Elements of Art

&
Principles of Design
Knowing basics of elements of art can help any artist to
create a well-balanced and beautiful work of art
 In order to understand and
appreciate art, you must understand
it’s language

So, if Art is a language, what is its grammar

or structure?

We’ll find the answer in the

Elements and Principles of Design
The Elements of Art are the key components of a work of art.

It is the artist’s decision in how they want to put them to use.

Each element is very important to a piece of art, but some are

stressed more than others.

When looking at a work of art, which elements do you notice?

What kind of mood does it create?

 The Elements of Art
The Elements of Design are:

Line, Shape, Form, Space, Value, Texture and Color

These are considered to be the “grammar” of art

As you study visual art, and the world around you, you will notice
that these Elements and Principles never appear by
themselves.
 Let’s practice looking!
What elements do you see used in
this geranium?
 If you said:
Color (red and green)
Shape (the outlines of flowers and leaves)
Line (the stems, the veins of the leaves) and
Texture (smooth petals and furry leaves)

You were
CORRECT!
Now we will be
learning the
meanings for our
new “grammar”
LINE
A mark on a surface that describes a shape or
outline

It can create texture and can be thick and thin

Types of line can include actual, implied,

vertical, horizontal, diagonal and contour lines

They also help communicate an idea or

feeling
 Everywhere you look, you see lines.
What types of lines do you see in nature?
What types of lines do you see in the world
around us?
 Lines can have many qualities:
They can be: curved or straight

Vertical horizontal diagonal

Thick or thin smooth or rough

Light or dark and continuous or broken

Lines Can Differ In:

• Length
• Width
• Texture
• Direction
• Curve
 5 Common Types of Lines:

• Vertical
• Horizontal
• Zig Zag
• Diagonal
• Curved

Pablo Picasso, Three Musicians. 1921.

In artworks:
Straight lines generally suggest directness or clarity

Curving lines imply gentleness or movement

Vertical lines can give an artwork strength

Horizontal lines convey calmness and tranquility

Diagonal lines convey action and energy—think of a lightening bolt

or a falling tree

Very thick lines appear strong while a thin line appears weak or
delicate

Fuzzy lines imply softness while smooth lines imply harder surfaces

Repeated lines can create patterns, textures and even rhythms

 Lines can also be implied or actual
A real line is one you can actually see (Ex. A)
An implied line is the suggestion of a line (Ex. B)
An implied line may also be suggested by a string of
objects (Ex. C)
(A) (B) (C)
 Contour Lines

Contour means "outline", and

presents exterior edges of objects.

A plain contour has a clean,

connected line, no shading and
emphasizes an open "shell" of the
subject.

More complex contours can imply

shading values through interior
outlines may have line textures or be
contrasted with mixed media.
How are lines used in this work of art?

Ben Shahn, Supermarket.

 GOOO TEAM!
Lines plays a very large role in his overall piece.
The use of vertical, diagonal, and horizontal are
all used to create the shopping carts.
Now, how are lines used differently in this work of art?

Aubrey Beardsley, The Peacock Skirt.

 GOOO TEAM!
This image displays the use of line as a key
Element. The mood is drastically changed by the soft,
flowing lines in the clothing worn by the women.
 MINI ACTIVITY
On a white piece of paper record:

Look for and record examples from the everyday

world/classroom that contain the use of elements of lines.
[Ex. Power cord – curvy]

What is the object?

What type of line does it contain?
How does the line relate to the object? [Feeling]

Activity Wrap Up:

Share with table, how did the same items appeal to others
differently?

Drawings need to be gesture drawings

SHAPE
What types of shapes do you see in nature?
What types of shapes do you see in the world
around us?
Shape is a 2-dimensional object (it is flat) It has
height and width but no depth

Shapes can be either geometric or organic

Geometric shapes ---circles, squares and

rectangles---are regular and precise. They
can be measured

Organic shapes are irregular---seashells, leaves,

flowers, etc.
There are a number of different shapes an artist
can use to create subject matter.

What shapes do you feel artist use to create

subject matter?
 Geometric Shapes
Geometric forms are those which correspond to named
regular shapes, such as squares, rectangles, circles, cubes,
spheres, cones, and other regular forms.

Architecture is usually composed of geometric forms.

 Organic Shapes
Organic shapes are shapes with a natural look and
flowing and curving appearance.
 Positive and Negative
An artwork is often made up of positive and negative shapes. The
positive shapes are usually the solid objects that the artist depicts .
The negative shapes are formed by the areas around or between
the objects (the sky, grass, mountains, etc)
What common shapes do these two works of art share?

Piet Mondrian, Composition No. 2 Pablo Picasso, The Lesson

 GOOO TEAM!
Shapes play a large role in these two paintings.
Both artist use shapes to create forms and objects!
How are shapes used in this work of art?

Pablo Picasso, Seated Woman with a Wrist Watch.

 GOOO TEAM!
Picasso uses several shapes throughout his art work
to create images.

How do these shapes come together as one?

 MINI ACTIVITY
Group Game:

Take the shapes on your table.

This game requires no talking just action within your group. You can
not talk, get out of seat, or use anything other than shapes on the
table.

Use these shapes to create compositions that express the meanings

of various words that I call out.

You have 1 minutes to create your word using the shapes. If you talk during the creating
process your team will be disqualified.
FORM
What forms do you see in this sculpture?
A form is 3-Dimensional

It has height, width AND depth

As with shapes, forms can be regular and precise or

irregular and organic

3-D art, such as sculptures, architecture and crafts, is

composed of forms

In 2-D art, artists can only create the illusion of form

Ex. A triangle can be drawn to look like a pyramid

Form may be created by the forming of two or more
shapes

It may be enhanced by tone, texture and color

Form is considered three-dimensional showing height,

width and depth

Examples of this are sculpture, theater play, figurines

 Geometric and Organic Forms
Form can also be described as either organic or geometric

Organic forms such as these snow-covered boulders

typically are irregular in outline, and often asymmetrical

Organic forms are most often thought of as naturally

occurring
Geometric forms are those which correspond to named regular
shapes:

Squares
rectangles
circles
cubes
spheres
cones
regular forms
You can hold a form

Walk around a form and in some cases walk inside a form

In drawing or painting using value can imply form

Shading a circle in a certain manner can turn it into a sphere

How do these images of form use the other elements?
 GOOO TEAM!
There are several uses of line and shape in these forms.

One id 3D while the other is 2D but value is used to show

form.

How are they used?

What types are used?

What type of form is this? What elements are used?
What type of form is this? What elements are used?
What type of form is this? What elements are used?
 MINI ACTIVITY
Group Activity:

Mini Activity:
Everyone will receive some clay.

As an individual you will quickly sketch what type of form you

are creating.

Each student will make an individual form.

In groups of 4, they will join together and take these forms and
form a completed form. Use brainstorming, sketching, and
team work to complete the project.
VALUE
Also referred to as tone

Value refers to the lightness and darkness of a color

Value is commonly known as “shading” of an object

Very important in drawings and paintings

Sometimes referred to by the Italian word

“chiaroscuro” (literally “light/dark”),

Value is often described visually by a scale with

varying shades of gray arranged between black and
white
 High and Low
High value is on the light end of the scale and
suggests tinting

Tinting is adding white to a color

Low value is on the dark end of the scale and suggests
toning

Toning is adding black to a color.

 In Drawing
Similar values distributed in patterns throughout a work of
art can lead the viewer’s eyes around the piece to receive
the message the artist intended to send

Value is an important compositional device, but values can

be used to create the illusion of space as well

Value can help an artist set a mood or tone in his or her

work.
When the artist is working a flat, two-dimensional surface,
as in drawing and painting, in order to create three-
dimensional, rounded or projecting objects, he or she must
rely on illusion alone

In 2-D artist must learn to “fake it”

A circle is rendered into a ball by using smooth,

TRANSITIONAL values, gently moving from dark to light

A box needs ABRUPT value changes to show that the light

is different around its corners, top, and the side facing the
viewer
BROKEN values are what cause us to see texture in a
drawing, painting or print.

Lighter values appear to be “closer” to the viewer, and

darker values tend to “recede” from the viewer

All of these characteristics of value help the artist create

illusions of space in two-dimensional works of art
1 = The highlight. This is the brightest spot on the
object where the light strikes the surface with
greatest intensity.

2 = The light. This area represents the surface of

the object that is in the path of the light rays.

3 = The shadow. Here the surface begins to move

away from the light source.

4 = The core of the shadow. This area of the

surface’s shadow is furthest away from the light.

5 = Reflected light. Think of light rays as billiard

balls. When they strike a surface, they bounce
away at an angle. Here, light rays have hit the
table and have bounced back onto this surface of
the ball.

6 = The cast shadow. This is a very important part

of the value pattern since it creates the illusion
that the ball is a solid object that has gotten in the
way of the light, casting a shadow on the
table. This detail creates a convincing illusion
that the drawn object is three-dimensional.
 VALUE SCALE
The two extreme tones or values are black (very dark) and
white (very light)

A value scale, or gray scale, is a handy tool for any artist

The word “value” refers to the relative darkness or lightness of

a tone, shade, or color

A gray scale features the two extremes: at one end is white, at

the other end is black, and every shade of gray comes in
between

The scales can also be in color, again going from lighter to

darker.
Accomplished artists know, that to make a drawing
look as real as possible, they must show a full value
range in their artwork
 MINI ACTIVITY
Mini Activity:

Using paper, black and white paint we will create a grayscale

The scale has to be at least 10 shades of gray

One extreme black and one extreme white

Make sure the values differentiate

TEXTURE
Texture is the tactile, quality of a surface

Rough, smooth, sticky, fuzzy, soft or slick

Refers which refers to the way the paint feels on the surface
of the canvas

Artists can create texture by using of a paint brush, palette

knife, or any type of tool or medium they would like
Texture is related to value, in that it’s created by
modifying the light on a surface

Texture is a powerful art element because it can quickly

evoke memories and emotions

Start becoming more aware of textures all around you—

the carpet, in the clothes you’re wearing, and the fur on
your cat
 Real or Implied
Like line, texture can be real or implied.

A real texture is one that can be felt, such as a piece of

sandpaper, a woven mat, or animal fur.

In an artwork, real texture can be created through thickly

applied paint, glossy glazes, and gluing objects to the
surface.

Implied texture is an illusion of texture created by an artist.

Van Gogh was known for his heavy impasto, created by
applying lots of paint with a brush or even a palette knife.
The texture in Starry Night makes the painting look like it
has movement.
Paul Klee, is famous for his abstract paintings. With color, simple
shapes and textures, Klee is able to make his work interesting
and enjoyable to look at. You can see the bumpy texture of the
canvas show through the paint.
This artist created a sense of smooth water and
prickly grass using texture.
Look at these different containers and pay attention to the
different surfaces.

Can you identify what each is made of?

See how you can tell different textures without ever

touching the objects?

Why is this?
 MINI ACTIVITY
On a white piece of paper:

Draw 7 or more examples of texture

Ex. Hairy, soft, hard, smooth

Review game at the end of the day

COLOR
The effect of color can have a strong impact on your feelings.

Do you remember the last rainy day, when it was dark and dreary outside?

How did your mood change when sun came back out and lightened
everything up?

In art, dark, dreary colors often depict sadness, while cheerful yellows and
orange are used for happiness.

Paris, a Rainy Day, 1877 by Gustave Caillebotte.

Color is everywhere. In our clothes, the sky, trees,
flowers, billboards designed to attract our attention, on the
web and on television.

There are literally thousands of colors; from bright to dull

(intensity) and light to dark (value). Colors are powerful;
they can make objects seem to glow, to come forward and
recede, or to appear bigger or smaller.

Colors can also be symbolic, with meanings that change

from culture to culture. A color can symbolize an object or
thing such as blue for water and green for grass and the
leaves of trees or it may symbolize an emotion or idea,
such as red for love, yellow for fear and blue for sadness.
A trained artist is familiar with all of these options and can
select and combine colors to create a desired impression
or to evoke a certain mood.
 Color
Color is a property of light. When we say an
object is red, we mean that its surface absorbs
certain wavelengths of light that we call red,
we identify the object as red in color. If all
wavelengths of light are absorbed, we identify
the color as black, if all wavelengths of color
are reflected, we see white.

Color has 3 characteristics: hue, value and intensity.

Hue is actually the color we see—such as red. Value
refers to the lightness and darkness of a hue. For
example, maroon is a dark value (shade) of red and
pink is a light value (tint) of red.

Intensity is the brightness or dullness of a color.

 Color
Red, Yellow and Blue are called
P
Primary colors (P)and are used to
create the rest of the colors on the
color wheel.
I I S
S
When you mix two primary
I I
colors together, you get a
I I Secondary color (S). These colors
are P Orange (yellow and red), Green
P S (blue and yellow) and violet (red
and blue)

And when you mix a primary and a secondary color together you
get an Intermediate color (I). These are yellow-green, yellow-
orange, red-orange, red-violet, blue-violet and blue-green
 Color Schemes
When two colors are located directly across
from each other on the wheel, they are
referred to as complementary colors.

Artists often pair complementary colors together

because the area where they meet seems to
vibrate. You can also lessen the intensity of a
color by adding a small amount of its
complementary color.

What pair of complimentary colors did this artist

use in this picture?
 Color Schemes
A monochromatic color scheme makes use of only one
hue and its tints and shades. This scheme can produce
appealing pictures as you can see below.
Color Schemes
An analogous color scheme is made up
of three or four colors that are adjacent
on the color wheel.

What set of
analogous colors
are used in this
example?
 Color Temperatures
Have you ever noticed that colors seem to have different
temperatures?

Reds, Oranges and Yellows are

warm colors. They remind us of the
sun or fire and can add a feeling of
excitement, boldness or happiness
to a work of art. Warm colors make
objects seem larger and appear to
advance in an artwork.

Greens, Blues, and Violets are cool

colors. They remind us of lakes,
distant mountains, sky and foliage.
Cool colors tend to be calm and
restful. They recede into the
distance and make objects seem smaller.
 MINI ACTIVITY
On a white piece of paper: (Half and half)

Collage assignment that uses four analogous colors (colors

that are next to each other on the color wheel)

Collage assignment that uses four complementary colors

(colors that are opposite to each other on the color wheel).

Shapes and images can be cut out of paper and

magazines. No space in the collage should be left white.
SPACE
 Space
In a 2-D work of art, space is limited to the picture plane. By using color and/or
value you can make objects appear to advance (come forward) or recede (go back)
into space to create an illusion of depth. Objects with clear surface detail appear
nearer to the viewer than fuzzy or plain objects. Also, an illusion of space can be
accomplished when objects overlap or are placed higher on the picture plane.
Items farther away appear less
Objects farther away detailed or fuzzy
are placed higher on
the picture plane

Overlapping gives the

illusion of space too.
The feeling of space in a drawing or painting is always an
illusion.

Artists combine the use of light and dark value with other
techniques.

Some of these are: simple overlapping, ladder perspective,

linear perspective, and atmospheric perspective. Let’s see
how each is used to create the illusion of space in flat, two-
dimensional objects like paintings.
In simple overlapping a figure partially hides an object that’s
supposed to be behind it. Since our eyes are easily fooled, we
willingly agree that one is closer, the other is further
away. Note how in this diagram the effect is heightened
because the disc “behind” is made smaller than the disc “in
front.”
Space is the three-dimensionality of a sculpture. With a
sculpture or architecture you can walk around them, look above
them, and enter them, this refers to the space of the sculpture or
architecture. A three-dimensional object will have height, width,
and depth.

Space in a two-dimensional drawing or painting refers to the

arrangement of objects on the picture plane. The picture plane
is the surface of your drawing paper or canvas. You can have a
picture plane that is a crowded space with lots of objects or an
empty space with very few objects in the picture plane.

A two-dimensional piece of art has heights and width but no

depth. The illusion of depth can be achieved by using
perspective. This is the technique used to have your picture
look likes it is moving to the distance like a landscape or
cityscape.
Categories of Space

· Positive space-Like in positive shape it is the actual

sculpture or building.

· Negative space-Also like negative shape it is the space

around the sculpture or building.

· Picture Plane is the flat surface of your drawing paper or

canvas.

· Composition is the organization and placement of the

elements on your picture plane.

· Focal Point is the object or area you want the viewer to

look at first.
 TYPES
Nonlinear Perspective is the method of showing depth that incorporates the
following techniques.

Position-Placing an object higher on the page makes it appear farther back

then objects placed lower on the page.

Overlapping-When an object overlaps another object it appears closer to the

viewer, and the object behind the object appears farther away.

Size Variation-Smaller objects look farther away in the distance. Larger

objects look closer.

Color-Bright colors look like they are closer to you and neutral colors look like
they are farther away.

Value-Lighter values look like they are farther back and darker value look
like they are closer. For example in a landscape the mountains often look
bluish and lighter then the trees or houses that are closer to you.
As you can see in this example of linear perspective, in which parallel
lines recede toward a common vanishing point, the illusion of 3-D space
is created on a 2-D surface. Objects farther away are higher up on the
picture plane, there is overlapping of buildings and less detail as the image seems farther
away from the viewer.

Objects farther away are placed higher on the picture plane and are less detailed
e

Buildings are
overlapped to
create an illusion
of space
 Linear Perspective is the method of using lines to show the
illusion of depth in a picture. The following are types of linear
perspective.

One-point perspective-When lines created by the sides of

tables or building look like that are pointing to the distance and
they all meet at one point on the horizon this is one-point
perspective. To see an example stand in the middle of the
hallway and look at the horizontal lines in the brick or the corner
where the ceiling meets the wall. See how they move to one
point on the horizon.

Two-point perspective-Here the lines look like they are meeting

at two points on the horizon line.
The size of objects or figures is
determined by where they are
located along these lines.

With linear perspective a

convincing illusion of space is
created on a flat surface
because this technique mimics
our observation of the real world.
In this photo of arches, see how
your eye willingly recognizes
deep space because the corners
of the arches are placed along
orthogonal that lead diagonally to
a vanishing point somewhere in
the distance.
Space (3-dimensional)
Space actually and easily exists in sculpture, however, because
sculpture is three-dimensional. Remember that paintings and
drawings are two-dimensional. They have length and width. They
are flat. Sculpture has length, width, and depth, the third
dimension. There are two types of sculpture: Relief and Free-
Standing.
Principles of
Design
 The Principles of Design are:

Unity, Variety, Balance, Contrast, Emphasis,

Pattern, Proportion, Movement and Rhythm

These are like the “rules of grammar”; they form the

guidelines that artists follow when they combine the various
elements of design
Where do we see the
Principles OF DESIGN
everyday?
 If you said:
Unity,
Pattern,
Proportion
Movement,
Rhythm

Pattern, Unity,
Contrast
Then you
were
CORRECT!
Rhythm
Rhythm in design is also called repetition.

Rhythm allows your designs to develop an internal

consistency that makes it easier for your customers to
understand.

Once the brain recognizes the pattern in the rhythm it can

relax and understand the whole design.

Repetition rarely occurs on its own and so it implys a

sense of order onto the design.

Repetition attracts attention.

Rhythm is a pattern of movement caused by colors, shapes, values,
lines,
etc. that occur in organized repetition.

If the size, shape or color of the repeated units is the same and if the
distance between them remains constant, the rhythm is predictable and
may even be monotonous.

This is the type of rhythm you could find on wrapping paper or

wallpaper.

To add variety and visual excitement, an artist may change the size,
color
or shape of the repeated units or vary the spacing between them.
REPETITION
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.
How does the artist
show an interesting
rhythm in this
painting?

Is the rhythm
exciting?

How does the artist

accomplish this?
 MINI ACTIVITY
Using black and white construction paper show rhythm
using shapes.

Repetition of the shape will be used to create rhythm

Be creative with your shape and pattern.

Balance
To understand balance, think of the balance beam.

When objects are of equal weight, they are in balance.

If you have several small items on one side, they can be

balanced by a large object on the other side.

Visual balance works in much the same way.

It can be affected not only by the size of objects, but

also their value (ie. lightness or darkness, termed visual
weight).
There are 3 basic kinds of balance
symmetrical
asymmetrical
radial

Symmetry can create a sense of

calmness and formality, but sometimes
it can be visually boring.
In visual balance, each area of the painting suggests a
certain visual weight, a certain degree of lightness or
heaviness.

For example, light colors appear lighter in weight than

dark colors.

Brilliant colors visually weigh more than neutral colors in

the same areas.

Warm colors, such as yellow tend to expand an area in

size, whereas cool colors like blue tend to contract an
area.

And transparent areas seem to visually weigh less than

opaque areas.
 Symmetrical
Symmetrical balance is mirror image
balance.

If you draw a line down the center of the

page, all the objects on one side of the
screen are mirrored on the other side
(they may not be identical objects, but
they are similar in terms of numbers of
objects, colors and other elements.
Sometimes they are completely identical
(often seen in architecture).

Symmetrical balance occurs when one

side of an object or painting is identical (or
nearly so) to the other side.

In nature, the human face and butterflies

are examples.
Look at this drawing of the
Cathedral of Saint-Pierre
in Angouleme, France. You
can draw a line down the
middle of the front face,
and everything on either
side would be mirror
image.
 Asymmetrical
Asymmetrical balance, also called informal balance, is more
complex and difficult to envisage.

Asymmetrical balance occurs when several smaller items on one side

are balanced by a large item on the other side, or smaller items are
placed further away from the center of the screen than larger items.

One darker item may need to be balanced by several lighter items.

Asymmetrical balance may appear more casual and less planned, it is

usually harder to use because the artist must plan the layout very
carefully to ensure that it is still balanced.

An unbalanced page or screen creates a feeling of tension, as if the

page or screen might tip, or things might slide off the side, just as the
unbalanced balance beam would tip to one side
By Color

Our eyes are drawn by color.

Small areas of vibrant color can be used to

balance larger areas of more neutral colors.

The vivid red skirt on the left is balanced by

the larger neutral pink dress [1].
By Value

Value refers to the darkness or lightness of

objects.

Black against white has a much stronger

contrast than gray against white.

To balance these two colors, you would need

a larger area of gray to balance the stronger
value of black.
By Shape

Large flat areas without much detail can be balanced

by smaller irregularly shaped objects since the eye is
led towards the more intricate shape.

The front dancer in this painting by

Degas [2] stands out in intricate
detail compared to the large blurry
area behind her.
By Position
Using a balance beam, a larger
weight closer to the center point can
be balanced by a lighter weight further
away from the center.

This is the basis for balance by

position.

Sometimes larger elements on one

side of the page can be balanced by a
smaller element that is positioned by
itself at the far end of the other side of Look at how the small watering can
the page. on the left is used to balance the
larger dancers to the right [3].
This is a very tricky type of
asymmetrical balance that often ends
up looking out of balance.
By Texture
Smaller areas with interesting textures (variegated light and
dark, or random fluctuations) can balance larger areas with
smoother, untextured looks.
By Eye Direction
Your eye can be led to a certain point in
a picture depending on how the
elements are arranged.

If the people in a picture are looking in

a certain direction, your eye will be led
there as well.

Elements in a picture, such as triangles

or arrows, will also lead your eye to
look to a certain point and maintain the
balance of a picture.
Look how the eye direction of the dancers and
musicians in this painting by Seurat [4] lead your eye
to the small gaslights which provide a focal point in
this painting.
 Radial
The third type of balance is radial balance, where all elements
radiate out from a center point in a circular fashion.

It is very easy to maintain a focal point in radial balance, since all

the elements lead your eye toward the center.
 MINI ACTIVITY
Groups of 4 @ table

Use the shapes and materials to create different types of

balance

No talking with groups, use other forms of communication

UNITY
Unity is a sense of cohesiveness, a feeling that all the parts of
something belong or work together. This is an important
principle because a unified work looks complete and
orderly. There are many ways to create unity in a work of
art; a dominant theme or idea, a texture or repeated color,
line, shape, etc.

What creates
unity in this
picture?
Unity refers to a sense that everything in a piece of work
belongs there, and makes a whole piece. It is achieved
by the use of balance, repetition and/or design harmony.

Unity in design is also called proximity.

Unity provides cohesiveness to your designs. It is what

pulls the elements together.

Elements that are positioned close to one another are

related while elements that are farther apart are less
related.
Unity occurs when all of the elements of a piece combine
to make a balanced, harmonious, complete whole.

It is another of those hard-to-describe art terms but, when

it's present, your eye and brain are pleased to see it.

In art unity is achieved primarily through placement in your

work.
It's the final result in a composition when all the design
elements work harmoniously together giving the viewer a
satisfying sense of belonging and relationship.

You know unity has been achieved when all aspects of the
design complement one another rather than compete for
attention. It serves to reinforce the relationship between
the design elements and relates them to the key theme
being expressed in a painting.

Unity in a composition is achieved when all of the design

principles (balance, movement, emphasis, visual economy,
contrast, proportion and space) have been correctly
applied.
When unity is achieved:

The individual elements with in a composition will not be

competing for attention.

The key theme will be communicated more clearly.

The design will evoke a sense of completeness and

organization.
Unity within a well composed design accomplishes two things:

Unity creates a sense of order. When a design possesses unity there will
be a consistency of sizes and shapes, as well as a harmony of color and
pattern. One way this is accomplished is by repeating the key elements,
balancing them throughout the composition, and then adding a little
variety so that the design has its own sense of personality. Learning to
juggle the elements and principles in such a way as to achieve the right
mix is a key to good design.

Unity also gives elements the appearance of completeness, that they

belong together. When a composition has unity the design will be viewed
as one piece, as a whole, and not as separate elements with the
painting. Using too many shapes and forms may cause a design to be
unfocused, cluttered and confusing. A well organized design will be
achieved by using a basic shape which is then repeated throughout the
composition.
Some easy ways to achieve unity in your
compositions include:

Similarity: 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 sense of consistency and completeness.

Continuity: Treat different elements in the same manner.

Continuity helps to create "family resemblances" between
different forms. This helps to tie them together by creating an
uninterrupted connection or union.
Alignment: Arranging shapes so that the line or edge of one
shape leads into another helps creates unity in your design.
When an element is placed in a composition, it creates an implied
horizontal and vertical axis at its top, bottom, center and sides.
Aligning other elements to these axes creates a visual
relationship which unifies them.

Proximity: Group related items together so that these related

items are seen as one cohesive group rather than a bunch of
unrelated elements. Elements that are positioned close to one
another are perceived as being related while elements that are
farther apart are considered less related. How close together or
far apart elements are placed in a composition suggests a
relationship (or lack of) between otherwise disparate parts. Using
a "third element" such as a road to connect near-by elements
with distant ones also helps to create a sense of relationship
between the forms which are not grouped together.
The painting on the left
creates a sense of
unity by the effective
use of repetition.

See how the artist has

repeated similar forms
(ducks) and color
(brown) throughout the
composition?
On the right grouping of
similar objects
(proximity) was used to
create unity within this
painting.
The road in this painting is the
"third element" that helps to
create a relationship between
the people in the foreground to
the people in the background.
HARMONY
Harmony

A principle of design, it refers to a way of combining the art

elements to accent their similarities and bind the picture
parts into a whole. It is often achieved through the use of
repetition and simplicity.

Brings together a composition with similar units

If your composition was using wavy lines and organic

shapes you would stay with those types of lines and not
put in just one geometric shape

Notice how similar Harmony is to Unity - some sources list

both terms
What do you think Cezanne used to keep this painting, Mt.
Victoria,
unified or working together?
Cezanne used blues, yellows and greens. By using related
colors (remember blue and yellow make green), the piece
appears to work as a whole.
When combinations of all the Principles and Elements of
design have been well used, harmony will result.

It is the final achievement and their will be total agreement

between all parts of the design.
PATTERN
Individual units or motifs repeated again and again, create a
pattern.

In nature, the hexagonal shapes in a honeycomb,

stripes of a zebra and the petals of a daisy all form patterns.

Patterns can be found in the columns of buildings, a polka-dot

tie or the seats of a movie theatre.
 In an artwork, artists can use various patterns to decorate
shapes or to add texture to the entire surface.

Add a pattern to a small area to add visual interest or create

contrast.
A recurring pattern in a piece of art is referred to as a motif.

Pattern means the repetition of an element (or elements) in

a work.

An artist achieves a pattern through the use of colors

(children playing with Legos)

lines (think: Op Art)

shapes (mosaics, tessellations, etc.).

a decorative design
(wallpaper, china, textile fabrics)

decoration or ornament having such a design

a natural or chance marking, configuration, or design

a distinctive style, model, or form

a combination of qualities, acts, tendencies, forming a

consistent or characteristic arrangement
CONTRAST
Contrast in art and design occurs when two related
elements are different.

The greater the difference the greater the contrast.

Contrast adds variety to the total design and creates

unity.

It is what draws the viewer's eye into the painting and

Helps to guide the viewer around the art piece.

The world around you is full of contrast: a red flower

on a green plant, a smooth pond surrounded by a
Rough shoreline, a fragile spider web
attached to a sturdy fence post.
Contrast creates interest. In an artwork, a strong contrast of
light and dark will draw a viewer into a particular place in an
artwork.

As will contrasts of rough and smooth areas, warm and cool

areas, straight and curved lines, or plain and patterned areas.

The key to working with contrast is to make sure the

differences are obvious. The most common ways of creating
contrast are by creating differences in:

• size • value
• color • type
• texture • shape
• alignment • direction
• movement
What has the artist used
as contrasts in this work
of art?
On the right a contrast exists
between the lights and darks.
Also notice the contrast of the
roundness of the objects in the
foreground against the flatness
of the background.
The contrast in the illustration to the
left is quite obvious. Notice the
contrast of the light background (wall)
with dark foreground (table cloth) and
the contrast of the dark shadows on
the tea pot and cup against the wall
and with the lights of the same objects
against a dark window.
There is also a contrast of thin and
thick lines in the napkin, straight and
curved lines, and don't miss the dark
steam as contrasted with the light
clouds off in the distance.
EMPHASIS
Emphasis is the stressing of a particular area of focus
rather than the presentation of a maze of details of equal
importance.

When a composition has no emphasis nothing stands out.

The effective use of emphasis calls attention to important

areas of the painting.

By placing emphasis on certain areas of the composition,

an artist creates elements of interest which causes the eye
to return to again and again.
Artists use emphasis to create a center of interest—the part of the
work they want the viewer to notice first.

Sometimes an artist chooses to emphasize a single element of

design to create a center of interest.

And sometimes the artist separates the center of interest from its
surroundings, makes it the largest object or places it in the center
of the composition.
One way of achieving emphasis is by creating center of
interest, a.k.a. a focal point.

A focal point is an area where the eye tends to center. It is

the focus of the viewer's attention.

A focal point is created by making one area of element of

the painting dominant, or most important visually with all
other areas contributing but subordinate.

The focal point may be the largest, brightest, darkest, or

most complex part of the whole, or it may get special
attention because it stands out for some other reason.

No more than one component should vie for primary

attention. Where several components get equal billing,
emphasis is canceled out.
The second way to create emphasis is by contrasting the
primary element with its subordinates, or emphasis can
be created by a sudden change in direction, size, shape,
texture, color, tone or line.

No matter what element is chosen for emphasis it should

never demand all the attention. Emphasis is necessary,
but a good composition is one in which all the elements
work together for a unifying effect.
What is the artist trying to get us
to notice first in this work of art?
PROPORTION
Proportion in art is the comparative harmonious
relationship between two or more elements 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 relationship exists between the elements.

This refers to the correct sizing and distribution of an

element or object which creates good proportion.

Good proportion adds harmony and symmetry or balance

among the parts of a design as a whole.
When the principle of proportion is applied to a work of art it
is usually in the relationship of size.

That is, the size of one element of the composition as

compared to the size of another related element.

In the instance of a relationship of size a comparison is

made between the:

height, width and depth of one element to that 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 until something is
out of proportion.

When the relative size of two elements being compared

seems wrong or out of balance it is said to be "out of
proportion".

For example if a person has a head larger than their

entire body, then we would say that they were out of
proportion.
Good Proportion

There are several ways for achieving good proportion:

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

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 to make 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 a standard mathematical relationship. Dividing up the
composition in halves, quarters and 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 part should "fit" the shape of the adjoining elements.
Shapes should "fit" properly in their positions and spaces.
Proportion is the relative size of one thing compared to the
size of something else. In the paintings below, compare the
proportion of the objects in one painting with one another.

Do the proportions seem correct?

 Variety
Variety generally accompanies unity in a work of
art; it adds visual interest by giving the eye
different things to focus on. Artists create variety
by including shapes, textures, lines, etc in many
sizes and/or contrasting colors.

How has this

artist shown
variety? What
elements has he
used to create it?
 Balance
Asymmetrical balance occurs when the two sides are
balanced but different. Small objects near the center may
balance out large objects
nearer to the middle or
large areas of light color or
value may balance out small
darker areas.

Asymmetrical balance can

be both subtle and exciting.
Radial Balance
When a design exhibits
radial balance, its parts
spread out from the
center.
The spokes of a wheel
is an example of radial
balance.

Radial balance is also symmetrical and often

produces a graceful rhythm or a sense of turning.
 Movement
In a work of art, movement may be the course that a viewer’s eye
takes as it moves across the surface. Moving from color to color,
shape to shape or value to value, the
eye traces a path around the picture.

Sometimes an artist will add

elements such as spirals, curves,
arrow-like shapes or diagonal
lines to convey a sense of
movement.

How has the artist shown movement

in this picture?
Media: is the material used by the artist to produce art. (Media is
Plural and Medium is singular)

2-Dimensional media include:

Paint (Egg Tempera, Oil,

Watercolor and Acrylic) Fabric

Yarn Paper

Pastels (Oil and Chalk) Fiber

Photography Drawing

Computer-generated art Fiber Art

Ink Photography
 3-Dimensiona Media include:

Clay Wood

Glass Metal

Stone Metal

Plaster Paper
Art Processes: both art methods and the media used for
visual communication in a variety of art forms

2-Dimensional Processes include:

Drawing Painting

Printmaking Photography

Fiber Art: (includes fabric painting, stamping, batik, tie-

dye, etc.
 3-Dimensional Processes include:

Textiles Ceramics

Sculpture Architecture

Fiber Art (includes constructing with fiber, weaving,

rugs, crochet, knitting, quilting)