Design Basics
PART 1 - DESIGN ELEMENTS
1. Line
 Line is a mark made with a pointed tool; it is created by movement
 Line is important to the artist because it can describe shape, which lets us recognize objects
 Types of Line in Pictorial Composition:
1) Implied – is created by positioning a series of points so that the eye automatically
tends to connect them
2) Psychic – is when one object points to another, and the eye connects them
 Line Direction:
1) Horizontal – implies calmness
2) Vertical – implies activity
3) Diagonal – implies motion
 Two Types of Drawing:
1) Contour – is when line is used to follow the edges of forms
2) Gesture – the lines show the action or dynamics of a pose; the lines don’t stay at the
edges, but move freely within forms
 Line Quality – it may be described as thin, thick, rough, or smooth
 Line as Value:
o Is created by placing a series of lines varying distances apart
o The resulting areas of dark & light (also called value) help to create a threedimensional quality
o Crosshatching is a way to achieve value; is when parallel lines are added in a
crisscross pattern
 Line in Painting:
1) Outline of Forms – does not limit the elements that can be used for detail
2) Explicit Line – is when the contours of the forms are sharply defined and the
viewer’s eye is drawn to the edges of the various shapes
 Lost & Found Contour – occurs when the artist reveals part of the image with contour, but
then the other is hidden and we have to interpret what should be there
2. Shape/Form
 A shape is a visually perceived area created by either an enclosing line, or color and/or
value changes defining the outer edge
 Volume/Mass – are applied to three-dimensional work, usually referred to as form
 3 Basic Types of Masses:
1) Geometric – are defined with mathematical parameters
2) Organic – are found in nature
3) Man-Made – occurs when we combine math and nature (includes architecture,
clothing, computers, etc.)
 Naturalism & Distortion
o Naturalism – is most often called realism; is concerned with appearance
o Distortion – the artist purposely changes or exaggerates the shapes or forms
 Naturalism & Idealism
o Idealism – is distorted or some might say improved
 Abstraction
o Is a specific artistic distortion that implies a simplification of natural shapes; details
are ignored
o When the elements are simplified to simple building blocks, it is called reductive
o When the abstraction is with shapes that allude to natural, organic forms it is called
biomorphic
 Nonobjective Shapes – occurs when there is no object reference and no subject matter
suggestion
 Rectilinear & Curvilinear – these terms are commonly applied to shapes
o Rectilinear – are regular and precise
o Curvilinear – think of natural shapes; flowing
 Positive/Negative Shapes
o Figure and Ground are other terms used to describe the same idea; figure being the
positive and ground being the negative
o Integration – in regards to using both positive and negative shapes
o Confusion – occurs sometimes when both positive and negative shapes are
integrated to the extent that there is no visual distinction
3. Value
 Value is the term for light & dark; an area’s value is the relative lightness or darkness in a
given context
o Light is what reveals forms
o Achromatic grays is the mixture of only black and white; no color (or chroma) is
used
o The term value-contrast refers to the relationship between areas of dark & light
o The human eye can discern about 40 variations in value
o Chromatic grays are the grayed neutrals, which is achieved by mixing contrasting
colors
 Value Pattern:
o Refers to the arrangement and the amount of variation in light & dark, independent
of the colors used
o “Low Key” is when the value range is limited to darks
o “High Key” is when the value range is limited to lights
 Value as Emphasis – dark & light contrast is a great way to create a focal point or center of
attention in a design
 Value & Space:
o Dark & light graduation is great to suggest volume or space
o Space is also called perspective
o During the Renaissance the word chiaroscuro was coined to describe the artistic
device of using light and dark to imply depth and volume in a painting or drawing
o Artists regularly use value differences (or shading) to suggest 3D form on a flat
surface
o Areas of high-value contrast seems to come forward and areas of lesser contrast
recede suggesting distance
o Aerial Perspective or Atmospheric Perspective is the technique that has far-off
images visually become grayer and less distinct as the distance increases
 Techniques:
1) Shading is the use of value in a work of art
2) Cross-hatching is the use of diagonal lines that can done with careful precision or
in a loose spontaneous manner
3) Wash Drawing is when dark ink or watercolor is mixed with water, diluting the
medium to produce desired shades of gray
4. Texture
 Texture refers to surface quality of objects
 Two Categories of Texture:
o Tactile Texture – can actually be felt
•
In painting this can be achieved through a technique called impasto, where
thick pigment in applied
•
Can also be achieved through a collage by pasting down bits and pieces of
paper, cloth or other materials
o Visual Texture – is the impression of texture on a flat, smooth surface is purely
visual
•
Trompe l’oeil is a French tem meaning “to fool the eye” in regards to
portraying visual texture
 Texture & Pattern
o Pattern – is usually a repetitive pattern
o Texture – often repeats also, but its variations usually do not involve perfect
regularity; is going to arose our sense to touch it
5. Illusion of Space
 Is what is present in two-dimensional art forms such as drawings, paintings and prints
 Devices to Show Depth
o Size
•
Is the easiest way to create illusion
•
An exception to this is called hieratic scaling, where size is used to show
importance and not space
o Overlapping – is a simple device to show depth by having items overlap
o Vertical Location
•
Is a spatial device in which elevation on the page or format indicates a
recession into depth
•
The horizon reference is an important part of vertical location
o Aerial Location
•
Aerial, or atmospheric, perspective describes the use of color or value to
show depth
•
The value contrast between distant objects gradually lessens, and contours
become less distinct
o Linear Perspective
•
Is a complex spatial system based on a relatively simple visual
phenomenon: as parallel lines recede, they appear to converge and to meet
on an imaginary line called the horizon, or eye level
•
A vanishing point occurs when parallel lines on parallel planes all converge
at the same place
o One-Point Perspective – a single point has been placed on the horizon line and all
the lines of objects at right angles to the plane of the canvas angle off toward that
point
o Two-Point Perspective – no objects are parallel to the picture plane and all edges
recede to two points on the horizon line
o Multipoint Perspective – is when a third vanishing point is added above or below
the horizon so that the vertical parallels also taper and converge
 Amplified Perspective:
o Occurs when an item is pointed directly at the viewer
o With it the spatial quality becomes the image’s most eye-catching element
 Multiple Perspective:
o When you look at a figure or object from more than one vantage point
simultaneously
o The Egyptians made use of this
o This perspective doesn’t give a clear spatial pattern of the position occupied by
each element
 Isometric Projection – is from Oriental art where the planes recede on the diagonal, but the
lines remain parallel
 Open Form/Closed Form – is when the artist gives us complete scene or a partial glimpse
of a portion of a scene that continues beyond the format
 Transparency:
o When 2 forms overlap and both are seen completely
o It doesn’t give us a clear spatial pattern (which object is on top)
o This focused uncertainty is called equivocal space
 Spatial Puzzles – occurs when the viewer is confronted with a visual dilemma that may
invite further consideration of the artwork; is not only done in 2D work, but in architecture
6. Illusion of Motion
 Is in relation to our world that is always changing
 Op Art is used in a painting when the artist gives the optical illusion of movement in static
images
 Anticipated Motion
o Is caused by our memory and past experience
o Kinesthetic Empathy is when we tend to recreate unconsciously in our own bodies
the actions we observe
o A feeling of movement can be heightened by contrast
 Ways to Suggest Motion
1) Figure Repeated:
•
Is one of the oldest devices used to suggest motion
•
This device is widely used in Oriental cultures as well as Western medieval
art
•
Is seen in comic strips
•
Rather than showing the repeated figure in a sequence of small pictures, it
reappears in one unified composition
2) Blurred Outlines:
•
In photography the shutter speed is slowed down to have the figure become
blurred, thus indicating movement
•
Details and edges of the form are lost when something moves quickly
through our field of vision – it is this style that we replicate to suggest
motion
3) Multiple Image:
•
Occurs when an object is placed in overlapping sequences of poses
7. Color
 Color is a property of light
o Visible only in the presence of light, which is a form of electromagnetic energy
o It is our brain’s response to certain wavelengths of electromagnetic energy that
make up the visible spectrum of light
o Light can be described in terms of its wavelengths; the unit we use is nanometer
(nm), which is one millionth of a meter
o Sir Isaac Newton illustrated this property of light in the seventeenth century, when
he put white light through a prism. The prism broke up white light into the familiar
rainbow of hues (7 colors)
 Objects have no color of their own but merely the ability to reflect certain rays of white
light, which contain all the colors
o Blue objects absorb (subtract) all the rays except the blue ones, and these are
reflected to our eyes
o Black objects absorb (subtract) all the rays
o White objects reflect all the rays
 The guidelines of color mixing and usage are different depending on whether the color
source is light or pigments and dyes
o Rays of light are direct light, whereas the color of paint is reflected light
o Color from light combines and forms new visual sensations based on the additive
system
o Stage lighting designer, photographer and often the interior designer will be
concerned with the additive system
o Pigments (paint or ink) combine in the subtractive system
o Painters will mainly be concerned with the subtractive system
 Color Characteristics:
o Color changes with light; our perception of colors changes according to their
surroundings
o When dealing with pure vibrant colors like yellow, optical changes will be slight
o The most pleasing color schemes are those that combine families of colors – those
that are near each other on the color wheel
 Properties of Color:
1) Hue:
•
Is the name of the color
•
Describes the visual sensation of the different parts of the color spectrum
•
One hue can be varied to produce many colors (For example: pink, rose, scarlet,
maroon and crimson are all colors, but the hue in each case is red)
•
The color wheel, by Johannes Itten, uses 12 hues which are divided into 3
categories
•
There is another color wheel based on the Munsell Color System, and this
version has 10 equal visual steps; mixtures of complements on this wheel will
more closely produce neutrals and the positions of the colors are more useful in
predicting paint mixtures as well
•
Primary Colors: red, yellow and blue
•
Secondary Colors: mixtures of primary color to get orange, violet, green
•
Tertiary Colors: mixtures of a primary and an adjacent secondary
2) Value/Tone:
•
Refers to the lightness or darkness of the hue
•
In pigment, value can be altered by adding white or black paint to the hue
•
Adding white lightens the color and produces a tint or high-value color
•
Adding black darkens the color and produces a shade or low-value color
•
Most people can distinguish at least 40 tints and shades of any color
•
When working with paint and pigments the value can be altered by thinning the
color with medium or by mixing with other hues
•
Is variable and entirely dependent on surrounding hues for its visual sensation
3) Intensity:
•
Refers to the brightness of a color
•
Is sometimes called chroma or saturation
•
A color is at full intensity only when pure and unmixed; therefore, by mixing
black or white with a color changes its value but at the same time affects its
intensity
•
Two ways to lower the intensity of a color:
1. Mix gray with the color
2. Mix a color with its compliment
•
Complementary colors are located across from one another on the color wheel
•
Mixing complementary colors together neutralizes them, but when placed next
to one another they intensify each other’s brightness
•
Neutralized versions of a color are often called tones
 Visual Color Mixing:
o Sometimes you will get muddy or dull colors when mixing
o Even mixing adjacent colors on the color wheel will sometimes result in low
intensity
o Note the farther apart the colors, the more subtractive (darker and duller) the
mixture
o Due to the 3 above statements, artists will sometimes place 2 pure colors side by
side in small areas so the viewer’s eye will do the mixing
 Cool/Warm Colors:
o Cool colors appear to recede
o
Cool color segment ranges from yellow-green through violet
o Warm colors appear to advance
o Warm color segment ranges from yellow through red-violet
o Artist’s may use the cool/warm relationship to establish a feeling of depth and
volume
 Color as Emphasis – is the most chosen method to achieve emphasis
 Color & Balance:
o The use of color to balance a composition is very common and seen in many
different periods and different styles of art
o To achieve visual balance, the objects must have equal weight or attraction
 Color & Space:
o Artist’s use color’s spatial properties to create either an illusion of depth or a flat,
2D pattern
o Color values are also important in spatial illusion; high contrast comes forwards
visually, and lower contrast areas recede
 Color Schemes:
1) Monochromatic – uses only one hue; can vary in value
2) Analogous – combines several hues that are next to each other on the color wheel
3) Complementary – combines colors opposite on the color wheel
4) Triadic – involves 3 hues equally spread out on the color wheel
 Color Discord & Vibrating Colors:
o Color discord is the opposite of color harmony; this combo can be visually
disturbing
o Mild discord results in exciting, eye-catching color combinations
o The colors are usually widely separated on the color wheel
o Vibrating color occurs when values are equal and intensities are high
 Color Uses in a Painting:
1) Local – refers to the identifying color of an object under ordinary daylight; is the
objective color that we “know” objects are to be (grass = green)
2) Optical – is when an artist reproduces visual effects of an object
3) Arbitrary – the color choices are subjective, rather than based on the colors seen in
nature
 Emotional Color:
o Color is the most effective element to arouse an emotional response
 Color Symbolism:
o Represent mental, conceptual qualities
o Symbolic color references are cultural; are not worldwide but vary from one society
to another
o Different eras and different cultures invent different color symbols
PART 2 - DESIGN PRINCIPLES
1. Design Process
 What does the word “design” mean?
o To design does mean to plan or to organize
o Design’s reference within Art is often called the design process
o Composition is another name for design
 Keep in mind that guidelines, not rules, exist that usually assist in the creation of successful
designs
 Discussions of art are often between, content and form
o Content implies the subject matter, story, or information that the artwork seeks to
communicate to the viewer; is what artists want to say
o Form is the purely visual aspect, the manipulation of the various elements and
principles of design; is how artists say it
2. Unity
 Is also known as HARMONY
 Unity is when elements in a design look like they belong together, there is a visual connection
 It is planned and controlled
 Individuals naturally look for some sort of organization in a piece of work
 The Gestalt Theory of visual psychology is about visual perception:
o Individuals tend to group objects that are close to each other in to a larger piece
o Negative (empty spaces) are organized likewise
o Individuals also tend to relate and group objects of similar shape
 Ways to Achieve Unity:
1) Proximity – place items close to one another and they will look like they belong
together; is the simplest way to achieve unity
2) Repetition – has something repeating in various areas of the design to relate them to
one another (this could be a color, a shape, a texture, a direction, or an angle)
3) Continuation (or Continuity) – you create a continuation with some element by lining
their edges up; is a subtle approach
 Ways to have Unity with Variety:
1) The Grid – the various parts of the image are organized into a consistent pattern
2) Varied Repetition – combines unity with variety (usually in the subtle details)
3) Emphasis on Unity – there is a unifying element that is repeated
4) Emphasis on Variety – a variety of items are used that typically have a common theme,
but there is unity in how it might be displayed or arranged
5) Chaos & Control:
•
Chaos occurs when there is a lack of unity
•
Lack of variety creates a dull, uninteresting design piece
•
Therefore, neither utter confusion or regularity are pleasing to the viewer
3. Emphasis/Focal Point
 Is a great method to initially attract a viewer and encourage them to look further
 Ways to Achieve Emphasis:
1) Contrast
•
Color is the dominant element used to achieve it; also can be done with
other elements
2) Isolation
•
Is a contrast of placement; the item doesn’t have to be different from the
remainder
3) Placement
•
Can have many elements point to one item, and therefore direct a viewer’s
attention to it
 Absence of Emphasis/Focal Point
o A definite focal point is not a necessity in creating a successful design; it is a tool
that may or may not work with the aim of the artist
4. Scale/Proportion
 Scale and proportion are related terms in that both refer to size
o Scale is used to refer to something as large scale or small scale
o Proportion refers to relative size, such as saying big or small; there needs to be
some standard of reference
 Scale of Art:
1) Human Scale Reference
•
One must consider the scale of the work itself: in relation to other art, in
relation to its surroundings, or in relation to human size
2) Context
•
Is impacted by locations and the size in proportion to the particular setting
at the site
 Scale within Art:
1) Internal Proportions
•
Is to consider the size and scale of elements within the design or pattern
2) Contrast of Scale
•
Can be used to draw a viewer’s attention to the unexpected or exaggerated,
as when small objects are magnified or large ones are reduced
•
Unexpected scale is often used in advertising
•
The use of large or small scale is often used in painting or design
 Scale Confusion
o Is used by some artists to intrigue or mystify us rather than clarify the focal point
o Surrealism is an art form based on this paradox; images can not be explained in
rational terms
 Proportion is linked to ratio
o Something is judged to have correct proportions if the ratio of one element to
another is correct
o The term Golden Rectangle comes from ancient Greeks seeking perfect proportions
in rectangles used in architectural design; is expressed as the Golden Mean ratio
5. Balance
 Balance is the distribution of visual weight within a composition
 Symmetrical Balance:
o Is balanced on all sides
o In Architecture:
•
The formal quality in symmetry imparts an immediate feeling of
permanence, strength, and stability
•
Is important in public buildings to suggest the dignity and power of
government
o In Art:
•
Symmetrical balance is rarer than in architecture
 Asymmetrical Balance:
o Is unequally weighted on all sides; however, it still can have equal eye attraction
o Appears more casual and less planned; however this is not the case, it actually is
more intricate and complicated to use
o Ways to Create Equal Eye Attraction in Asymmetrical Work:
•
Balance by Value & Color
•
Balance by Shape & Texture
•
Balance by Position & Eye Direction
 Radial
o Here all the elements radiate or circle out from a central point
o Is a modification of symmetrical or asymmetrical balance, depending whether the
focus occurs in the middle or off center
 Crystallographic
o Is when an allover pattern occurs; therefore, it is also referred to as this
6. Rhythm
 Is dependent on repetition; repetition of elements that are the same or slightly modified
 Ways to Achieve Rhythm:
1) Rhythm & Motion – is usually thru colors & textures or in the context of shapes &
their arrangement
2) Alternating Rhythm – occurs with successive patterns in which the same elements
reappear in a regular order
3) Progressive Rhythm – also called progression; it involves repetition of a shape that
changes in a regular manner (through its color, value, or texture)
4) Rhythmic Sensations – is when rhythmic structures appear; are often described in
musical vocabulary terms