Unity and Variety Balance Emphasis and Subordination Scale and Proportion Rhythm and Repetition Directional Forces Contrast
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1 Unity and Variety Balance Emphasis and Subordination Scale and Proportion Rhythm and Repetition Directional Forces Contrast
2 Design the process of organizing visual elements product of the process
3 guidelines for effective visual communication
4 Unity - a sense of oneness - brought by combining similar elements or a single motivating idea Variety - adding slight changes for visual interest
5 Black Face and Arm Unit (c. 1971). Ben Jones.
6 Going Home (c. 1946). Jacob Lawrence.
7
8 achievement of equilibrium reconciliation of opposing forces in a composition
9 a function of visual weight Visual weight the apparent heaviness or lightness of the forms arranged in a composition, as measured by how insistently they draw our eyes its equal distribution to either side of a felt or implied center of gravity results to balance
10
11 1. Symmetrical Balance the near or exact matching of the left and right sides of a 3D form or a 2D composition The implied center of gravity is the vertical axis, an imaginary line drawn down the center of the composition
12 Portrait of the Hung-Chih Emperor (1400 s). Ming Dynasty.
13 Portrait of the Hung-Chih Emperor (1400 s). Ming Dynasty.
14
15 2. Asymmetrical Balance 2 sides of a composition do not match except for what seems to be a balance in visual weight involves placement of objects in a way that will allow objects of varying visual weight to balance one another
16 Death and Life (c ). Gustav Klimt.
17 The Holy Family on the Steps (1648). Nicolas Poussin.
18 Emphasis - to draw attention to specific areas or area called the focal point Subordination - to create areas of less visual interest that keep us from being distracted from the areas of emphasis
19
20 Portrait of a Lady with a Pink (c s). Rembrandt.
21 The Banjo Lesson (1893). Henry Ossawa.
22 Still Life with a Compotier, Pitcher, and Fruit ( ). Paul
23 The Executions of the 3rd of May, 1808 ( ). Francisco Goya.
24 Scale is the size relationship of one thing to another, usually to a standard or normal size Proportion is the size relationship of parts to a whole, or between two or more items perceived as a unit
25 Our most universal standard of measurement is the human body; that is, our experience of living in our own bodies. We judge the appropriateness of size of objects by that measure.
26
27 Plantoir (2001). Claes Oldenburg and Coosje van Bruggen.
28 Plantoir (2001). Claes Oldenburg and Coosje van Bruggen.
29 Plantoir (2001). Claes Oldenburg and Coosje van Bruggen.
30 Shuttlecocks (1994). Claes Oldenburg and Coosje van
31 Shuttlecocks (1994). Claes Oldenburg and Coosje van
32 Shuttlecocks (1994). Claes Oldenburg and Coosje van
33 Pieta (c. 1501). Michelangelo Buonarroti.
34 Rhythm - refers to any kind of movement or structure of dominant and subordinate elements in sequence Repetition - recurrence of elements with related variations - the use of similar or connected pictorial elements (e.g similar shapes, colors, or lines) more than once
35 Zapatistas (1931). Jose Clemente Orozco.
36 Broadway Boogie-Woogie (c ). Piet Mondrian.
37 Portrait of a Noblewoman (c. 1580). Lavinia Fontana.
38 Landscape with Yellow Birds (1923). Paul Klee.
39 Going North. Jacob Lawrence.
40 paths for the eye to follow provided by actual or implied lines
41 Classic Landscape (1931). Charles Sheeler.
42 The Purification of the Temple ( ). El Greco.
43 The Embarkation for Cythera ( ). Jean-Antoine Watteau.
44 juxtaposition of strongly dissimilar elements (e.g light and dark areas, wide lines and thin lines, light-weight forms and heavy forms, filled spaces and unfilled spaces, etc.)
45 Vanitas Still Life(c. 1640). Steenwijck, Harmen.
46 DARK AREA LIGHT AREA EMPTY SPACE FILLED SPACE Vanitas Still Life(c. 1640). Steenwijck, Harmen.
47
48 COOL COLORS WARM COLORS
49
50 LIFE HEAVY-WEIGHT FORM WARM/LIGHT COLORS DEATH LIGHT-WEIGHT FORM COOL/DARK COLORS Death and Life (c ). Gustav Klimt.
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