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Lesson #1: Introduction To The Principles of Design

The principles of good design are the tools used by an

artist or designer to create an effective composition or
design. The principles are: balance, movement, repetition,
emphasis, simplicity, contrast, proportion, space, and unity.
The difference between a weak design and a strong one is
completely dependant upon the artist's knowledge of the
design principles and how well he/she applies them.
We will take a look at each of these principles in a series of
art lessons.

In the study of design we should note there is no longer a

clear-cut line between fine 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 same principles of good design. Graphic artists compose their designs
and page layouts using the same design principles the fine artists use. Just as a fine artist
arranges various components within a painting to create a pleasing composition, so it is with
the graphic artist. The artist may use a vase of flowers, a bowl of fruit, or a figurine to
design a lovely still life composition. The graphic artist will use headlines, bodies of text,
photos, illustrations, and clipart images to compose a page or Web site.

The basis of all design is the arrangement of the elements of a work of art, using
the design principles. It is the bringing together of various components into one area and
arranging them in such a way as to create a composition, layout or design that is both
unified and pleasing to look at. For example every artist whether they realize it or not is
familiar with the elements of a composition. These are:

• Line - an actual or implied mark, path, mass, or edge, where length is dominant

• Form - the mass of the shapes

• Texture - the structure and minute molding of a surface (rough, smooth, etc.)

• Value - the degree of lightness or darkness of a given color

• Color - a pigment

• Shape - any flat area bound by line, value, or color

The elements are what the artist uses to create a composition. But it is HOW the artist
brings these elements to together and arranges them upon the surface of a canvas that
creates the composition. A design is the result of the application of the principles of
design. [Please note that the use of the word design is synonymous with the words layout,
composition, or work of art.]
The principles of design, sometimes referred to as the principles of organization are:

• Balance - a feeling of equality of weight, attention, or attraction of the various elements

within the composition as a means of accomplishing unity

• Movement - the suggestion of action or direction, the path our eyes follow when we look
at a work of art

• Repetition and rhythm - the act of repeating an element either regularly or irregularly
resulting in a rhythm of the repeating elements

• Emphasis - the stress placed on a single area of a work or unifying visual theme

• Simplicity (a.k.a. visual economy) - the elimination of all non-essential elements or

details to reveal the essence of a form

• Contrast - the difference between elements or the opposition to various elements

• Proportion - the relation of two things in size, number, amount, or degree

• Space - the interval or measurable distance between objects or forms (two dimensional or
three dimensional)

• Unity - the relationship between the individual parts and the whole of a composition
Lesson #2: The Principle of Balance

Balance. What is it and how is it achieved on a flat surface? To

answer this question, we must first think of a three dimensional
work of art. If the pieces were not physically balanced or anchored,
they would fall over. For images created on a flat surface such as a
canvas the same principle of balance applies. However, instead of
having actual or physical balance, the artist needs to
create an illusion of balance, referred to as visual balance.

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.

Balancing the components of a painting can best be illustrated by weighing scales or a

child's playground see-saw. Visually the scale can be pictured as an apparatus for weighing
or a see-saw which has a beam poised on a central pivot or fulcrum. In using this scale or
see-saw, balance is not achieved through an actual physical weighing process, but through
visual judgment on the part of the observer. In this respect, visual balance refers to a "felt"
optical equilibrium between all parts of the painting.

To balance a composition is to distribute its parts in such a way that the viewer is
satisfied that the piece is not about to pull itself over. When components are
balanced left and right of a central axis they are balanced horizontally. When they are
balanced above and below they are said to be balanced vertically. And when components
are distributed around the center point, or spring out from a central line, this is referred to
as radial balance.
There are two forms of visual balance. These are symmetrical balance, also known as
symmetry or formal balance, and asymmetrical balance, also known as asymmetry or
informal balance.

Symmetrical Balance

Symmetrical balance is when the weight is equally

distributed on both sides of the central axis. Symmetry is
the simplest and most obvious type of balance. It creates a
secure, safe feeling and a sense of solidity. Symmetrical
balance can be achieved in two ways. One way is by "pure
symmetry," and the other way is by "approximate
symmetry."

In pure symmetry identical parts are equally distributed on

either side of the central axis in mirror-like repetition. A
good example of pure symmetry is the human face. It is the
same on both the right side and the left side of the nose.
Pure symmetry has its place in certain art works, however, because of its identical
repetition, pure symmetry for a composition can easily become too monotonous and
uninteresting to look at.

Approximate symmetry on the other hand has greater appeal and interest for the viewer.
The two sides of a composition are varied and are more interesting to view. Even though
they are varied somewhat, they are still similar enough to make their repetitious relationship
symmetrically balanced.

Asymmetrical Balance

Asymmetrical balance is when both sides of the central axis

are not identical, yet appear to leave the same visual
weight. It is a "felt" equilibrium or balance between the
parts of a composition rather than actual. If the artist can
feel, judge or estimate the various elements and visual
weight, this should allow him/her to balance them as a
whole. As a result, a more interesting composition will occur in the work.

The use of asymmetry in design allows for more freedom of creativity, because there are
unlimited arrangements that may be devised using asymmetrical balance. The way to use
asymmetry is by balancing two or more unequal components on either side of the fulcrum
by varying their size, value or distance from the center.

Examples of The Effective Use Of Balance

Radial Balance

This flower resting a tea cup on the left is a

good example of radial balance. The pedals
radiate out from a central point.

On the right radial balance is created by the

flowers which spring out of the center of the
vase.

Horizontal Balance

Vertical Balance

Do you see the vertical balance suggested in the painting on the

left? Look at where the foreground ends and you will quickly see
how it is balanced by the building in the background.

The painting on the right is a little

more obvious in it's vertical balance.
Notice how the three objects in the top
part of the painting balance the
apparent heaviness of the one object (the
plate of pancakes) in the lower part of the
painting.
Lesson #3: The Principle of Movement

Movement is the path our eyes follow when we look at a work of

art. The purpose of movement is to create unity in the
artwork with eye travel. This can be achieved by using
repetition, rhythm, and action. Movement ties the work together by
relating the various components of a work together.

By arranging the composition elements in a certain way, an artist

controls and forces the movement of the viewer's eyes in and
around the composition with the painting. For example, the eye will
travel along an actual path such as solid or dotted line, or it will move along more subtle
paths such as from large elements to little elements, from dark elements to lighter
elements, from color to non color, from unusual shapes to usual shapes, etc. Graduation of
size, and repeated shapes and size of related elements subtly leads the eye as well.

Movement in Repetition and Rhythm

The use of repetition to create movement occurs when

elements which have something in common are
repeated regularly or irregularly sometimes creating a
visual rhythm. Repetition doesn't always mean exact
duplication either, but it does mean similarity or near-
likeness. Actually, slight variations to a simple repetition
will add interest. Repetition tend to tie thing together
whether they are touching or not and is an easy way to
achieve unity.

Rhythm is the result of repetition which leads the eye

from one area to another in direct, flowing, or staccato
movement. It can be produced by continuous repetition, by periodic repetition, or by regular
alternation of one of more forms or lines. A single form may be slightly changed with each
repetition or be repeated with periodic changes in size, color, texture, or value. A line may
regularly very in length, weight, or direction. Color may also be repeated in various parts of
the composition in order to unify the various areas of the painting.

Movement through Action

Movement can also be created by action. In two-dimensional

works of art, action must be implied. Implied action in a painting
creates life and activity within the composition. This is best
illustrated by the direction the eye takes along an invisible path
created by an arrow, a gaze, or a pointing finger. Action can also
be indicated by the "freeze frame" effect of an object in motion,
such as bouncing ball suspended in mid air, a jogger about to take
that next step, or a swimmer taking a dive, etc.
Lesson #4: The Principle of 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.
However 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.

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.

Examples of the effective use of Emphasis

In this painting it is easy to see how the artist used light

to emphasize the chef. He stands out as the main focal
point of the entire the painting.
Lesson #5: The Principle of Simplicity

Simplicity in art, also known as visual economy or minimal design, is

omitting all non-essential or un-important elements and
details which don't really contribute to the essence of the
overall composition in order to emphasize what is important. It is
about really understanding the design problem, and focusing on the
essentials. Much of the beauty and skill in good design focuses on
what is left out, rather than trying to include everything you can. The
secret to a great composition is in knowing when to stop; when to put the brush down,
stand back and say "that’s just about right".

Keeping It Simple is The Key To Good Design

Good design means as little design as possible. It involves a paring down to only the
essential elements required to achieve the desired effect. Restraint and simplicity are key in
the creation of good design. There are no rules for using economy, if an element works in
the composition with respect to the whole design, it should be kept. If it distracts from the
desired effect, it should be re-evaluated for its purpose. Never use anything for its own
sake, always consider and justify its inclusion for the contribution it makes to achieve the
overall design effect.

The principle of simplicity suggests that a good composition is the most simple solution
to the design problem.

Examples of the effective use of Simplicity

Simplicity is suggested in this painting of the cowboy by zooming

in thus eliminating the extra surrounding elements that would
otherwise detract from the main focus of the painting.

There is simplicity in the design of the

buildings in the painting right. Detail has
been left out to call your attention to the
unique architecture.

In the painting of Egypt on the right detail

has been deliberately left out so the shapes
rather than the features become the areas of
interest.

In the painting on the right the background and

clothing are done in a very simplistic manner so
that the viewer's attention is drawn to the face of
Mary and that of baby Jesus. More detail would
have been a distraction.
Lesson #6: The Principle of 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.

Contrast in art also adds visual interest. Most designs require a certain amount of contrast.
Too much similarity of the components in any design becomes monotonous. In other words
the use of too little contrast can cause a design to be bland and uninteresting. On the other
hand too much contract can be confusing. Just the right amount of contrast engages the
viewer's participation in comparing various components of the work. For instance, the
viewer will compare light and dark areas of a painting, wide lines and thin lines, light-weight
forms and heavy forms, filled spaces and unfilled spaces, etc.

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 • shape
• value • alignment
• color • direction
• type • movement
• texture

Examples of the effective use of Contrast

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.

Contrast in the painting on the right is much

more subtle. Contrast this painting is in texture. Notice the hard
texture on the fence as contrasted with the softness of the butterflies
and the kittens. Also a contrast exists between the soil and the
foliage.
Lesson #7: The Principle of 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:

1. Place together elements which are similar in character or have some feature in
common.
2. 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.
3. 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.
 4. 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.

Examples of the effective use of Proportion

There is a real sense of proportion in each of the two paintings above. Without the effective
use of the principle of proportion you would not experience the majesty of the mountain
cliffs in the painting on the left or the towering height of the trees in the painting on the
right.

Examples of the effective use of Harmony

It is easy to observe harmony in action in In the coat of arms above we observe how
nature. Notice how the individual wedges "fit" the different elements "fit" together perfectly
the orange in the painting above. inside each other to create harmony.
Lesson #8: The Principle of Space

Space in art refers to the distance or area between, around,

above, below, or within shapes and forms found within a
composition. In this lesson we will be taking a closer look at
several different ways space is used in art composition. These are:

 Positive space
 Negative space
 Two-dimensional space
 Three-dimensional space

Positive and Negative Space

There are two types of space in art: positive and negative. Both positive
and negative space are important factors to be considered in every
good composition. They occur in both two-dimension and three-
dimension art and complementary to one another. One impacts on and
affects the reading of the other.

Positive space is the "occupied" areas in a work of art that is filled with
something such as, lines, colors and shapes. It is the primary subject
matter of a painting; the animals, plants, building, mountain, vase,
people, etc., that forms your area-of-interest. It dominates the eye and is
the focal point in a composition.

In the example here, positive space is represented as the forms themselves... i.e. the vase,
the individual letters, or the words "positive space". It is the opposite of negative space.

Negative space (a.k.a. whitespace in page layout), is the unoccupied

areas that surround the subject matter. It is more passive in nature and is
defined by the edges of the positive space it surrounds. It is what gives
definition to our composition.

In the example, it is the "empty space" or unoccupied areas that lies

between objects, shapes and forms within a composition, and is also the
space in the background that is not at first noticeable. It goes in all
directions and goes on forever. It flows in, around and between shapes
and objects.

Do you see the shapes in negative space? These shapes have substance or mass and is not
simply the absence of something. This is important to remember. Negative space has weight
and mass, and plays an important role in defining your subject.

Negative space is most evident when the space around a subject matter, and not the form
itself, forms an interesting or artistically relevant shape. In this case the use of negative
space is very much a key element of the artistic composition. In the example above, the
negative space forms a shape of two men face to face.

Negative space is important in a composition because it gives balance to positive space by

giving the eye a place to rest. This is a basic element that is often overlooked as a principle
of a good design.

Two and Three-dimensional Space

Two-dimensional space is found on a flat surface such as a canvas. It has no depth, only
length and width. In our example below, the image appears flat because all the objects and
forms lie on the same plane. There is no feeling of depth. However, the same space can be
used to make a two-dimensional artwork appear three-dimensional by giving a feeling of
depth. Three-dimensional space has width, height and depth.

When we look at a flat surface and have the sensation

of looking at spaces and objects that appear to have
depth, then we are receiving and believing a group of
visual signals working to create the illusion of three-
dimensional shapes and spaces within the painting.

These three-dimensional signals are so common in

nature that we are almost unaware of them. Yet in the
hands of a skilled artist these 3D cues can be used to
create the illusion of three-dimension on a flat
canvas surface. This occurs when a sensation of space which seems to have height, width
and depth are visually created as it has been done with the vase in the example shown on
the right.

The tools needed for creating illusions of three-dimensional space are:

 Overlapping objects
 Changing size and placement of related objects
 Linear perspective
 Relative hue and value
 Atmospheric perspective

Overlapping objects within your composition is the simplest tool you can use for creating
three-dimensional space in your painting or drawing. The effect is achieved by allowing the
contour of one form to be interrupted by the contour of another form, so that it looks like
one form is physically sitting in front of the other.

Another simple tool for creating the illusion of 3D space is by changing size and
placement of related objects. When two shapes are the same size and are placed on the
same plane, the image tends to appear rather flat and not have much depth to it. However
by simply varying the size and placement of the shapes a greater sensation of depth is
created.
As a rule of thumb, larger objects tend to appear closer to the viewer and smaller ones tend
to recede into the background. Also objects placed lower on the canvas appear closer in
distance than those which are placed higher up.

Linear perspective (a.k.a. converging lines) is a graphical system

used by artists to create the illusion of depth and volume on a flat surface.
As objects move away from the viewer they appear to grow smaller and
converge toward a vanishing point at the horizon line. The effective use of
linear perspective creates this illusion of diminishing size by treating the
edges as converging parallel lines. The vanishing point may be in any
direction the viewer looks, including up, and may be visible (on the canvas)
or imaginary (somewhere off the canvas).

Using hue and value to create 3D space on a flat canvas surface are very
important cues that tell us whether an object is near by or far away. In general, warm colors
or hues tend appear closer, whereas cool hues tend to recede away from the viewer. On the
same token, close objects tend to exhibit brighter, richer hues, and/or more contrasting in
values, including extremes of dark and light. However, distant objects tend to be either
similar or neutral in value, and exhibit grayer hues. Colors that are close in value are
perceived as being on or near the same plane, but colors that have strong contrast in value
appear on separate planes.

Atmospheric perspective combines several tools already described above. This important
tool operates when objects that are far away lack contrast, detail, and texture. As objects
get farther away, atmospheric perspective shows color gradually fading to a bluish gray and
details blurring, imitating the way distant objects appear to the human eye.

As a rule of thumb when using this tool, remember that colors tend to pale and fade as they
recede into the distance. Objects become less defined and lack detail.

Deep Space

When used effectively all of these tools to create the illusion of three-dimensional space will
create a sense of what is referred to as "deep space" within your painting. In deep space
there are three terms used to describe depth:

 Foreground is the area of a painting that visually appears closest to the viewer. It is
often located on a lower plane or bottom of the canvas.
 Middle ground is space that makes up the distance between the foreground and
background of a painting. There is no specific measurement for what the limits are.
Typically it is located somewhere on the middle plane of the canvas.
 Background is the area of a painting that visually appears to be far away in the
distance at or near the horizon. It is usually located on a higher plane of the canvas.

Recap

Since a flat surface such as a canvas contains only two-dimensional space, an artist may
wish to create the illusion of three-dimension. When an artist begins to cut, divide and
rearrange the surface space of a flat surface, the illusion of depth may appear. Even the
slightest manipulation of line, value or color will generate the illusion of three-dimensional
space.

There are a number of ways to create the illusion of distance or depth on a flat surface.
Here are some of those ways:

1. Objects that are further away, will appear smaller than those close by. Those same
objects will also grow less distinct the further away they are. Their colors will fade
and blend into the background colors.
2. Objects which are placed higher on a plane create the feeling of depth or distance.
The viewer senses that he or she is standing away from the objects and that there is
a large amount of space in the foreground.
3. Overlapping shapes tend to create a feeling of depth.
4. Arrangement of lights. When light is contrasted against dark, a sense of depth is felt.
5. Converging lines. Parallel lines, as they move away into the distance, appear to come
closer together to form a vanishing point which may or may not be seen. A good
example of this is a road or a path.
6. Colors. Warm and bright colors appear closer, whereas cool or dull colors tend to
recede into the distance.

Examples of the effective use of Space

Positive and Negative Space

The flat back shadows and background

in the painting on the left provides a
good example of the effective use of
positive and negative space in this two
dimensional painting.

The painting on the right demonstrates

positive and negative space in a three
dimensional painting. Can you see the positive and negative here?
The fish occupies the positive space and the water represents the
negative space around the fish.

Overlapping Objects

Overlapping objects is a helpful tool for

creating an illusion of 3D. Depending on how
it is applied can give a sense of deep or
shallow space within a composition.

The Statue of Liberty in the painting on the

left overlapping the river and the horizon
helps to create a greater sense of depth than
the painting that is on the right. On the left we get the sensation of deep space. On the
right the space a shallow.

Changing Size and Placement

Changing the size and placement of the objects in these two paintings helps give more
depth to the painting. Changing the size of the indians makes them appear far away in the
painting on the left. On the right, the ballerinas are on a higher plane than the ones in the
front pushes them farther away into the background.

Linear Perspective

Can you see how perspective has given

these paintings a sense of depth?

Both of these paintings have very

strong one point perspective which
helps create the illusion of three
dimension.

Perspective gives you the sensation that the train is moving away
from you and yet it pulls you down the hallway with it in the painting
on the right.

Perspective can also make objects appear 3D. The artist of this
building used two point perspective to create an object that
appears to have volume. Without two point perspective this
building would lack depth and appear flat.

Hue and Value

 Warm colors pull you up close.
Cool colors recede off into the
distance. The painting on the left
is a good example of this tool in
use.

On the right, light moves toward you and darkness moves off into
the background.

Atmospheric Perspective

As objects move off into the distance they become less detailed and more gray. For example
notice the horizon and the mountain in these two paintings.

Deep Space

When used effectively all the tools (overlapping,

perspective, atmosphere, hue and value) can create the
sensation of deep space.
Lesson #9: The Principle of Unity

Unity is the hallmark of a good design. 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. Everything selected for use in a composition must complement the key
theme and must also serve some functional purpose within the design. Achieving unity in
your compositions will only result from practicing, knowing and selecting the right visual
elements and using the best principles of design to relate them.

Unity within a well composed design accomplishes two things:

1. 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.
2. 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.

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.

To create unity you must have a clear objective in mind you are wanting to communicate to
the viewer. You have stay focused on achieving the objective and not deviate from it. If
there is an element you are considering 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. When the purpose and message
you intend to portray is consistently understood the same way by several people then the
principle of unity has been maintained within your painting.
When you feel your composition is complete, take a step back and observe it with an
objective eye. The final test of unity is one in which nothing can be added to or taken away
without having to rework the entire composition. The relationship of all the elements should
be so strong it would actually hurt the design to add or remove any one thing. When
nothing can 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 is boring and too much
variation without unity is chaotic.

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.

Examples of the effective use of Unity

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.

This painting is another good example of how

proximity creates relationships between related
objects.

IN CONCLUSION: USING The Design Principles

This study on the design principles would not be complete without giving some practical
guidelines on the use of the principles of design.

1. Apply the principles in every assignment either consciously or subconsciously.

2. Don't apply the principles equally, because one may be more important than another
depending on the mood and purpose of the design. One design may be strong in balance,
another in proportion, another in movement and so on.

3. Try to include as many, and as much as will work of each principle into each design.

4. You, as the designer, should always add a bit of your own personality into your designs.
Without this touch, your work may be well designed, but lack character.

5. As you become more self confident, then you should dare to violate one or more of the
principles of design to promote growth in your creativity.

Once the designer has an objective in mind, the effective use of the design principles of
balance, movement, emphasis, contrast, proportion, and space will aid in the achievement
of unity in a work of art. Whether an artist uses the principles consciously or subconsciously,
unity should always be the goal of every artist.