ex: the dome of the mosque creates a sense that it is a mosque.

Dominance can be achieved in many ways:

Limiting elements: fewer elements make anything more dominating.


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Size variation: big size has better emphasis.

Form: clear form has better emphasis. Clear and boldform creates better dominance.


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By grouping: grouping up materials of same size and character.

color: use of eye-catching coloring gives more effect .Ex: ambulance has red marks and red siren to emphasis the character andimportance.

Position:


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Direction:

Texture:


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Sub-ordinance:

Non-focused elements are sub-ordinanceWithout proper sub-ordinance the exact emphasis can not be achieved.Ex: in dance there are some extras with the main dancer which brings unity,variety ,diversity. therefore for emphasis sub-ordinance is must.

Sub-ordinance can be achieved in many way:1.Explain the space2.create a focal point3.Bring unity4.Create variety and diversity


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Scale andProportion

Elisabeth Louise Vigee Le Bruns self portrait represents significant proportions. The artist was careful to placeall facial features sensibly and reasonably sized in order to create a rational image. Her paintbrushes, ink board

and canvas are also in proportion with the rest of her body.


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Proportion is the relative size (to each other) of visual elementswithin an image. Scale is the size of elements in a painting to what theyare in real life. Manipulating proportion and scale can dramaticallychange the mood, meaning and composition of an artwork. The artistmanipulates proportion to emphasize the importance (or un-importance) ofan object or area. Often the focal point is emphasized by making it

larger in proportion to the rest of the elements of the artwork.

Proportion


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Artists manipulate proportion by simply

painting or drawing the element biggeror smaller, or by, in the case ofphotography, choosing an angle orpoint of view that is dramatic, extremeor unexpected. An extreme close-upwill make small elements moreimportant and dramatic, even if theyaren't larger than their surroundingimages because they're larger and areemphasized more than they are in reallife. The overall scale has been changedbecause you're comparing the artist'simage against reality.

Focal points or elements that are smallcompared to the surrounding picture

will create a mood of loneliness,sadness, unimportance. Elements thatare large in comparison with thebackground or fill the picture plane andbleed off the edge will give theimpression of drama, importance,intensity or happiness.

Proportion

Proportion in art is the comparative harmonious relationship between two or moreelements in a composition with respect to size, color, quantity, degree, setting, etc.; i.e.ratio. A relationship is created when two or more elements are put together in a painting.This relationship is said to be harmonious when a correct or desirable relationshipexists between the elements. This refers to the correct sizing and distribution of anelement or object which creates good proportion. Good proportion adds harmony and

symmetry or balance among the parts of a design as a whole.


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Proportion


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When the p r i n c ip l e o f p r o p o r t i o n is applied to awork of art it is usually in the relationship ofsize. That is, the size of one element of thecomposition as compared to the size of anotherrelated element. In the instance of a relationship ofsize a comparison is made between the:

height, width and depth of one element tothat of another

size of one area to the size of another area

size of one element to the size of another

element amount of space between two or more

elements

Proportion is usually not even noticed untilsomething is out of proportion. When the relative

size of two elements being compared seems wrongor out of balance it is said to be "out ofproportion". For example if a person has a headlarger than their entire body, then we would say thatthey were out of proportion.

Proportion


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Proportion


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Proportion


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Th e r e a r e s ev e r a l w a y s f o r a ch i e v in g g o o d p r o p o r t i o n :

Place together elements which are similar in character or have some feature incommon.

Create major and minor areas in the design, as equal parts can quickly become

monotonous and boring. However, the differences in size must not be so great as tomake the parts appear unrelated and therefore, out of harmony with each other.

Arrangement of space should be in such a way that the eye does not perceive astandard mathematical relationship. Dividing up the composition in halves, quartersand thirds should be avoided. A subtle relationship creates a more dynamic design.

Create harmony in the art work. Harmony is an agreement between the shapes

that stresses the similarities of all parts. In other words, the shape of one partshould "fit" the shape of the adjoining elements. Shapes should "fit" properly in theirpositions and spaces.

Good Proportion


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Scale refers to the size of an image or object when compared toour own human size.

Scale is a relative size. It refers to how large (or small) an item seems.There has to be some standards against which to measure scale. You canmake a scale model of a car that will fit in your hand. Next to a real carthe model is much smaller in scale.

It is possible to make an object appear different in scale withoutchanging its size. The fortune cookie to the left is about life size. Theone in the picture below appears to be quite large in scale. They are boththe same size. The fortune cookie appears large because there arebuildings in front of it. If It were the same size, but in front of all thebuildings, it would look like a normal fortune cookie that was closer to us

and the city scene was in the distance behind it. To make the illusion ofscale work it is important that you control where the objects are in spacerelative to one another.

Scale


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Rhythm

Heidi Hybls image displays rhythm through its use of elongated shapes that allow the eye tofollow them. There is a sense of repetition within the piece and also a graduation of shapes andshades. This rhythm also gives a sense of depth to the image.

Rhythm


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The repetition of elements that leads your eye across the canvas. It'seasily confused with pattern, but they're not quite the same, although theycan share the same elements. Pattern can also be a texture and is generallya more regular repeating motif, while rhythm will use a motif, color orline to lead your eye up and down and around.

An element of design that is based on a patterned repetition of recurrentmotifs or formal elements, at regular/irregular intervals in thesame/modified form. Examples would be the specific way lines move in theimage, the repetition of lines or figures, and gradients/contrasts of color.The below images give some examples of such qualities.

Rhythm

This picture is rhythmic in the flow and beat of the thickblack lines. There appears to be a consistent rhythm in the

lines presented. The blue and yellow also provide a changein rhythm.


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Rhythm

Rhythm is the repetition or alternation of elements, often with defined intervalsbetween them. Rhythm can create a sense of movement, and can establishpattern and texture. There are many different kinds of rhythm, often definedby the feeling it evokes when looking at it.

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 moreorganic in nature.Progressive: A progressive rhythm shows a sequence of forms through a

progression of steps


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Rhythm

The rhythm of the hills has a majestic flowthat portrays a sense of relaxation like whenan infant is being rocked in its mother'sarms. The picture (and the gradient colors)is very smooth and relaxed.

In Marcel Duchamp's Nude Descending a

Staircase, the rhythm can be seen by theappearance of the figure's trailing path,almost as if it were echoing down the

staircase. If imagination permits, it is almostlike a bat's sonar is tracing the nude down

the staircase and each movement that ismade is seen in sequential order.


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Rhythm

Rhythm


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Rhythm

Rhythm


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Rhythm


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Unity andVariety


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Unity and Variety are the cornerstones of visual communication.

Unity is the hallmark of a good design. It's the final result in a compositionwhen all the design elements work harmoniously together giving the viewer asatisfying sense of belonging and relationship. You know unity has beenachieved when all aspects of the design complement one another rather thancompete for attention. It serves to reinforce the relationship between thedesign elements and relates them to the key theme being expressed in apainting.

Unity in a composition is achieved when all of the design principles

(balance, movement, emphasis, visual economy, contrast, proportionand space) have been correctly applied. Everything selected for use in acomposition must complement the key theme and must also serve somefunctional purpose within the design. Achieving unity in your compositionswill only result from practicing, knowing and selecting the right visualelements and using the best principles of design to relate them.

Variety: A principle of design that combines line, shape, texture, value etcto create visual interest and relationships between these elements. Varietyis obtained by breaking a pattern. Too much variety, however, cancause chaos, however, not using enough variety can causemonotony.

Unity & Variety


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Theresa Andreas-OLearyspainting exhibits unity throughthe consistency of lines andshapes. The backgroundremains relatively similarthroughout the whole pictureand the the trees, which are all

the same kind of tree but alllook different, are placed withinthe foreground. These shapesand lines display a coherenceof the whole.


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"Unity and variety are complementary concerns. Unity is the

appearance or condition of oneness. In design, unity describes thefeeling that all the elements in a work belong together and make up acoherent and harmonious whole. When a work of art has unity, we feelthat any change would diminish its quality.

Variety, on the other hand, provides diversity. Variety acts tocounter unity. The sameness of too much unity is boring, and the

diversity of uncontrolled variety is chaotic, but a balance betweenunity and variety creates life.


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Artists select certain aspectsof visual form in order toclarify and intensify theexpressive character of their


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e p ess e c a acte o t esubjects or themes. In hispainting GOING HOME,Jacob Lawrence balancedunity and variety. Heestablished visual themeswith the lines, shapes, andcolors of the train seats,figures, and luggage, andthen he repeated and variedthose themes. Notice thevaried repetition in thegreen chair seats andwindow shades. As aunifying element, the samered is used in a variety ofshapes. The many figuresand objects in the complexcomposition form a unifieddesign through the artist'sskillful use of abstraction,theme, and variation."

"The flat quality of GOINGHOME contrasts with theillusion of depth in Pieter deHooch's INTERIOR OF ADUTCH HOUSE. Each artistdepicted daily life in a style

relevant to his times. Inboth, the painter's depictionof space provides the unityin the composition. DeHooch 'borrowed' the unitythat architectural interiorimposes in order to unifypictorial space and provide acohesive setting for the

interaction of figures."

"Pattern refers to a repetitive ordering of design elements.In de Hooch's painting, the patterns of floortiles andwindows play off against the larger rectangles of map,


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p y g g g p,painting, fireplace, and ceiling. These rectangular shapesprovide a unifying structure. the nearly square pictureplane itself forms the largest rectangle. He then created awhole family of related rectangles, as indicated in theaccompanying diagram. In addition, the shapes and colorsof the figures in the painting above the fireplace-- anotheruse of theme and variation."

Unity within a well composed design accomplishes two things:


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Unity within a well composed design accomplishes two things:

1 . U n i t y c r e a t e s a s e n s e o f o r d e r . When a design possesses unity therewill be a consistency of sizes and shapes, as well as a harmony of colorand pattern. One way this is accomplished is by repeating the keyelements, balancing them throughout the composition, and then adding alittle variety so that the design has its own sense of personality. Learningto juggle the elements and principles in such a way as to achieve theright mix is a key to good design.

2 . U n i t y a l so g i v e s e le m e n t s t h e a p p e a r a n c e o f c om p l e t e n e ss , t h a t t h e y b e l o n g t o g e t h e r . When a composition has unity the design will beviewed as one piece, as a whole, and not as separate elements with thepainting. Using too many shapes and forms may cause a design to beunfocused, cluttered and confusing. A well organized design will beachieved by using a basic shape which is then repeated throughout the

composition.


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Unity

When unity is achieved:

The individual elements with in a composition will not be competing forattention.

The key theme will be communicated more clearly. The design will evoke a sense of completeness and organization.

To create unity you must have a clear objective in mind you arewanting to communicate to the viewer. You have stay focused onachieving the objective and not deviate from it. If there is an element you areconsidering adding to a composition does not contribute to the objective then

it should not be added to the design. You also need to be analytical about your work, maintaining objectivity at all

times, and accept critiques from peers, friends, and family members. Whenthe purpose and message you intend to portray is consistently understood thesame way by several people then the principle of unity has been maintainedwithin your painting.

When you feel your composition is complete, take a step back and observe itwith an objective eye. The final test of unity is one in which nothing canbe added to or taken away without having to rework the entirecomposition. The relationship of all the elements should be so strong itwould actually hurt the design to add or remove any one thing. When nothingcan distract from the whole you have unity. However, in your efforts to

achieve unity you need to keep in mind that too much unity without variety isboring and too much variation without unity is chaotic.


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A German word translated as shape, form, or likeness and is a psychologyterm to mean "unified whole". In the world of art it applies to visualperception, when separate items are brought together to create a unifiedwhole. In other words it is information of a picture that is understood aswhole before it is understood separately. Indeed, whole is anappropriate English translation of the German word Gestalt.

There are 6 principles included in the Gestalt Theory and Application:

1. Similarity/Grouping2. Containment3. Repetition

4. Proximity5. Continuity6. Closure

Gestalt: Theory and Application

Some easy ways to achieve unity in your compositionsinclude:


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Similarity/Grouping: Try repeating colors, shapes, values,textures, or lines to create a visual relationship between the elements.Repetition works to unify all parts of a design because it creates a senseof consistency and completeness.

Subject matter will be eliminated for this discussion because gestalt is based on


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Subject matter will be eliminated for this discussion because gestalt is based on

what items look like not what they are like. There is a limit to the amount ofinformation that the mind can keep track of. When the amount of visualinformation becomes too great the mind tries to simplify by grouping. Groupsare formed in logical ways based what information look like and where thevarious items are located. Similarity is concerned with what items look like.Similarity is a powerful grouping concept and as such can contributesignificantly towards achieving unity. The more alike the items are, themore likely they are to form groups. By the same token, if items are dissimilar,they will resist grouping and tend to show more variety. It is important tounderstand that all of the gestalt concepts can be used both ways -- to groupand to ungroup.

There are three major similarity types -- ways items canlook alike (or look different):


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Size: Notice in the example on the left that the squares and circles arepresented in two different sizes. Do you first notice them grouping because oftheir shape or their size? The difference between the sizes is probably greaterhere than the difference in the shapes. Had they been only slightly larger theshape difference might have been noticed first. The potential, however, for sizevariation is greater than the differences possible in shape so size is usually a

more dominant similarity type.Size has the additional advantage of letting itemsbe B I G ! You learned when you study emphasis that bigger is better when itcomes to visibility.

Value/Color: Another powerful similarity type is value/color The two are grouped together


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Value/Color: Another powerful similarity type is value/color. The two are grouped together

because value is part of color but can act independently (black and white images).Againnotice that the dominant grouping concept is color not shape. Color makes items easy toidentify and hence makes a good grouping tool. Value can work as easily as color, and infact sometimes is a stronger design element. You learned about color and value in the firstsection of the course. Try to learn all you can about using color in each of your assignments.Try different combinations of things to see what works and what does not work.

Shape: Shape, and shape like elements such as direction and texture, can also form groups.When all other things are equal it performs quite well in this function. The squares and


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circles used here are simple geometric shapes. It is possible to make shapes that are moredistinct and therefore more noticeable. Complex shapes may stand out more but there isattractiveness to simpler shapes that makes them more powerful visual elements in mostcases. They appeal to our sense of order.A simple example of using shapes to group is theuse ofi t a l i c or bold type to emphasis and separate parts of a sentence.These and othersimilarity types are used extensively in design to create order and to organize informationinto specific groups in order to make the material presented more understandable. You will

be using magazines for the raw material for this lesson's project. Look at how they areorganized and notice how often the various concepts just mentioned are used to controlgroups of information.It is important to understand that it is possible, often necessary, todeliberately make items look different in order to make them stand out or to create morevariety in a composition. You will use dissimilar looking items in the project for this lesson tobetter understand how to create and control variety.

Containment: groups that to be more apparent when placed inside acontainer, unification is created when a composition is placed inside a


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, p p

boundary. This principle helps to create definition around negative space.

Continuity: Treat different elements in the same manner. Continuityhelps to create "family resemblances" between different forms.Thi h l t ti th t th b ti i t t d ti


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This helps to tie them together by creating an uninterrupted connectionor union. A fluid connection between elements in a composition whichcreate a sense of movement. Can be actual or implied.

Continuity in the form of a line, an edge, or a direction from one form toanother creates a fluid connection among compositional parts.

CONTINUANCEContinuance describes a device for directing the viewer'sattention when looking at a composition. It is based on the idea thatonce you start looking in a particular direction you will continue looking inthat direction until you see something significant. A simple example ofthis is illustrated. You notice the small circle that the hand points at inpreference to the closer, larger circle. In a sense this is a kind of closure -- a grouping of disconnected items by momentum. This feature is built

into typography since we are taught to read left to right in our culture.Once you start reading you will continue across a gap to ............the nextwords.

Curving lines and shapes flow from one circle tothe next creating a sense of movement in FrankStella's, Lac Laronge IV.


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Pablo Picasso La Joie de Vivre or Antipolis. 1946

In Picasso's painting the

majority of the shapes(human figures,animals, plants, and aship) share an edgewith two strong, wavy,horozontal linesextending across thecanvas. Thiscontinuation visually

unites the forms.



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Alignment: Arranging shapes so that the line or edge of one shape leadsinto another helps creates unity in your design. When an element isplaced in a composition, it creates an implied horizontal and vertical axisat its top, bottom, center and sides. Aligning other elements to theseaxes creates a visual relationship which unifies them.

A variation of proximity that is very often used in graphics is alignment.This concept works when visual elements align along edges or verticallythrough their centers.

include:


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Centered on a vertical axis

Centered on a horizontal axis



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Proximity: Group related items together so that these related itemsare seen as one cohesive group rather than a bunch of unrelatedelements. Elements that are positioned close to one another areperceived as being related while elements that are farther apart are

considered less related. How close together or far apart elements areplaced in a composition suggests a relationship (or lack of) betweenotherwise disparate parts. Using a "third element" such as a road toconnect near-by elements with distant ones also helps to create a senseof relationship between the forms which are not grouped together.

- make separate elements look as if they belong together -proximity - simply putting the elements close together -

include:


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Thomas P. Anshutz. The Ironworkers' Noontime

The painting by ThomasP. Anshutz of workers ontheir lunchbreak shows the idea incomposition. The lighterelements of theworkers' half-strippedbodies contrast with thegenerally darker

background. These lightelements are not placedaimlessly aroundthe composition but, byproximity, are arrangedcarefully to unitevisually. Arms stretchand reach out to touch oroverlap adjoining

figures so the bodiesform a large horizontalunit stretching acrossthe painting.


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There are four specific types of proximity relationships that will be studied in thislesson: c lo s e e d g e , t o u c h , o v e r l a p a n d c om b i n i n g .

Close edge: The general concept for proximity states that the closeritems are to one another, the more likely they are to be seen as a group.The amount of space involved is relative.Look at the example to the left

and notice that there are fourteen items that form three groups with oneorphan at the bottom right that is not quite part of the group above it.Size is another strong grouping option. Shape is a distant third forforming groups.This kind of grouping is used extensively with printedtype. The example below forms two words -- close and edge. You know itis two words because of the larger space between them.

Close edgeIn the example below the same space that was between words in the example

above is used between the letters of close and edge. Notice that they stillform two words because of the even larger space between them.

C l o s e . e d g e

We read words from left to right but also from top to bottom. Close edge

relationships can form groups in any direction. What would you order ifyou saw this sign in a restaurant window?

FREE WATERFOOD SOLD


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In the example below the letters and the colored backgrounds are in aclose edge relationship. The white paper shapes the letters were printedon are not a factor against a white background.

Touch: When items get close enough they touch. They still are twodifferent items but they seem to be attached together. This makes for a

stronger gestalt than close edge. Notice in the example to the left thatthe touching groupings are stronger than the close edge groupings. In theexample there are no size differences so the shape relationships are morenoticeable.In the example below the letters and/or their coloredbackgrounds touch.


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Overlap: The strongest gestalt between two items happens when theyoverlap. Two colors are used in the example to the left to show theoverlaps better. When the two items are the same color they seem toform a new, more complex shape. The new shape seems flat. When theitems are different colors the overlap produces the illusion of a shallowspace. The overlapped items form a strong group regardless ofcolor.Notice the grouping hierarchy. The overlapped groups are thestrongest. The two color groups are a close second to the all black group.Touching is next then close edge. Shape is probably the weakest gestaltin this example.In the example below the letters and/or their diferentcolored backgrounds all overlap.All of the above examples of proximityrelationships have used simple shapes that are grouped because of where

they are placed in relationship to each other. No additional elements areused.


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Combine: It is possible to group various items together by using anexternal element that acts to combine the items regardless of what othergestalt concepts are being used. The underline used in the previoussentence is such a combining device. Notice that it groups the phrase"external element" and sets it off from the rest of the sentence.Asignificant characteristic of combining is that it both groups the itemsused and sets them apart from the rest of the information around them.This "highlighting" (another combining device) is perhaps the mostsignificant aspect of this concept. It is used with information that thedesigner wants to call attention to. The quotation marks and brackets inthis paragraph serve the same purpose.There are many ways to combineitems. Underlining items, putting boxes around them and putting items

against a background (such as a color or a picture) are the mostcommon.In the example to the left all of the proximity and similarityconcepts are used. Note how the items combined by the red and blacksquares are grouped both with each other and with the backgroundsquares. Also note that these are the items that stand out the most.In theexample below the letters are all combined on the green background.

Closure- Given enough clues the human mind will automaticallyconnect visual fragments.

Cl th bilit t l k t iti l t d f


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Closure - the ability to look at a composition as a completed form.Audience can recognize that peice is finished and interpret anyimplications the work might make.

A complex object is really a group of simple items that the mind putstogether as a single entity. A face is a collection of eyes, ears, nose,mouth, etc. You can recognize a familiar face even if part of it hidden

(with a hat or sunglasses for instance). Your mind supplies the missingparts if enough of the significant features are visible.

A simple example of this can be seen with this series of circles. As moreand more of each is removed the circle still remains identifiable until moreis missing than is present. This is called closure because the mind "closes"the image by supplying the missing parts.


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Repitition - unity is created thorugh repitition. Repitition is a visual effectcreated by using the same shapes or element over and over. It is almostmost effective when the pattern is broken.

l t t it lf i i t f th d i t l t t t


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- element repeats itself in various parts of the design to relate parts toeach other -


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Edgar DegasThe Millinery Shop. 1879-1884

In Edgar Degas' The Millinery Shop notice therepetition of the circle motif. Circlesrepresent objects such as hats, flowers,bows, the woman's head, bosom, and skirt,etc. The painting is a whole design of circlesbroken by a few verticals (the hat stand, the

ribbons, the back draperies) and a triangle ortwo (the table, the woman's vent arm, andthe front hat's ribbons).

Lec 06 Intro Principles of Design(Ce-214)

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