The

Principles

Introduction To of Design

The principles of good design are the tools used by an artist or designer to create an effective composition or design. The principles are: balance, movement, repetition, emphasis, simplicity, contrast, proportion, space, and unity. The difference between a weak design and a strong one is completely dependant upon the artist's knowledge of the design principles and how well he/she applies them. In the study of design we should note there is no longer a clear-cut line between fine art and applied art anymore. All art, whether it is Web design, industrial design, fine art, sculpture, commercial art, or graphic art, is subject to the same principles of good design. Graphic artists compose their designs and page layouts using the same design principles the fine artists use. Just as a fine artist arranges various components within a painting to create a pleasing composition, so it is with the graphic artist. The artist may use a vase of flowers, a bowl of fruit, or a figurine to design a lovely still life composition. The graphic artist will use headlines, bodies of text, photos, illustrations, and clipart images to compose a page or Web site.

Composition may be defined as the combination of multiple parts into a harmonious whole. The principles of design, sometimes referred to as the principles of organization are: Balance
Symmetrical balance Asymmetrical balance Radial balance (Radial symmetry)

Emphasis

Separation and Connection Location Contrast-size, shape & color

Scale & Proportion Rhythm Unity & Variety Gestalt

Containment Repetition Proximity Continuation Similarity Closure

To deal with composition some other aspects also need to be discussed

Idea

Good art always starts with an idea. Before beginning any work of art every artist or designer needs to keep in mind that every composition starts with an idea. To use the design principles effectively it is necessary that the artist have an idea to express or an objective in mind. This is vital to the success of any art work. Without an objective, the most conscientious attention to balance, movement, emphasis, contrast, proportion, and space to create a unified composition, will result in uninteresting work. With an idea, however, even though the principles may be forgotten and used intuitively, a beautiful composition may emerge. Every artist's goal should be to create a composition that is both unified and interesting to look at.

Balance

This image by Robert K. Everest exhibits a sense of balance through its use of color and shape. The colors seem to flow in a similar fashion: the dark blue at the top which is contrasted by the yellows and greens, which therefore moves into reds and purples near the bottom of the painting. The image is asymmetrical in balance.

Balance
Balance is a skill that everyone uses almost all of their waking hours. It is balance that allows you to
stand up and walk around. You balance your checkbook and hopefully find a balance between your academic and social life. your ability to balance the visual information in a composition.

Balance in design is similar to these kinds of balance. Your physical sense of balance will play a part in As with physical balance , visual balance requires equilibrium, or equality in size, weight, or force among design elements. Unlike physical balance, however, visual balance can be created through absence as well as presence.

Balance can also be described as achieving

equilibrium. The problem with this definition is that artists rarely want things to be equal. It usually means that no part of the composition calls too much attention to itself at the expense of the rest of the image.

Balance is usually a desirable characteristic of a

composition. There are times, however, when it is desirable to deliberately throw the balance off in order to call more attention to some aspect of an image.

Balance in a composition shifts each time a visual

element is added or subtracted.

All elements in a work of art have visual weight. Something important that is off center needs to be balanced with a corresponding amount of white space, or intense color, or texture. Pieces that balanced and regular in composition tend to be duller, quieter, predictable. A centrally balanced piece can be rescued from being dull by being intense and emotional. People like to see off-center, unbalanced compositions... they're more visually exciting and interesting to the human eye. Balancing the components of a painting can best be illustrated by weighing scales or a child's playground see-saw. Visually the scale can be pictured as an apparatus for weighing or a see-saw which has a beam poised on a central pivot or fulcrum. In using this scale or see-saw, balance is not achieved through an actual physical weighing process, but through visual judgment on the part of the observer. In this respect, visual balance refers to a "felt" optical equilibrium between all parts of the painting.

viewer is satisfied that the piece is not about to pull itself over. When components are balanced left and right of a central axis they are balanced horizontally. When they are balanced above and below they are said to be balanced vertically. And when components are distributed around the center point, or spring out from a central line, this is referred to as radial balance.

To balance a composition is to distribute its parts in such a way that the

Horizontal Balance

Vertical Balance

Horizontal symmetry

Approximate horizontal symmetry

Radial symmetry

Asymmetry

Types of Balance
1. 2.
These are symmetrical balance, also known as symmetry or formal balance,or passive balance. and asymmetrical balance, also known as asymmetry or informal balance.

Symmetrical Balance

Symmetrical balance is when the weight is equally distributed on both sides of the central axis. Symmetry is the simplest and most obvious type of balance. It creates a secure, safe feeling and a sense of solidity. Symmetrical balance can be achieved in two ways. One way is by "pure symmetry," and the other way is by "approximate symmetry." In pure/strict symmetry, shapes or volumes( identical parts) are mirrored on either side of any axis. A good example of pure symmetry is the human face. It is the same on both the right side and the left side of the nose. Pure symmetry has its place in certain art works, however, because of its identical repetition, pure symmetry for a composition can easily become too monotonous and uninteresting to look at. Approximate symmetry on the other hand has greater appeal and interest for the viewer. The two sides of a composition are varied and are more interesting to view. Even though they are varied somewhat, they are still similar enough to make their repetitious relationship symmetrically balanced.

Symmetrical Balance

NEAR SYMMETRY Near symmetry is based on symmetry but the two halves are not exactly the same. Slight variations will probably not change the balance but there is more potential for variety and hence more interest. When the sides become too different, symmetry ceases to exist and balance must depend on other concepts (asymmetry). in many graphic images since type throws off the symmetry but the balance is still achieved. It is also occasionally used for formal fine art images, especially early Christian religious paintings.

INVERTED SYMMETRY Inverted symmetry uses symmetry with one half inverted like a playing cards. This is an interesting variation on symmetry but can make for an awkward balance.

BIAXIAL SYMMETRY A symmetrical composition can have more than one axis of symmetry. Biaxial symmetry uses two axes of symmetry -vertical and horizontal. These guarantee balance: top and bottom as well as left and right. The top and bottom can be the same as the left and right, or they can be different. The most regular and repetitive image occurs when they are the same. More than two axes are possible. Snow flakes and kaleidoscopes have three axes of symmetry.

RADIAL SYMMETRY Radials a related concept and can use any number of axes since the image seems to radiate out from the center, like a star.

Asymmetrical Balance

Asymmetrical balance is when both sides of the central axis are not identical, yet appear to leave the same visual weight. It is a "felt" equilibrium or balance between the parts of a composition rather than actual. If the artist can feel, judge or estimate the various elements and visual weight, this should allow him/her to balance them as a whole. As a result, a more interesting composition will occur in the work. The use of asymmetry in design allows for more freedom of creativity, because there are unlimited arrangements that may be devised using asymmetrical balance. The way to use asymmetry is by balancing two or more unequal components on either side of the fulcrum by varying their size, value or distance from the center. Asymmetrical balance creates equilibrium between visual elements that differ in size, number weight, color, or texture.

Bycolor

Byvalue

byshape

by texture

Emphasis

Michael E. Vermettes watercolor is a great example of emphasis. The bright orange color of the boys jumpsuit against the deep blues of the ocean bring the eye to the boy and his activity. He also becomes the center of focus because he is the center of the painting. There is also emphasis on the birds because of their contrast against the blue ocean.

Emphasis

Emphasis is used to give part of a design particular prominence. Emphasis is the stressing of a particular area of focus rather than the presentation of a maze of details of equal importance. When a composition has no emphasis nothing stands out. However the effective use of emphasis calls attention to important areas of the painting. By placing emphasis on certain areas of the composition, an artist creates elements of interest which causes the eye to return to again and again. One way of achieving emphasis is by creating center of interest, a.k.a. a focal point. A focal point is an area where the eye tends to center. It is the focus of the viewer's attention. A focal point is created by making one area of element of the painting dominant, or most important visually with all other areas contributing but subordinate. The focal point may be the largest, brightest, darkest, or most complex part of the whole, or it may get special attention because it stands out for some other reason. No more than one component should vie for primary attention. Where several components get equal billing, emphasis is canceled out.

The second way to create emphasis is by contrasting the primary element with its subordinates, or emphasis can be created by a sudden change in direction, size, shape, texture, color, tone or line. No matter what element is chosen for emphasis it should never demand all the attention. Emphasis is necessary, but a good composition is one in which all the elements work together for a unifying effect.

Examples of the effective use of Emphasis:

In this painting it is easy to see how the artist used light to emphasize the chef. He stands out as the main focal point of the entire the painting.

The artist created emphasis in this painting through the use of color. By painting the cowboy's shirt red he was able to create a center of interest.

Emphasis can be done in the following way

a. Separation and Connection (isolation) b. Location (placement) c. Contrast

a. Separation and Connection:

Any anomaly or break from the norm, tends to stand out. Because we seek to connect and unify any verbal or visual information we are given, a mismatched shape immediately attracts attention. Creating a clear pattern can increase connection among visual elements. Conversely, any break in the pattern accentuates separation/isolation.

b. Location:
The very location of a line or shape within the format can attract attention. The composition center is particularly powerful.

c. Contrast
Contrast is created when two or more forces operate in opposition. The objective of contrast is to produce maximum visibility.

- contrast in size:
When it place for desirable to emphasis is Size, as comes to being noticed B I G G E R is always better. There is a all different sizes in the scheme of things. It is not always be noticed first. Learning how to use size to control important. you will soon learn, also relates to relative scale.

- contrast in shape:
An unusual shape can call attention to itself but it is not as strong a contrast as size or value/color. Other contrasts like direction and texture can also be used to control emphasis. Taken together all of these contrasts affect visibility, regardless of where the object is placed.

- contrast in color:
One of the greatest possible contrasts in art is the difference between black and white (value contrast). Color contrasts can be strong but usually not as strong as value contrasts. Bright colors are more attractive (attract attention) than dull colors. There is room for a great deal of manipulation in color and value. That is one of the reasons that color is so difficult to use well. To make something stand out use strong value contrast. If color is used make it bright, preferably against a dull background. Different colors that are the same value do not show as much as you would expect (top right example).

Melissa Whites painting shows strong contrast between the foreground and the background of this costal scene. The sunny, orange shades of the background give more emphasis to the dark shape of the coast. The reflection of the sun in the water also helps to create a contrast of the coast.

It has two section: 1.Dominance 2.sub-ordiance

Dominance:
Dominance is important for emphasis. In an artistry one of some elements dominate the work first by virtue of their position with the composition and second by color. Ex: the dome of the mosque creates a sense that it is a mosque. Dominance can be achieved in many ways: Limiting elements: fewer elements make anything more dominating.

Size variation: big size has better emphasis.

Form: clear form has better emphasis. Clear and bold form creates better dominance.

By grouping: grouping up materials of same size and character.

color: use of eye-catching coloring gives more effect . Ex: ambulance has red marks and red siren to emphasis the character and importance.

Position:

Direction:

Texture:

Sub-ordinance:
Non-focused elements are sub-ordinance Without proper sub-ordinance the exact emphasis can not be achieved. Ex: in dance there are some extras with the main dancer which brings unity, variety ,diversity. therefore for emphasis sub-ordinance is must. Sub-ordinance can be achieved in many way: 1.Explain the space 2.create a focal point 3.Bring unity 4.Create variety and diversity

Scale and Proportion

Elisabeth Louise Vigee Le Bruns self portrait represents significant proportions. The artist was careful to place all facial features sensibly and reasonably sized in order to create a rational image. Her paintbrushes, ink board and canvas are also in proportion with the rest of her body.

Proportion

Proportion is the relative size (to each other) of visual elements within an image. Scale is the size of elements in a painting to what they are in real life. Manipulating proportion and scale can dramatically change the mood, meaning and composition of an artwork. The artist manipulates proportion to emphasize the importance (or un-importance) of an object or area. Often the focal point is emphasized by making it larger in proportion to the rest of the elements of the artwork.

Proportion

Artists manipulate proportion by simply painting or drawing the element bigger or smaller, or by, in the case of photography, choosing an angle or point of view that is dramatic, extreme or unexpected. An extreme close-up will make small elements more important and dramatic, even if they aren't larger than their surrounding images because they're larger and are emphasized more than they are in real life. The overall scale has been changed because you're comparing the artist's image against reality. Focal points or elements that are small compared to the surrounding picture will create a mood of loneliness, sadness, unimportance. Elements that are large in comparison with the background or fill the picture plane and bleed off the edge will give the impression of drama, importance, intensity or happiness.

Proportion in art is the comparative harmonious relationship between two or more elements in a composition with respect to size, color, quantity, degree, setting, etc.; i.e. ratio. A relationship is created when two or more elements are put together in a painting. This relationship is said to be harmonious when a correct or desirable relationship exists between the elements. This refers to the correct sizing and distribution of an element or object which creates good proportion. Good proportion adds harmony and symmetry or balance among the parts of a design as a whole.

Proportion

Proportion

When the principle of proportion is applied to a work of art it is usually in the relationship of size. That is, the size of one element of the composition as compared to the size of another related element. In the instance of a relationship of size a comparison is made between the:

height, width and depth of one element to that of another size of one area to the size of another area size of one element to the size of another element amount of space between two or more elements

Proportion is usually not even noticed until something is out of proportion. When the relative size of two elements being compared seems wrong or out of balance it is said to be "out of proportion". For example if a person has a head larger than their entire body, then we would say that they were out of proportion.

Proportion

Proportion

Good Proportion
There are several ways for achieving good proportion:

Place together elements which are similar in character or have some feature in common. Create major and minor areas in the design, as equal parts can quickly become monotonous and boring. However, the differences in size must not be so great as to make the parts appear unrelated and therefore, out of harmony with each other. Arrangement of space should be in such a way that the eye does not perceive a standard mathematical relationship. Dividing up the composition in halves, quarters and thirds should be avoided. A subtle relationship creates a more dynamic design. Create harmony in the art work. Harmony is an agreement between the shapes that stresses the similarities of all parts. In other words, the shape of one part should "fit" the shape of the adjoining elements. Shapes should "fit" properly in their positions and spaces.

Scale

Scale refers to the size of an image or object when compared to our own human size. Scale is a relative size. It refers to how large (or small) an item seems. There has to be some standards against which to measure scale. You can make a scale model of a car that will fit in your hand. Next to a real car the model is much smaller in scale. It is possible to make an object appear different in scale without changing its size. The fortune cookie to the left is about life size. The one in the picture below appears to be quite large in scale. They are both the same size. The fortune cookie appears large because there are buildings in front of it. If It were the same size, but in front of all the buildings, it would look like a normal fortune cookie that was closer to us and the city scene was in the distance behind it. To make the illusion of scale work it is important that you control where the objects are in space relative to one another.

Rhythm

Heidi Hybls image displays rhythm through its use of elongated shapes that allow the eye to follow them. There is a sense of repetition within the piece and also a graduation of shapes and shades. This rhythm also gives a sense of depth to the image.

Rhythm

The repetition of elements that leads your eye across the canvas. It's easily confused with pattern, but they're not quite the same, although they can share the same elements. Pattern can also be a texture and is generally a more regular repeating motif, while rhythm will use a motif, color or line to lead your eye up and down and around. An element of design that is based on a patterned repetition of recurrent motifs or formal elements, at regular/irregular intervals in the same/modified form. Examples would be the specific way lines move in the image, the repetition of lines or figures, and gradients/contrasts of color. The below images give some examples of such qualities.

This picture is rhythmic in the flow and beat of the thick black lines. There appears to be a consistent rhythm in the lines presented. The blue and yellow also provide a change in rhythm.

Rhythm
Rhythm is the repetition or alternation of elements, often with defined intervals between them. Rhythm can create a sense of movement, and can establish pattern and texture. There are many different kinds of rhythm, often defined by the feeling it evokes when looking at it. Regular: A regular rhythm occurs when the intervals between the elements, and often the elements themselves, are similar in size or length. Flowing: A flowing rhythm gives a sense of movement, and is often more organic in nature. Progressive: A progressive rhythm shows a sequence of forms through a progression of steps

Rhythm

In Marcel Duchamp's Nude Descending a Staircase, the rhythm can be seen by the appearance of the figure's trailing path, almost as if it were echoing down the staircase. If imagination permits, it is almost like a bat's sonar is tracing the nude down the staircase and each movement that is made is seen in sequential order.

The rhythm of the hills has a majestic flow that portrays a sense of relaxation like when an infant is being rocked in its mother's arms. The picture (and the gradient colors) is very smooth and relaxed.

Rhythm

Rhythm

Rhythm

Unity and Variety

Unity & Variety

Unity and Variety are the cornerstones of visual communication. Unity is the hallmark of a good design. It's the final result in a composition when all the design elements work harmoniously together giving the viewer a satisfying sense of belonging and relationship. You know unity has been achieved when all aspects of the design complement one another rather than compete for attention. It serves to reinforce the relationship between the design elements and relates them to the key theme being expressed in a painting. Unity in a composition is achieved when all of the design principles (balance, movement, emphasis, visual economy, contrast, proportion and space) have been correctly applied. Everything selected for use in a composition must complement the key theme and must also serve some functional purpose within the design. Achieving unity in your compositions will only result from practicing, knowing and selecting the right visual elements and using the best principles of design to relate them. Variety: A principle of design that combines line, shape, texture, value etc to create visual interest and relationships between these elements. Variety is obtained by breaking a pattern. Too much variety, however, can cause chaos, however, not using enough variety can cause monotony.

Theresa Andreas-OLearys painting exhibits unity through the consistency of lines and shapes. The background remains relatively similar throughout the whole picture and the the trees, which are all the same kind of tree but all look different, are placed within the foreground. These shapes and lines display a coherence of the whole.

"Unity and variety are complementary concerns. Unity is the appearance or condition of oneness. In design, unity describes the feeling that all the elements in a work belong together and make up a coherent and harmonious whole. When a work of art has unity, we feel that any change would diminish its quality. 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.

Artists select certain aspects of visual form in order to clarify and intensify the expressive character of their subjects or themes. In his painting GOING HOME, Jacob Lawrence balanced unity and variety. He established visual themes with the lines, shapes, and colors of the train seats, figures, and luggage, and then he repeated and varied those themes. Notice the varied repetition in the green chair seats and window shades. As a unifying element, the same red is used in a variety of shapes. The many figures and objects in the complex composition form a unified design through the artist's skillful use of abstraction, theme, and variation." "The flat quality of GOING HOME contrasts with the illusion of depth in Pieter de Hooch's INTERIOR OF A DUTCH HOUSE. Each artist depicted daily life in a style relevant to his times. In both, the painter's depiction of space provides the unity in the composition. De Hooch 'borrowed' the unity that architectural interior imposes in order to unify pictorial space and provide a cohesive setting for the interaction of figures

."

"Pattern refers to a repetitive ordering of design elements. In de Hooch's painting, the patterns of floortiles and windows play off against the larger rectangles of map, painting, fireplace, and ceiling. These rectangular shapes provide a unifying structure. the nearly square picture plane itself forms the largest rectangle. He then created a whole family of related rectangles, as indicated in the accompanying diagram. In addition, the shapes and colors of the figures in the painting above the fireplace-- another use of theme and variation."

 1.

2.

Unity within a well composed design accomplishes two things: Unity creates a sense of order. When a design possesses unity there will be a consistency of sizes and shapes, as well as a harmony of color and pattern. One way this is accomplished is by repeating the key elements, balancing them throughout the composition, and then adding a little variety so that the design has its own sense of personality. Learning to juggle the elements and principles in such a way as to achieve the right mix is a key to good design. Unity also gives elements the appearance of completeness, that they belong together. When a composition has unity the design will be viewed as one piece, as a whole, and not as separate elements with the painting. Using too many shapes and forms may cause a design to be unfocused, cluttered and confusing. A well organized design will be achieved by using a basic shape which is then repeated throughout the composition.

Unity
When unity is achieved:

The individual elements with in a composition will not be competing for attention. The key theme will be communicated more clearly. The design will evoke a sense of completeness and organization. To create unity you must have a clear objective in mind you are wanting to communicate to the viewer. You have stay focused on achieving the objective and not deviate from it. If there is an element you are considering adding to a composition does not contribute to the objective then it should not be added to the design. You also need to be analytical about your work, maintaining objectivity at all times, and accept critiques from peers, friends, and family members. When the purpose and message you intend to portray is consistently understood the same way by several people then the principle of unity has been maintained within your painting. When you feel your composition is complete, take a step back and observe it with an objective eye. The final test of unity is one in which nothing can be added to or taken away without having to rework the entire composition. The relationship of all the elements should be so strong it would actually hurt the design to add or remove any one thing. When nothing can distract from the whole you have unity. However, in your efforts to achieve unity you need to keep in mind that too much unity without variety is boring and too much variation without unity is chaotic.

Some easy ways to achieve unity in your compositions include: Gestalt: Theory and Application

A German word translated as shape, form, or likeness and is a psychology term to mean "unified whole". In the world of art it applies to visual perception, when separate items are brought together to create a unified whole. In other words it is information of a picture that is understood as whole before it is understood separately. Indeed, whole is an appropriate English translation of the German word Gestalt. There are 6 principles included in the Gestalt Theory and Application: 1. Similarity/Grouping 2. Containment 3. Repetition 4. Proximity 5. Continuity 6. Closure

Similarity/Grouping:

Try repeating colors, shapes, values, textures, or lines to create a visual relationship between the elements. Repetition works to unify all parts of a design because it creates a sense of consistency and completeness.

Subject matter will be eliminated for this discussion because gestalt is based on what items look like not what they are like. There is a limit to the amount of information that the mind can keep track of. When the amount of visual information becomes too great the mind tries to simplify by grouping. Groups are formed in logical ways based what information look like and where the various items are located. Similarity is concerned with what items look like. Similarity is a powerful grouping concept and as such can contribute significantly towards achieving unity. The more alike the items are, the more likely they are to form groups. By the same token, if items are dissimilar, they will resist grouping and tend to show more variety. It is important to understand that all of the gestalt concepts can be used both ways -- to group and to ungroup.

There are three major similarity types -- ways items can look alike (or look different):

Size: Notice in the example on the left that the squares and circles are presented in two different sizes. Do you first notice them grouping because of their shape or their size? The difference between the sizes is probably greater here than the difference in the shapes. Had they been only slightly larger the shape difference might have been noticed first. The potential, however, for size variation is greater than the differences possible in shape so size is usually a more dominant similarity type.Size has the additional advantage of letting items be B I G ! You learned when you study emphasis that bigger is better when it comes to visibility.

Value/Color: Another powerful similarity type is value/color. The two are grouped together because value is part of color but can act independently (black and white images).Again notice that the dominant grouping concept is color not shape. Color makes items easy to identify and hence makes a good grouping tool. Value can work as easily as color, and in fact sometimes is a stronger design element. You learned about color and value in the first section of the course. Try to learn all you can about using color in each of your assignments. Try different combinations of things to see what works and what does not work.

Shape: Shape, and shape like elements such as direction and texture, can also form groups. When all other things are equal it performs quite well in this function. The squares and circles used here are simple geometric shapes. It is possible to make shapes that are more distinct and therefore more noticeable. Complex shapes may stand out more but there is attractiveness to simpler shapes that makes them more powerful visual elements in most cases. They appeal to our sense of order.A simple example of using shapes to group is the use of italic or bold type to emphasis and separate parts of a sentence.These and other similarity types are used extensively in design to create order and to organize information into specific groups in order to make the material presented more understandable. You will be using magazines for the raw material for this lesson's project. Look at how they are organized and notice how often the various concepts just mentioned are used to control groups of information.It is important to understand that it is possible, often necessary, to deliberately make items look different in order to make them stand out or to create more variety in a composition. You will use dissimilar looking items in the project for this lesson to better understand how to create and control variety.

Containment: groups that to be more apparent when placed inside a container, unification is created when a composition is placed inside a boundary. This principle helps to create definition around negative space.

Continuity: Treat different elements in the same manner. Continuity helps to create "family resemblances" between different forms. This helps to tie them together by creating an uninterrupted connection or union. A fluid connection between elements in a composition which create a sense of movement. Can be actual or implied. Continuity in the form of a line, an edge, or a direction from one form to another creates a fluid connection among compositional parts. CONTINUANCE Continuance describes a device for directing the viewer's attention when looking at a composition. It is based on the idea that once you start looking in a particular direction you will continue looking in that direction until you see something significant. A simple example of this is illustrated. You notice the small circle that the hand points at in preference to the closer, larger circle. In a sense this is a kind of closure - a grouping of disconnected items by momentum. This feature is built into typography since we are taught to read left to right in our culture. Once you start reading you will continue across a gap to ............the next words.

Curving lines and shapes flow from one circle to the next creating a sense of movement in Frank Stella's, Lac Laronge IV.

In Picasso's painting the majority of the shapes (human figures, animals, plants, and a ship) share an edge with two strong, wavy, horozontal lines extending across the canvas. This continuation visually unites the forms.

Pablo Picasso La Joie de Vivre or Antipolis. 1946

Some easy ways to achieve unity in your compositions include:

Alignment: Arranging shapes so that the line or edge of one shape leads into another helps creates unity in your design. When an element is placed in a composition, it creates an implied horizontal and vertical axis at its top, bottom, center and sides. Aligning other elements to these axes creates a visual relationship which unifies them. A variation of proximity that is very often used in graphics is alignment. This concept works when visual elements align along edges or vertically through their centers.

Centered on a vertical axis Centered on a horizontal axis

Some easy ways to achieve unity in your compositions include:

Proximity: Group related items together so that these related items are seen as one cohesive group rather than a bunch of unrelated elements. Elements that are positioned close to one another are perceived as being related while elements that are farther apart are considered less related. How close together or far apart elements are placed in a composition suggests a relationship (or lack of) between otherwise disparate parts. Using a "third element" such as a road to connect near-by elements with distant ones also helps to create a sense of relationship between the forms which are not grouped together. - make separate elements look as if they belong together proximity - simply putting the elements close together -

The painting by Thomas P. Anshutz of workers on their lunch break shows the idea in composition. The lighter elements of the workers' half-stripped bodies contrast with the generally darker background. These light elements are not placed aimlessly around the composition but, by proximity, are arranged carefully to unite visually. Arms stretch and reach out to touch or overlap adjoining figures so the bodies form a large horizontal unit stretching across the painting.

Thomas P. Anshutz. The Ironworkers' Noontime

There are four specific types of proximity relationships that will be studied in this lesson: close edge, touch, overlap and combining. Close edge: The general concept for proximity states that the closer items are to one another, the more likely they are to be seen as a group. The amount of space involved is relative.Look at the example to the left and notice that there are fourteen items that form three groups with one orphan at the bottom right that is not quite part of the group above it. Size is another strong grouping option. Shape is a distant third for forming groups.This kind of grouping is used extensively with printed type. The example below forms two words -- close and edge. You know it is two words because of the larger space between them. Close edge In the example below the same space that was between words in the example above is used between the letters of close and edge. Notice that they still form two words because of the even larger space between them. Close.edge We read words from left to right but also from top to bottom. Close edge relationships can form groups in any direction. What would you order if you saw this sign in a restaurant window? FREE WATER FOOD SOLD

In the example below the letters and the colored backgrounds are in a close edge relationship. The white paper shapes the letters were printed on are not a factor against a white background.

Touch: When items get close enough they touch. They still are two different items but they seem to be attached together. This makes for a stronger gestalt than close edge. Notice in the example to the left that the touching groupings are stronger than the close edge groupings. In the example there are no size differences so the shape relationships are more noticeable.In the example below the letters and/or their colored backgrounds touch.

Overlap: The strongest gestalt between two items happens when they overlap. Two colors are used in the example to the left to show the overlaps better. When the two items are the same color they seem to form a new, more complex shape. The new shape seems flat. When the items are different colors the overlap produces the illusion of a shallow space. The overlapped items form a strong group regardless of color.Notice the grouping hierarchy. The overlapped groups are the strongest. The two color groups are a close second to the all black group. Touching is next then close edge. Shape is probably the weakest gestalt in this example.In the example below the letters and/or their diferent colored backgrounds all overlap.All of the above examples of proximity relationships have used simple shapes that are grouped because of where they are placed in relationship to each other. No additional elements are used.

Combine: It is possible to group various items together by using an external element that acts to combine the items regardless of what other gestalt concepts are being used. The underline used in the previous sentence is such a combining device. Notice that it groups the phrase "external element" and sets it off from the rest of the sentence.A significant characteristic of combining is that it both groups the items used and sets them apart from the rest of the information around them. This "highlighting" (another combining device) is perhaps the most significant aspect of this concept. It is used with information that the designer wants to call attention to. The quotation marks and brackets in this paragraph serve the same purpose.There are many ways to combine items. Underlining items, putting boxes around them and putting items against a background (such as a color or a picture) are the most common.In the example to the left all of the proximity and similarity concepts are used. Note how the items combined by the red and black squares are grouped both with each other and with the background squares. Also note that these are the items that stand out the most.In the example below the letters are all combined on the green background.

Closure- Given enough clues the human mind will automatically connect visual fragments. Closure - the ability to look at a composition as a completed form. Audience can recognize that peice is finished and interpret any implications the work might make. A complex object is really a group of simple items that the mind puts together as a single entity. A face is a collection of eyes, ears, nose, mouth, etc. You can recognize a familiar face even if part of it hidden (with a hat or sunglasses for instance). Your mind supplies the missing parts if enough of the significant features are visible. A simple example of this can be seen with this series of circles. As more and more of each is removed the circle still remains identifiable until more is missing than is present. This is called closure because the mind "closes" the image by supplying the missing parts.

Repitition - unity is created thorugh repitition. Repitition is a visual effect created by using the same shapes or element over and over. It is almost most effective when the pattern is broken. - element repeats itself in various parts of the design to relate parts to each other -

In Edgar Degas' The Millinery Shop notice the repetition of the circle motif. Circles represent objects such as hats, flowers, bows, the woman's head, bosom, and skirt, etc. The painting is a whole design of circles broken by a few verticals (the hat stand, the ribbons, the back draperies) and a triangle or two (the table, the woman's vent arm, and the front hat's ribbons).

Edgar Degas The Millinery Shop. 1879-1884