Principles of Two Dimensional Design

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