How an Artwork Is Built
Chapter 3
Design
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The act of
organizing the
visual elements to
effect a desired
aesthetic in a work
of art.
The principles of
design are a natural
part of our
perception; i.e.
good taste.
Design is also
known as
composition.
Charles Demuth, The Figure 5
in Gold, 1928.
The 6 Major Categories of Design
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Unity and Variety
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Balance
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Emphasis and Subordination
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Contrast
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Repetition and Rhythm
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Scale and Proportion
UNITY and VARIETY
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Unity is oneness
or wholeness, of
things belonging
together to
create a coherent
whole.
Unity is achieved
by maintaining a
constant visual
element.
Variety is
diversity, which
provides visual
interest.
Tony Smith, Die. Figure 3.2
UNITY and VARIETY
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Unity is oneness
or wholeness, of
things belonging
together to
create a coherent
whole.
Unity is achieved
by maintaining a
constant visual
element.
Variety is
diversity, which
provides visual
interest.
Robert Rauschenberg,
Gift for Apollo, Figure 3.5
UNITY and VARIETY
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Jacob Lawrence. Going Home. 1946. 21 1/2" x 29 1/2". What
visual
elements
have been
used to
create
unity? To
create
variety?
UNITY and VARIETY
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Jacob Lawrence. Going Home. 1946. 21 1/2" x 29 1/2". “In his painting Going
Home, Jacob Lawrence
balanced unity and variety.
He established visual
themes with the lines,
shapes, and colors of the
train seats, figures, and
luggage, and them he
repeated and varied those
themes. Notice the varied
repetition in the green
chair seats and window
shades. As a unifying
element, the same red is
used in a variety of
shapes. The many figures
and objects in the complex
composition form a unified
design through the artist’s
skillful use of abstraction,
theme, and variation.”
Balance: Formal Symmetry
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US Capitol Building, 19th century.
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Balance is the achievement
of equilibrium in art.
Formal symmetry
occurs when
everything on the
left and right side
of the artwork is
the same.
In architecture
formal symmetry is
associated with
unity, formal
grandeur, and a
sense of
permanence and
stability.
Damien Hirst. Posterity—The
Holy Place. 2006.
89 5/8" x 48".
Asymmetrical Balance
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Asymmetrical
balance: when the
two sides of the
composition do not
match.
Nonetheless, there
is still an equal
distribution of visual
weight.
How is this
achieved?
PRACTICE. It is
balanced when it
looks balanced.
Lavinia Fontana, Noli Me Tangere, Figure 3.9
Asymmetrical Balance:
Please see pages 64 and 65 for these guidelines
1.
Larger forms are heavier and more attractive than
smaller forms.
2.
Forms have more visual weight at the edge of a
picture.
3.
Complex forms are heavier than a simple form.
4.
Warm colors are heavier than than cool colors.
5.
Warm colors advance and cool colors recede.
6.
Saturated colors are heavier than tints/shades.
EMPHASIS and Subordination
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Emphasis focuses the
viewer’s attention on one
or more parts of a
composition.
Achieved through shape,
intense value/color, contrast,
and/or directional lines.
Subordination is when an
artist creates neutral areas
of little interest.
Using emphasis and
subordination the artist
shows us where to look in a
work.
Dynamic Balancing
Edgar Degas. Jockeys before the Race. c. 1878–1879. 42 1/2" x 29". Structural Balance
The ar9st described the work as “a pain9ng in three dimensions with the crane as my paintbrush.” Mark di Suvero Declara'on 1999-­‐2001 Contrast
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Contrast: the
juxtaposition of
strongly dissimilar
elements. Contrast
draws our eyes in.
Thick and thin lines
Organic and
geometric shapes
Sharp and blurred
edges
Complimentary colors
Light and dark
Luster Painted Bowl,
Hispano-Moresque, Spain,
Figure 3.14
RHYTHM
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Rhythm is an orderly progression, usually based in
Repetition. Rhythm can be present even if there is a
slight variation in repetition.
Ogata Korin, Cranes, Japanese Edo Period. Figure 3.16
RHYTHM
José Clemente Orozco. ZapaJstas. 1931. 45" x 55". SCALE and PROPORTION
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Claes Oldenburg and Coosje van Bruggen. ShuQlecocks. 1994. 215 3/4" x 209" x 191 3/4". Scale: Refers to
Size
We experience
scale in relation to
our own size.
Proportion: the
size relationship or
ratio of parts to a
whole.
When the size of
any art work is
modified for
reproduction its
character
changes.
After this lecture you should be able to:
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Define the 6 major principles of
design and identify them in the
works presented.
Discuss the principles of design that
make an artwork easy to read.
***Be sure to review the
information on Matisse in your text.