Principles of Two Dimensional Design
THE PRINCIPLES OF COMPOSITIONTHE PRINCIPLES OF COMPOSITION
UNITY AND VARIETY
BALANCE
WEIGHT AND GRAVITY
EMPHASIS
SPACE
THE VISUAL ELEMENTS OF DESIGNTHE VISUAL ELEMENTS OF DESIGNLine, Shape, Texture, Value, and Color
IN COMBINATION OF MULTIPLE PARTS TO IN COMBINATION OF MULTIPLE PARTS TO CREATE A HARMONIOUS WHOLECREATE A HARMONIOUS WHOLE
THE PRINCIPLES OF COMPOSITIONTHE PRINCIPLES OF COMPOSITION
UNITY AND VARIETY
WEIGHT AND GRAVITY
BALANCE
EMPHASIS
SPACE
UNITY AND VARIETYUNITY
Unity can be defined as similarity, oneness, togetherness or cohesion
VARIETYVariety can be defined as difference. You create variety when elements are changed.
Learning to find the right balance between unity and variety is the key to a visually successful work.
COMPOSITION IS AN ART AND NOT A SCIENCE
Unity/Variety
Andy Warhol16 Jackies 1964 slikscreen
Hannah HochCut with a Kitchen Knife, 1919Collage, 44 x 35”
Unity/Variety
Devorah Sperbe
After The Last Supper
2005 85″h x 29′w.
20,763 spools of thread
Unity and variety are the cornerstones of composition, combined effectively the composition is both cohesive and active.
GESTALT PRINCIPLES of DESIGNGESTALT PRINCIPLES of DESIGN
grouping, grouping, containment, repetition, containment, repetition,
proximity,proximity,continuity and closurecontinuity and closure
to create visual unity
The visual perception
that emphasizes the importance of
the whole composition through the combination and use of :
GESTALTGESTALT Gestalt Psychology emphasizes the importance
of unity, connection and completion.
THEORY:THEORY:
VISUAL INFORMATION IS UNDERSTOOD AS A WHOLE BEFORE IT IS EXAMINED
SEPARATELY.
Eaxmlpe:Msot peolpe can raed any snetnace as lnog as the
frsit and lsat lteters of ecah wrod are crroect.
Therefore, you can create deliberate relationships among different visual
elements
USING:USING:
Containment
Grouping Repetition Proximity Continuity Closure
CONTAINMENTTO FRAME OR CREATE A BOUNDARY
Frances Bacon Three Studies for Figures at the Base of a Crucifixion 1, 2, 3
CONTAINMENT
Alberto GiacomettiJean Genet oil1954-55
CONTAINMENT
Robert Mapplethorpe Thomas in a Circle 1987 photograph
GROUPING
A B C
Gestalt Theory: Our minds group objects by similar shapes and colors
GROUPING
Gustav Klimt, Death and Life, 1915, oil on canvas, 5’10”x6’6”
REPETITIONRepetition
occurs when
we use the
same visual
element or
effect over
and over
Rene Margritte Golconde, 1953
PROXIMITYIn design the distance between visual elements is called
proximity
A B
PROXIMITY can create FUSION
FUSION = POSITIVE / NEGATIVE SPACE
FUSION WITH GRADATION OR TRANSPARENCY CAN DISSOLVE THE LINE BETWEEN POSITIVE / NEGATIVE SPACE
PROXIMITY
Michelangelo Creation of Adam 1510
CONTINUITYThe fluid connection among compositional parts.
Skillful use of continuity can add visual movement to a design.
CLOSURE:THE HUMAN MIND WILL
AUTOMATICALLY CONNECT VISUAL FRAGMENTS
Closure makes it possible to communicate using implication
CLOSURE
David Hockney David Graves , 1982Photos
Chuck Close, Self-Portrait , 2004-2005oil on canvas 102 x 86”
COMBINING GESTALT PRINCIPLES
MANY ARTISTS AND DESIGNERS
COMBINE SOME OR ALL THE
PRINCIPLES OF GESTALT IN A
SINGLE COMPOSITION
Michael Anderson Portrait of David Lynch, Poster 60'' x 60'', 2002
PATTERNS AND GRIDS
• Pattern is created when any visual element is systematically repeated over an extended area.
• Grid is created through a series of intersecting lines.
PATTERN AND GRIDS
Faith Ringgold Who’s Bad 1988, Acrylic on canvas, fabric border, 74 x 69”
PATTERNS AND GRIDS
Felix Gonzalez-Torres, Untitled (Death by Gun), 1990, Offset print on paper, 44 x 32 inches
WEIGHT WEIGHT AND AND
GRAVITYGRAVITY
Bernice Abbot, Exchange Place, New York, 1934, Photograph
The orientation of objects within an
image can influence the visual weight of the piece.
Ansel Adams Moonrise, Hernandez, New Mexico 1941
BALANCEBALANCERefers to the equal distribution of weight or
force among visual units
BALANCEBALANCE
SYMMETRICAL BALANCESYMMETRICAL BALANCEThe more common method is toplace objects of equal mass or
weight on each side of thebalancing fulcrum-point
CALLED FORMAL BALANCECALLED FORMAL BALANCE
Symmetrical
ASYMMETRICAL BALANCEASYMMETRICAL BALANCE
Looks for unique relationships that appear at first glance as though it ought not to work, yet it through
variety creates interest.
CALLED INFORMAL BALANCECALLED INFORMAL BALANCE
Asymmetrical
fulcrum fulcrum
SYMMETRICAL BALANCESYMMETRICAL BALANCE Symmetrical balance, shapes or volumes are mirrored
on either side of their vertical or horizontal axis
This is also referred to as formal balance
APPROXIMATE SYMMETRYAPPROXIMATE SYMMETRY
Richard Estes Downtown - Reflections,
1991Color woodcut 16 1/4 x 10 "
Approximate Approximate Symmetry is created Symmetry is created when when similar imagerysimilar imagery appears on either side appears on either side of a central axisof a central axis
ASYMMETRICAL BALANCEASYMMETRICAL BALANCEcreates equilibrium between visual
elements that are different in
size,size,number,number,
weight, weight, colorcoloror or
texturetexture
This is also referred to as informal balance
RADIAL SYMMETRYRADIAL SYMMETRYThis is a simple diagram and example of
radial balance.
Linoleum Print
What type of balance is this?What type of balance is this?
Jim DineDouble Rober with Zipper, Print, 37 x 27 in
What type of balance is this?What type of balance is this?
Richard Estes, Paris Street Scene, 1972, oil on canvas, 40 x 60 in
What type of balance is this?What type of balance is this?
Judy Chicago, Through the Flower, 1972 Drawing
What type of balance is this?What type of balance is this?
Frida Kahlo Las Dos Fridas, 1939 Judy Chicago
Rejection Quintet: Female Rejection Drawing, 1974 29” x 39”
ERIC FISCHLBARBEQUE, 1982, oil on canvas, 5’5” x 88’4”
IMBALANCEIMBALANCE
SCALE AND PROPORTIONSCALE AND PROPORTIONScale and Proportion strongly affect compositional
balance and emotional impact
Proportion refers to the relative size of visual
elements within an imageDI VINCI Vitruvian Man
RENE MAGREITTELes Valeurs Personnelles (Personal Values) 1952