Elements of Design
• The elements are the most basic features
of anything and everything visual. They
are the building blocks of all art and
design. The elements include: Colour,
Line, Shape, Space, Form, Texture, Tone,
and Value. Anything we look at will have
various combinations of colours, shapes,
textures, and so on
Line
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Stripe Song
J. Seeley Lines of varied thickness and direction create the an illusion of
volume in this piece.
Line is the path of a moving dot.
There are many different kinds of lines: straight - curved, jagged - smooth,
thick - thin, weak - strong, dark - light, long - short, wavy - feathery, actual implied.
Many different materials and tools can make lines.
Lines can vary in width, length, and direction.
Lines can be vertical, horizontal, or diagonal, and can change direction
abruptly forming a corner, or change direction gently, forming a curve.
Lines can express mood and emotion.
Lines can be used to divide space.
Lines can be used to define shapes.
Lines can be used to create tonal values and show volume.
Lines can be used to simulate texture.
Shape
• Zapatistas
Jose Clemente Orozco Note the prominent shapes of the figures
and the sombreros.
• When a line begins and ends at the same point, a shape is made.
• Everything has shape.
• All shapes have two dimensions - length and width.
• Shapes can be geometric, such as circle, oval, square, rectangle, or
triangle OR shapes can be 'organic', free form.
• Shapes can be representational - something you can recognize, or
shapes can be non-representational - a non-recognizable shape.
• Shapes can be positive or negative.
Form
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New City
Gene Bodio A strong sense of space is achieved using linear perspective.
Space can be the actual three dimensional features of a sculpture in space,
or the illusion of space and depth created in a two dimensional image.
Illusion of space on a two dimensional (2-D) surface can be achieved
through a number of natural perspective means, including: relative apparent
size, overlapping, placement on the picture plane, colour intensity variation,
use of lights and darks, use of warm or cool colours, and amount of
distinction and detail.
Illusion of space can also be achieved through linear perspective, a concept
where three dimensional forms are drawn on a two dimensional surface
using a system of parallel converging lines that come together at a point,
known as a 'vanishing point'.
Positive space is that which is occupied by forms. Negative space is that
which is unoccupied, or empty space.
An artist may choose to present space in a realistic sense in the image or
may distort or eliminate space to create an effect.
• Bronze Vessel
China
• When the third dimension of depth (or thickness) is
added to length and width, shape becomes form.
• Form can be geometric such as cube, cylinder, cone, or
sphere, or shape can be organic, free form.
• Form can be representational - something you can
recognize, or shapes can be non-representational - a
non-recognizable form.
• Form can be actual 3-D, or implied 3-D.
• The illusion of 3-D form can be represented on a 2-D
surface, for example, in a drawing through the use of
tonal work such as shading.
Value
Space
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New City
Gene Bodio A strong sense of space is achieved using linear perspective.
Space can be the actual three dimensional features of a sculpture in space,
or the illusion of space and depth created in a two dimensional image.
Illusion of space on a two dimensional (2-D) surface can be achieved
through a number of natural perspective means, including: relative apparent
size, overlapping, placement on the picture plane, colour intensity variation,
use of lights and darks, use of warm or cool colours, and amount of
distinction and detail.
Illusion of space can also be achieved through linear perspective, a concept
where three dimensional forms are drawn on a two dimensional surface
using a system of parallel converging lines that come together at a point,
known as a 'vanishing point'.
Positive space is that which is occupied by forms. Negative space is that
which is unoccupied, or empty space.
An artist may choose to present space in a realistic sense in the image or
may distort or eliminate space to create an effect.
• Note the full range of tones from white through to black.
• All objects are defined by the way light touches their
surfaces. Light, or the lack of it -- dark, are chiefly
responsible for the definition of form.
• Tonal areas, shadows, cast shadows and reflections
occur as a result of the interaction of light: the quality of
light, the location of the light source, and surface
qualities of the subject.
• Changes in light and dark define shapes and form.
• Light and dark content is what gives power and impact to
our visual environment.
Texture
• Ecriture No.931215
Seo-Bo Park Artwork can have actual textures or the illusion of
textures.
• Texture refers to the feel or look of a surface.
• All surfaces have texture.
• There are many different kinds of surface textures including: rough,
smooth, prickly, soft, coarse, furry, pebbly, shiny, gritty, velvety.
• Actual texture is the surface texture that can be seen and felt.
• Simulated or implied texture is drawn or painting to created the
illusion of texture. It cannot be felt, only seen.
• Texture will affect light reflection and causes colour values to
change. Texture creates highlights and shadows.
Colour
• Turning Road L'estaque
Andre Derain Andre Derain was part of an art movement called the
"Fauves" (wild beasts). These artists were known for their use of
bright primary and secondary colours.
• Colours/hues are the names given to the different rays of light that
are visible in a spectrum, for example, the light refracted through a
prism.
• Everything has colour.
• Colours can give the illusion of depth: closer objects are more
intense, while distant objects appear duller.
• The effect of a colour can be changed by the surrounding colour.
• Colour is the most persuasive element.
• Colour can show emotions and mood.
• Colours can be put into groups of warm and cool colours.
Principles of Design
• The principles are effects created by using
the elements in some way. The principles
include: Balance, Contrast, Emphasis,
Pattern, Repetition, Rhythm, Movement,
and Unity. It is not possible to have the
principles without the elements. For
example, the principle of contrast
(differences in light and dark) can be
produced by using the element of tone.
Balance
• Chilkat Blanket
Tlingit The design of this blanket is symmetrically balanced. (See
also pattern & repetition)
• There is balance when the parts of an image have the same visual
weight
• Imbalance can create a sense of awkwardness or discomfort, and
can be used to create tension or impact in an image.
• Balance can be symmetrical (formal) in which the parts are visually
equal, such as two shapes of the same size. Symmetrical balance
gives a sense of order, and stateliness.
• Asymmetrical (informal) balance may have parts that a re not
identical, such as two small shapes balanced by one large shape.
Asymmetrical balance gives the sense of activity and creates
interest.
• Radial balance revolves around a real or imaginary central point.
Contrast
• David and Goliath
Caravaggio This painting displays an extreme form of
contrast called 'tenebrism' which emphasizes sharp
differences in light and dark for a dramatic effect.
• Contrast is created when two unlike qualities are placed
together.
• Contrast can be achieved through the use of any of the
elements.
• Contrast can be used to emphasize, dramatize, surprise
or add variety to an image.
• Contrast can be high or low (strong or subtle). High
contrast tends towards a more dramatic effect, while low
contrast tends towards soothing and settling.
Emphasis
• Blue Lights and Rockets
JMW Turner Swirling atmosphere, strong lines,
contrasts, and reflections, all draw attention to the bright
focal point.
• Emphasis is used to call attention to a specific area in an
image.
• Emphasis is sometimes also referred to as the focal
point or center of interest.
• Emphasis implies both dominant and subordinate areas.
• Emphasis can be achieved by: increased size, strong
colour, greater detail, sharp contrast, distorted shape,
placement in the composition, movement of the image
leading the eye to a focal point.
Repitition
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Sienna Plate with feather design
Maria Martinez
Pattern is created by the repetition of an element or similar elements.
Variations of an element can be used to create pattern, such as varying sizes of shapes, or
varying colours of a shape.
Combinations of elements can be used in the creation of pattern, such as variations of colours,
shapes, and textures.
Pattern can be organized or random.
Repeated pattern can create rhythm.
Repetition in imagery occurs when elements or components that have something in common are
repeated.
The repetition can be regular or irregular.
Regular repetition results in a formal rhythm.
Varying the interval or the shapes in the repetition results in a more informal rhythm.
The natural environment provides many examples of precise repetition.
Repetition with variation is often more interesting.
Repetition can have other effects in an image, for example, a colour repeated in different areas of
a picture can increase its power.
Repetition of certain elements within an image tends to hold the overall design together.
Rhythm
• Eiso
Paul Manes Repetition of the oval, cup shapes
creates a visual rhythm.
• Rhythm, a vital and natural part of our universe,
is created in an image through the repetition of
certain components.
• A progressive continuity of the rhythm can be
created by increasing or decreasing the
elements in a series, such as smaller to larger,
lighter to darker, rougher to smoother, etc.
Movement
• Trio
Steve Magada Repeated, gestural lines create a sense
of movement.
• Movement is meant to show activity in an image.
• Movement is achieved by manipulating the element,
such as the use of tonal gradation, repeated lines, etc.
• 'Stop action' images such as sports activities, show
physical movement.
• Compositional movement is implied movement created
by the repetition of shapes or lines.
• Compositional movement can also use lines or repeated
colours or patterns to lead the viewer's eye from place to
place within the image.
Unity
• Canyon Wall 14
Virginia Cobb Similar shapes and colours, and a gridbased composition establish unity in this painting.
• Unity in an image is achieved when the elements work
together to produce harmony, completeness, and a
sense of order.
• Unity can be achieved though various elements, such as
in the combination of similar colours, lines, shapes, etc.
• Lack of unity produces disharmony, incompleteness,
disorder, and dissonance.
• However, unity without contrast can be uninteresting.