Design Elements ID1-DF-DEP This module covers the principles and elements of design within the broad spectrum context of visual arts. This introduction serves to inform the novice of the visual laws of aesthetic appreciation are inherent in all aspects of art and design, regardless of the field of expertise, they are the crucial building blocks for higher more complex modes of visual communication. Understanding of these basic principles will assist the student in all drawing, drafting and designing. Ability to Identify the design elements within Photographic imagery Ability to apply principles of design to a space. > By offering photographic examples and a written description of the elements of design contained within the images, the student displays an ability to identify the elements. >Simple exercises of spacial arrangement must be completed by the student, the result will indicate the student's ability to apply the principles of design to achieve spacial harmony.
Formal Visual Analysis: The Elements & Principles of Composition >In any work of art or 2D/3D design, the aesthetic elements and principles will be present and will be visually assessed to determine the integrity of the work. This assessment takes place by any onlooker viewing the work and may happen on a conscious or subconscious level. Although persons working within art fields may have a more informed approach to aesthetic appraisal, even a lay person can easily read imbalance or poor design. Think of the fact that we tend to judge the way people dress, although we are not qualified fashion consultants. We can exercise the right of having an opinion based on our own experience and taste. > Often when dealing with a client a designer will be faced with views/opinions and tastes of clients who have no formal understanding of the principles of design but want the designer to incorporate their sometimes disparate ideas into a cohesive visual statement. This is where true knowledge of the underlying principles that govern all design come into play, this is where you as the professional can identify all the moving pieces at play and manipulate them toward a harmonious end product. > Often a single work consists of many elements and you may feel overwhelmed as what to mention but on deeper analysis some will become more obvious than others, this is what we call "dominance". When engaging in formal analysis, students should select the elements they feel are most strongly represented or "dominant" in the piece they are analyzing. >A good place to start formal analysis is to look at a work of art and take note of how your eye moves around the object. We are all told from a very young age to be observant when crossing the road, but "Observant" within a visual realm requires a concerted effort from the viewer to be aware of ffg: 1.Where does your eye go first, and why were you attracted to that part of the image? 2. What colours, textures, and shapes appear in the image? 3. What did the artist include in the composition to guide your eye or to direct your gaze to a certain part of the image? > These may be things you do almost everyday on a subconscious level while reading a magazine or watching TV, what the module requires is that you become intensely aware of the visual images around you and build an understanding of why you react to them as: Pleasing, comforting, disturbing, exciting, fresh, stimulating, sad, uncomfortable, awkward, cramped, bright, somber etc. since we do respond to visual stimulus on an emotional level as well. > This module will offer the guidelines toward sharpening your visual analytical skills in terms of identifying the elements and principles present with the use of photographic examples and it's basic application using abstract shapes. > It is important to remember that this area is not a finite science, every viewer brings a new perception and insight to a work as much depends on their unique vision and understanding, this is the reason you may like a painting in a gallery and your friend may hate it. However what we can agree upon is that certain accepted elements and principles that have been effective for many years in art fields can be used as a basis for more deeper analysis.
Formal Visual Analysis: The Elements & Principles of Composition > Another key point I would like to mention is that I often feel when I teach this aspect to full time students in class, they seem to be far too attracted by the "Subject Matter" of a work. Although the visual reading of the work is dependent somewhat on the "What" meaning what is being drawn, photographed etc. This could be an object / people/animal/place etc. it important to learn very early on that it isn't the only aspect. Many abstract pieces that don't represent any natural or man made "known" form also can be analyzed based on the formal principles. This is the reason that many people dismiss art museums because they claim they don't understand the work, on a very superficial level many people feel if they can't recognise the "What" then they can't access the meaning. As designers we know that any art/design works on various levels and the visual energies present can always be accessed if not the actual meaning. Lets begin. THE ELEMENTS The elements of formal analysis are building blocks that can be combined to create a larger structure. 1.LINE> is the most basic building block of formal analysis. Line can be used to create more complex shapes or to lead your eye from one area in the composition to another. 2.VALUE> is the degree of light and dark in a design. It is the contrast between black and white and all the tones in between. Value can be used with colour as well as black and white. 3.CONTRAST> Contrast is the extreme changes between values. 4.SHAPES> created when lines are combined to form a square, triangle, or circle. Shapes can be organic (irregular shapes found in nature) or geometric (shapes with strong lines and angles such as circles, triangles, and squares). 5.FORMS> are three-dimensional shapes with length, width, and depth. Balls, cylinders, boxes and pyramids are forms. 6.SPACE & DEPTH> is the area between and around objects. Increasing or decreasing the amount of space around an object affects the way we view that object..artificial Perspective or overlapping objects create a sense of depth. 7.COLOUR>differentiates and defines lines, shapes, forms, and space. Even black and white images have a huge number of different shades of gray. 8.TEXTURE> is the surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard. Textures are often implied. For instance, a drawing of a rock might appear to have a rough and hard surface, but in reality is as smooth as the paper on which it is drawn. Original Source: www.artsedge.com, Article by Jeremy Glatstein
THE PRINCIPLES >Notice how the following principles integrate the ELEMENTS of formal analysis and build on one another. 1.BALANCE> is created in a work of art when textures, colours, forms, or shapes are combined harmoniously. 2.CONTRAST> is the use of several elements of design to hold the viewer's attention and to guide the viewer's eye through the artwork. 3.MOVEMENT/RYTHYM> is the way a viewer's eye is directed to move through a composition, often to areas of emphasis. Movement can be directed by lines, contrasting shapes, or colours within the artwork. This element is sometimes referred as Rhythm. 4.EMPHASIS/FOCAL POINT> is created in a work of art when the artist contrasts colours, textures, or shapes to direct your viewing towards a particular part of the image. 5.PATTERN/REPETITION> is the repetition of a shape, form, or texture across a work of art. Repetition is also a term used to explain pattern. 6.PROPORTION/SCALE> is created when the sizes of elements in a work of art are combined harmoniously. 7.UNITY/ HARMONY> is created when the principles of analysis are present in a composition and in harmony. Some images have a complete sense of unity, while some artists deliberately avoid formal unity to create feelings of tension and anxiety. >Once students have an understanding of all the elements and principles, they will be well prepared to put this theory into practice by analyzing visual data correctly and developing their own images with this foundation. Students will also with practice be able to critically analyse their own projects in order to isolate flaws or problem areas and then make adjustments in order to correct errors. Original Source: www.artsedge.com, Article by Jeremy Glatstein
>Before we start with visual examples lets get familiar with the language or terms used in this context, it is essential to use the correct descriptions within an art context or else your analysis may lack depth. The ffg could apply to both traditional art (drawing, painting, sculpture) and new media (photography, installations, digital) GLOSSARY OF TERMS ABSTRACT: an image that emphasizes formal elements (line, shape, etc) rather than specific, recognizable objects. CONTENT: the subject, topic or information depicted. EXPRESSIVE: concerned with communicating emotion. GEOMETRIC: simple rectilinear or curvilinear shapes found in geometry, such as circles, squares, triangles, etc. LANDSCAPE: an image that portrays the natural environment. OBJECTIVE: a point of view free from personal bias, which attempts to consider all available information with equal regard and fairness. ORGANIC SHAPE: shapes based on natural objects such as trees, mountains, leaves, etc. REPRESENTATIONAL: an image which shows recognizable objects. SUBJECT: the main object or person(s) in a photograph. THEME: a unifying or dominant idea in one work of art or in a collection of works. FOCUS: what areas appear clearest or sharpest in the art work? What do not? LIGHT: what areas of the photograph are most highlighted? Are there any shadows? Is the light natural or artificial? Harsh or soft? Reflected or direct? LINE: are there objects in the photograph that act as lines? Are they straight, curvy, thin, thick? Do the lines create direction in the work? Do they outline? Do the lines show movement or energy? REPETITION: are there any objects, shapes or lines which repeat and create a pattern? SHAPE: do you see geometric or organic shapes? What are they? SPACE: is there depth to the work or does it seem shallow? What creates this appearance? Are there important negative spaces in addition to positive spaces? Is there depth created by spatial illusions? TEXTURE: if you could touch the surface of the art work how would it feel? How do the objects in the picture look like they would feel? VALUE: is there a range of tones from dark to light? Where is the darkest value? Where is the lightest? BACKGROUND: the part of a scene or picture that is or seems to be toward the back. BALANCE: the distribution of visual elements in a work. Symmetrical balance distributes visual elements evenly in an image. Asymmetrical balance is found when visual elements are not evenly distributed in an image. CENTRAL FOCUS: the objects(s) which appears most prominently and/or most clearly focused in an art work. COMPOSITION: the arrangement or structure of the formal elements that make up an image. CONTOUR: the outline of an object or shape. CONTRAST: strong visual differences between light and dark, varying textures, sizes, etc. ****TIP > Avoid using adjectives like "cool, beautiful, amazing, unbelievable, pretty, lovely and my favourite "nice"! These words are often used by students when attempting visual analysis because they tend to use them often conversationally. They are "non-descriptive" and their meaning is so common, broad and general that it is impossible to narrow down or quantify meaning. The meaning of these words may also vary from person to person. Note that the examples that follow are only Black and White, this is deliberate to avoid the distraction of colour when learning about the basic elements and principles.
IMAGE 1 >ELEMENTS LINE If often referred to as linear shapes/forms. The pipes act as a linear device which moves the eye in various directions across the surface, like arrows that point. Note how the dense dark lines on the far right pull you into the scene, while the L- shape thicker pipe (central) with the turning device tends to be the focal. IMAGE 2 VALUE Note the tones of grey in the image, the bridge is dark, but the clouds have variations or gradations of grey. This gives the sky a 3 dimensional feel and adds to the dramatic feel of the image. In order to assess value, half close your eyes, all the darkest areas will pop out, this way you can gauge if there is a balance between light and dark. IMAGE 3 CONTRAST The dark silhouette of the land, tree and buck contrasts with the light sky. Forget what the objects are, just look at the image in terms of shape, you will notice how the format is divided into 2 parts of contrasting tones. Print Form
IMAGE 4 SHAPE Images can consist of geometric/organic shapes. Note the triangular shape of the building which is repeated, note also the rectangular grid and the smaller rectangles of the window. Note the round shapes of the sliced lemon, the elongated oval leaves. Have you noticed the triangles of the segments? IMAGE 5 FORM Note the amazing architectural structure in the image. It's shape is oval, but it's solidity and 3 dimensionality make it a form. Note the way the light reflects of it's surface gives us an indication of it's smooth surface texture and curved nature. IMAGE 6 SPACE/ DEPTH Space can serve 2 functions., look at the portrait study, note the empty space that surrounds the subject seated to the far right of the frame. This isolates the figure yet draws your attention to it at the same time. The subject counterbalances the empty space. The smaller image shows how perspective creates the illusion of depth. Print Form
IMAGE 7 COLOUR The image depicts how colour can define shape, note the round pebbles. At first glance you may see just random colours and shapes, but if you really focus on the image for a while, your eye will pick out the repetition of just the yellow, then just the turquoise. Emphasis is placed on the clear pebble for being solitary. The shadows between define form. IMAGE 8 TEXTURE Our brain knows that a photograph is flat and 2 dimensional, however we allow the eye to be tricked to believe a surface is rough, crumpled, prickly, hairy etc. Note the image of bark, the crevices, layers are indicated by shadows. Note how the bark reads differently from the crumpled foil, why do think this is? IMAGE 1 >PRINCIPLES BALANCE This is the most sought after objective for many artists. If all the elements are considered, the principle of balance between those elements are achieved. The image shows a formal balance compositionally, the object is central with even visual weight left to right, top to bottom. Print Form
IMAGE 2 CONTRAST We have come across contrast as an element. To consider contrast as a principle we must consider the overall use within a work. Note the image of fireworks, the drama is heightened by the use of a stark contrast between the silvery white and the black night sky. IMAGE 3 MOVEMENT/RYTHYM Often a repeated shape or the organization of objects may lead the eye in a particular way. Across, up & down, left to right etc. Note how the linear structural supports pull the eyes to base of the image and then from left to right. We enjoy looking at the repeated rhythm noticing the cross-like shapes and those that differ. IMAGE 4 EMPHASIS/FOCAL POINT This is an example of Line and Shape and Movement draw the eye to a central point, in this case the support mechanism (central circle) of the Ferris wheel. Note that even if you eye drifts away the outer circle stills contains your view. The radiating lines also assist to point to the point of emphasis. A focal point is the area which the eye sees first. Print Form
IMAGE 5 PATTERN/REPETITION The eye usually will be able able to pick out or visually link associated or similar shapes. This is sometimes referred to as repetition. A series or collection of similar shapes forms either a structured pattern or a varied pattern. Note how the letter blocks in the image create a pattern. IMAGE 6 PROPORTION/SCALE Proportion relates to any object in relation to the page or other objects around it. The eye comparatively gauges scale by the proportion/size of the objects. Note the size of the aubergine compared to the pepper and the lemon. Note also how comfortably the objects sit on the page/format. IMAGE 7 UNITY/ HARMONY When all the elements are considered in an art work, we say that the artists has applied the principles effectively. Note that shape of the tree leads your leads the eye to the right, but the shadows of the rocks pulls the eye back. Depth is created with the mountains in the background and the varied tones of grey add interest/ texture. Print Form
Clear Image