Fundamentals of Design

Elements and Principles

Composition
The term composition means "putting together". It can be
thought of as the organization of the elements of art according
to the principles of art.

Composition can apply to any work of art, from music through

writing and into photography, that is arranged using conscious
thought.

The composition of an artwork is defined by how the image is

depicted and laid out on the canvas.
Elements of composition
Elements of composition

The elements of art are the basic components of art-marking. It is impossible to create a work of art without using at
least one of the seven elements of art. Artworks can also be analyzed according to the use of the elements in a work
of art.

1. Line — the path that directs the eye across the work
2. Shape — geometric or organic areas of the objects depicted
3. Colour — the value and intensity of the pigments
4. Form — depth, width, or breadth
5. Texture — the richness of surface
6. Value — the light and dark that gives form to the subjects or objects
7. Space — the existence of positive or negative space between subjects and objects
Line
● Line is a mark with greater length than
width.
● Lines can be horizontal, vertical, or
diagonal; straight or curved; thick or thin.
Line
Line: An element of art used to define shape, contours, and outlines; also to suggest mass and
volume. It may be a continuous mark made on a surface with a pointed tool or implied by the
edges of shapes and forms.

Characteristic of Line are:

● Width - thick, thin, tapering, uneven

● Length - long, short, continuous, broken
● Direction- horizontal, vertical, diagonal, curving, perpendicular, oblique,
● parallel, radial, zigzag
● Focus- sharp, blurry, fuzzy, choppy
● Feeling- sharp, jagged, graceful, smooth
Line
Line
Line
Line as a element of design
Shape
Shape is a closed line. Shapes can be geometric,
like squares and circles; or organic, like free-form
or natural shapes. Shapes are flat and can express
length and width.
Shape
When a line crosses itself or intersects with other lines to enclose a space, it creates a shape.
Shape is two crosses itself or intersects with other lines to enclose a space, it creates a shape.
Shape is two -dimensional and has height and width, but no depth.

Categories of Shapes:

● Geometric Shapes - Circles, Squares, rectangles, and triangles. We see them in

architecture and manufactured items.
● Organic Shapes -Leaves, seashells, and flowers are organic shapes. We see them in
nature and they have free flowing, informal and irregular
Shape

characteristics:
● Positive Shapes - In a drawing or painting, positive shapes are the solid forms (positive
space) in a design such as a bowl of fruit. In a sculpture, positive shapes are solid areas
of the sculpture that remain after removing portions of the sculpture.
● Negative Shapes - In a drawing or painting, the space around the positive shape is
negative space. Negative space can form a shape when it meets a positive shape.
Negative space can include the sky or spaces between objects.In sculpture, the
negative space is the portion that is removed from a sculpture. The negative space can
become a shape when it meets the positive form of the sculpture.
● Static Shapes - Shapes that appear stable and resting.
● Dynamic Shapes - Shapes that appear to be moving and active.
Line to shape
Pure shape
Form
Forms are three-dimensional shapes expressing
length, width, and depth. Balls, cylinders, boxes,
and pyramids are forms.
Form
● Form is the three-dimensionality of an object. Shape is only two-dimensional; form is
three-dimensional.
● You can hold a form, walk around a form, and in some cases walk inside a form.
● Value can imply form in drawings or paintings. Shading a circle in a certain manner can
give it the illusion of a sphere.
Shape and Form as a element of design
Color
Color is light reflected from objects. Color has
three main characteristics: hue (the name of the
color, such as red, green, blue, etc.), value (how
light or dark it is), and intensity (how bright or
dull it is).
Color
● Color comes from light - if it weren't for light, we would have no color. Light rays move in
a straight path from a light source. Within this light, rays include all of the colors in the
spectrum or rainbow. Shining a light into a prism will create a rainbow of colors because
it separates the color of the spectrum.
● When the light rays hit an object, our eyes respond to the rays that are reflected back
and we see only the reflected color(s).
● For example, a red ball reflects all the red light rays. As artists, we use pigments in the
form of powder or liquid paints to create color.
Color as a element of design
Value
Value is the range of lightness and darkness within a
picture. Value is created by a light source that shines
on an object creating highlights and shadows. It also
illuminates the local or actual color of the subject.

Value creates depth within a picture making an object

look three-dimensional with highlights and cast
shadows, or in a landscape where it gets lighter in
value as it recedes to the background giving the illusion
of depth.
Value
Categories of Values

● Tint is adding white to a color paint to create lighter values such as light blue or pink.
● Shade is adding black to a paint color to create dark values such as dark blue or dark red.
● High-Key is a picture with all light values.
● Low-Key is a picture with all dark values.
● Value Contrast is light values placed next to dark values to create contrast strong
differences.
● Value Scale is a scale that shows the gradual change in value from its lightest value,
(white) to its darkest value (black).
Value as a element of design
Texture
Texture is the surface quality that can be seen
and felt. Textures can be rough or smooth, soft
or hard. Textures do not always feel the way
they look; for example, a drawing of a
porcupine may look prickly, but if you touch
the drawing, the paper is still smooth.
Texture
Categories of Texture

Real Texture is the actual texture of an object. Artists may create real textures in art to give it
●

visual interest or evoke a feeling. Real texture occurs only in a three-dimensional sculpture or a
collage. A piece of pottery may have a rough texture so that it will look like it came from nature
or a smooth texture to make it look burnished.

Implied Texture in two-dimensional art is made to look like a certain texture but in fact is just a
●

smooth piece of paper. Like a drawing of a tree trunk may look rough but in fact it is just a
smooth piece of paper
Texture as a element of design
Space
Space is the area between and around objects. The
space around objects is often called negative
space; negative space has shape. Space can also
refer to the feeling of depth. Real space is
three-dimensional; in visual art, when we create the
feeling or illusion of depth, we call it space.
Space

Categories of Space

Positive space - Similar to a positive shape, it is the actual sculpture or building.

●

Negative space - Similar to a negative shape, it is the space around the sculpture or
●

building.
Picture Plane is the flat surface of your drawing paper or canvas.
●

Composition is the organization and placement of the elements on your picture plane.
●

Focal Point is the object or area you want the viewer to look at first.
●
Aerial Perspective
Space as a element of design
elements of design
Principles of Composition
 Principles of Design Ordering Principles of Design Gestalt Principles of Design

•Similarity
Axis
Balance
•

•Continuation
Contrast Symmetry
•Closure
•

Emphasis/dominance Hierarchy
•Proximity
•

Pattern Datum
•
•

•Figure/Ground
• Unity • Rhythm •Symmetry and order
• Movement • Transformation •Law of Pragnanz
• Rhythm •Common fate
•Parallelism
•Focal Points
 Principles of composition

The principles of design refer to the manner in which the elements of art are arranged in a work of
art. Since the principles of art mostly deal the organization of a work of art, they mainly influence the
composition. By mastering the principles of art, we can improve our drawing and painting
compositions.
●Balance – can be Symmetrical or Asymmetrical
●Repetition/Rhythm – a repeating visual element (line, shape, pattern, texture, movement); a flowing and regular occurrence. A
subcategory of repetition is pattern
●•Focus/Emphasis/Dominance – the prime center of visual importance within a composition to which all other visual elements
yield; it holds the viewer’s attention because of its attractive and dominant influence on its surroundings Rule of Thirds
●•Unity/Harmony
●•Scale – The overall size of an object
●•Proportion – The relative size of different elements of an artwork.
●•Contrast – When one extreme is pitted against another. Bright vs Dark. Heavy vs Light, Rough vs Soft, etc.
●•Movement – How the artist leads the viewer’s eye around the page
●•Depth – overlapping forms suggest depth; changes in scale can suggest depth; illusionistic perspective can suggest depth,
atmospheric perspective (see images here) can suggest depth
Principles of design
Balance
Balance is the distribution of the visual
weight of objects, colors, texture, and
space. If the design was a scale, these
elements should be balanced to make
a design feel stable.

In symmetrical balance, the elements

used on one side of the design are
similar to those on the other side; in
asymmetrical balance, the sides are
different but still look balanced. In
radial balance, the elements are
arranged around a central point and
may be similar.
Balance—some equal distribution of visual weight—is a universal aim of composition. The vast majority of pictures we see have
been consciously balanced by the artist. However, this does not
mean there is no place in art for purposeful imbalance. An artist may, because of a particular theme or topic, expressly desire
that a picture raise uneasy, disquieting responses in the viewer.
In this instance imbalance can be a useful tool

Imbalance
The simplest type of balance, both to create and to recognize, is called symmetrical balance. In symmetrical balance, like
shapes are repeated in the same positions on either side of a vertical axis. This type of symmetry is also called bilateral
symmetry. One side, in effect, becomes the mirror image of the other side. Symmetrical balance seems to have a basic appeal
for us that can be ascribed to the awareness of our bodies’ essential symmetry

Symmetrical Balance
 The second type of balance is called asymmetrical balance. In this case balance is achieved with dissimilar objects that
have equal visual weight or equal eye attraction.

Asymmetrical balance
 The second type of balance is called asymmetrical balance. In this case balance is achieved with dissimilar objects that
have equal visual weight or equal eye attraction.

Asymmetrical balance
 A third variety of balance is called radial balance. Here all the elements radiate or circle out from a common central point.
The sun with its emanating rays is a familiar symbol that expresses
the basic idea. Radial balance is not entirely distinct from symmetrical or asymmetrical balance. It is merely a refinement
of one or the other, depending on whether the focus occurs in the middle or off center

Radial balance
Repetition/Rhythm
Rhythm is created when one or more elements of
design are used repeatedly to create a feeling of
organized movement. Rhythm creates a mood like
music or dancing. To keep rhythm exciting and
active, variety is essential.

Rhythm as a design principle is based on

repetition. Repetition, as an element of visual unity,
is exhibited in some manner by almost every work
of art. However, rhythm involves a clear repetition
of elements that are the same or only slightly
modified.
Repetition/Rhythm
Regular rhythm or repetition– elements are repeated exactly in an evenly spaced arrangement

Regular Rhythm
Progressive rhythm. Again, the rhythm involves repetition, but repetition of a shape that changes in a regular manner. There is
a feeling of a sequential pattern. This type of rhythm is most often achieved with a progressive variation of the size of a
shape, though its color, value, or texture could be the varying element.

Progressive Rhythm
movement is suggested through repeating organic shapes or through irregular repetition of repeating elements

Flowing Rhythm
 Focus/Emphasis/Dominance
Emphasis is used by artist to create dominance and
focus in their work.Artists can emphasize
color,value,shapes or other art elements to achieve
dominance.various kind of contrast can be used to
emphasize a center of interest

●When any two elements in a design are considered,

either the elements will be equal in every way or
one will exert some level of dominance over the
other.
●The more dominant element will attract the eye and
get noticed first.
●It might even appear to exhibit some sort of control
over the less dominant element and seem to exert
force on what’s around it.
Very often in art the pictorial emphasis is clear and in simple composition the focal point is obvious. But the more complicated
the pattern,the more necessary or helpful a focal point may become in organizing the design

Focus/Emphasis/Dominance
As a rule, a focal point results when one element differ from the others. Whatever interrupts an overall feeling or pattern
automatically attracts the eye by this difference

Emphasis by contrast
A variation on the device of emphasis by contrast is the useful technique of emphasis by isolation.

Emphasis by Isolation
Putting something in the center of a composition creates emphasis.in fact, it is often a criticism of naive or boring
compositions to notice that the subject is plopped down smack in the center. So then it becomes interesting to see how the
center can be used in subtle way to achieve emphasis

Emphasis by Placement
A definite focal point is not a necessary in creating a successful design. It is a tool that artist may or may not use. Depending
on their aims. Artist may wish to emphasize the entire surface of a composition over any individual element

Emphasizing the whole over the parts

Unity/Harmony
Unity (also called harmony sometimes) is an important principle of design
that gives the artwork a sense of cohesion or coherence.

Unity is achieved when each element of a design fits in with the overall
concept of the production. It is defined by how those elements relate to the
production as a whole. Harmony, on the other hand, is defined by how
those same elements relate to each other.It is the wholeness or
completeness of a picture. Unity and harmony in art are used by artists to tie
a composition together and help the composition make sense as a whole
piece of art.

In design , Unity describes the feeling that all the elements in a work belong
together and makeup a coherent and harmonious whole.

Variety , on the other hand, provides diversity. Variety acts to counter unity.
The sameness of too much unity is boring, and the diversity of uncontrolled
variety is chaotic, but a balance between unity and variety creates life.
Unity means that a congruity or agreement exists among the elements in a design; they look as though they belong together,
as though some visual connection beyond mere chance has caused them to come together. Another term for the same idea
is harmony.

Unity/Harmony
An important aspect of visual unity is that the whole must predominate over the parts: you must fi rst see the whole pattern
before you notice the individual elements. Each item may have a meaning and certainly add to the total effect, but if the
viewer sees merely a collection of bits and pieces, then visual unity doesn’t exist.

Visual Unity
Scale and Proportion
Scale and proportion are related terms: both basically refer to
size. Scale is essentially another word for size. “Large scale”
is a way of saying big, and “small scale” means small. Big and
small, however, are relative.

What is big? “Big” is meaningless unless we have some

standard of reference. A “big” dog means nothing if we do
not know the size of an average dog. This is what
distinguishes the two terms. Proportion refers to relative
size—size measured against other elements or against some
mental norm or standard.
Scale and proportion
One way to think of artistic scale is to consider the scale of the work itself—its size in relation to other art, in relation to its
surroundings, or in relation to human size. Unhappily, book illustrations cannot show art in its original size or scale. Unusual
or unexpected scale is arresting and attention-getting. Sheer size does impress us

Human Scale
The scale here, of course, is relative to the overall area of the format—a big element in one painting might be small in a
larger work. Again, we often use the term proportion to describe the size relationships between various parts of a unit. To
say an element in a composition is “out of proportion” carries a negative feeling, and it is true that such a visual effect is
often startling or unsettling.

Internal Proportion
Some artists, however, use scale changes intentionally to intrigue or mystify us rather than to clarify the focal point.
Surrealism is an art form based on paradox, on images that cannot be explained in rational terms. Artists who work in this
manner present the irrational world of the dream or nightmare— recognizable elements in impossible situations

Manipulating Scale and proportion

The inherent geometry of rectangles such as the golden rectangle and root five rectangle not only provides an
agreeable proportion; the diagonals and other interior structural lines often conform to significant features in a
composition

Geometry and notion of ideal

Contrast
Contrast refers to difference in values, color, texture, shapes and other elements.COntrast creates visual excitement and add interest to
the work.If all the art elements- Value, for example are the same is monotonous and unexciting
 Contrast in shape Contrast in color Contrast in scale Contrast by layout

• Contrast, as a principle of art, refers to the arrangement of opposite elements and effects.
• For example, light and dark colors, smooth and rough textures, large and small shapes. Contrast can be used to
create variety, visual interest, and drama in an artwork.

Contrast
Movement
Movement is the path the viewer’s eye takes through the work of art, often to focal areas. Such movement can be directed
along lines, edges, shape, and color within the work of art
• Movement is the path the viewer's eye takes through the work of art, often to focal areas.
• Such movement can be directed along lines, edges, shape, and color within the work of art.

Movement
 Progressive and
flowing rhythm
creates movement

• Movement is the path the viewer's eye takes through the work of art, often to focal areas.
• Such movement can be directed along lines, edges, shape, and color within the work of art.

Movement
 Movement can refer to the illusion of actual movement in a drawing or painting; or it can refer to the movement
that a viewer’s eye takes when experiencing your art. In terms of composition, we are most concerned with the
latter.

When a viewer interacts with your art, their eyes move from one element to the next. Usually the most
commanding element demands immediate attention. After that, the viewer may move on to other supporting
elements within the scene.
Depending on the subject, the order may look something like this…
1. The viewer is drawn into the work.
2. The viewer is guided to the focal point(s).
3. The viewer is guided to supporting elements.
4. The viewer is guided out of the work or back to the focal point.

Movement
Movement