PRINCIPLES OF DESIGN

Directions or guidelines for using

the elements of art
PRINCIPLES OF DESIGN

Proportion and Scale

Balance
Repetition and Rhythm
Emphasis
Harmony
Contrast
Movement
 SCALE & PROPORTION
• Scale relates to the size of a design in
relation to the height and width of the area
in which it is placed.
• Proportion relates to the parts of the
object and how one part relates to another.
 SCALE
• Relates to the actual
and relative size and
visual weight of the
design and its
components.
• Furniture and
accessories must be in
scale to the room
 PROPORTION
• The creative use of color,
texture, pattern, and furniture
arrangement can create illusions
of properly proportioned space.
 Proportion is a central principle
of architectural theory. It is the visual effect of the
relationships of the various objects and spaces that
make up a structure to one another and to the whole.
These relationships are often governed by multiples of
a standard unit of length known as a "module".
In history there have been several theories about order, scale and proportion in
architecture, the most famous of which is the theory of the golden section.
when you look at something you see everyday, yet in such a scale and detail, it's
almost shocking. It forces you to look at things you normally won't notice.
Ron Mueck (born 1958) is an Australian hyperrealist sculptor working in UK
 SCALE & PROPORTION
Too Big, Too Small, Just Right

• This chairs massive

scale diminishes
everything around it.
 Too Small.

• The chairs light

palate
accentuates its
skinny scale.
 Just Right.
• This club chair
matches the scale
of the sofa.
 BALANCE
As a basic principle of art, balance refers to the ways in
which the elements (lines, shapes, colors, textures, etc.) of a
piece are arranged.

• A sense of equilibrium.
• When establishing balance
consider visual weight created
by size, color, texture and
number of objects.
 TYPES OF BALANCE
In symmetrical balance, if an imaginary line is drawn through the center of the work,
both sides are exactly the same, and balanced in that way. In asymmetrical balance,
the two sides are not identical, but differ from one another. However, the elements
are arranged so that there is a sense of balance.

• SYMMETRICAL
• Achieved by placing
identical objects on
either side of a central
point.
• ASYMMETRICAL
• Achieved by placing
different objects of
equal visual weight on
either side of a central
point.
SYMMETRICAL BALANCE
SYMMETRICAL BALANCE
 SYMMETRICAL BALANCE
• Creates a quiet, restful
feeling.
• Suggests restraint,
orderliness, formality.
• Also called, FORMAL
balance.
Asymmetrical Balance
A Sunday on La Grande Jatte, Georges Seurat, 1884
Asymmetrical Balance
Asymmetrical Balance
• Creates more
interesting
arrangements.
• Suggests informality,
relaxed.
• Also referred to as
INFORMAL balance.
 Asymmetrical Balance
• Mirror is placed off
center on the mantle.
• Tray and bottles on
either side of the
mirror help to balance
it out.
Asymmetrical Balance
• Wall hangings of the
same visual weight are
hung on each side of
the plant stand.
• Chair balances out the
fireplace on the other
side of the room.
 Asymmetrical Balance
• Items on the mantle
are arranged using
Asymmetrical
Balance. The picture
is slightly off center
with large plant on the
left is balanced by a
group of vases on the
right.
 Radial Balance
Radial balance is a visual balance based on a circle
with its design extending from center.
 Radial Balance
• Radial balance involves having furnishings or
patterns arranged in a circular manner.
• Creates a sweeping, dramatic, circular motion in a
room.
Radial Balance
REPETITION, PATTERN and
RHYTHM
Repetition refers to one object or shape repeated;
pattern is a combination of elements or shapes
repeated in a recurring and regular arrangement;
rhythm--is a combination of elements repeated,
but with variations.
Repetition refers to one object or shape repeated;
pattern is a combination of elements or shapes repeated in a
recurring and regular arrangement;
rhythm--is a combination of elements repeated, but with
variations.
 REPETTION

Repeated use of a shape, colour, or other art element or

design in a work can help unify different parts into a
whole. The repetition might be limited to only an
instance or two: not enough to create a pattern or
rhythm, but enough to cause a visual echo and reinforce
or accent certain aspects of the work. Repetition is the
simplest way to attain rhythm.
 REPETTION

THE REPEATING WOOD SLATS ON THE WALL OF THIS PIZZA SHOP CREATES A PLAYFUL
RHYTHM AND DRAWS YOUR EYE THROUGH THE SPACE.
REPETTION
 PATTERN
Pattern is an underlying structure that organizes surfaces
or structures in a consistent, regular manner.

Pattern can be described as a repeating unit of shape or

form, but it can also be thought of as the "skeleton" that
organizes the parts of a composition.
 RHYTHM
Music : patterns of sound over timed intervals.
Dance : patterns of movement and gesture through
physical space.
Speech : patterns of cadence in spoken words.
Writing : patterns of cadence written words.
Painting : patterns of brush stroke, color, shape, on a
canvas.

The principle of design that refers to a regular repetition of

elements of art to produce the look and feel of movement.
It is often achieved through the careful placement of
repeated components which invite the viewer's eye to jump
rapidly or glide smoothly from one to the next.
 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.
• Leads the eye from one point to another, creates motion.
 TYPES OF RHYTHM

• Rhythm by Repetition
• Rhythm by Gradation
• Rhythm by Radiation
• Rhythm by Opposition
• Rhythm by Transition
 Rhythm By Repetition
• Rhythm created by
duplicating (repeating)
shapes, colors, pattern,
line, texture.
• Beams in the ceiling
are repeated. Window
panes, repeat. Stripes
on ottoman and chair
are repeated.
Rhythm By Gradation
• Rhythm created by a
gradual change in size
or color.
• Paint on wall changes
gradually in value.
 Rhythm By Radiation
• Rhythm created by
identical objects
coming from a central
axis.
• Tall Grasses “radiate”
from the center of the
vase on this bathroom
vanity.
Rhythm By Opposition
• Rhythm created by
lines at right angles or
contrasting colors.
• Contrasting black and
white tiles and the
lines intersecting at
right angles.
 Rhythm By Transition
• Rhythm created by
curved lines that carry
your eye across a
straight surface.
• Window treatments
that gently swag
down, create a soft
rhythm by transition.
 EMPHASIS
Emphasis is defined as an area or object within
the artwork that draws attention and becomes a
focal point. Subordination is defined as
minimizing or toning down other compositional
elements in order to bring attention to the focal
point.
Emphasis can be created by
contrast. An element in contrast
with something else is more easily
seen and understood; something
different attracts the eye. Any of the
elements can be contrasted: line (a
curve in the midst of straight lines),
shape (a circle in a field of squares),
color (one red dot on a background
of grays and blacks), value (a light
or dark area in the middle of its
opposite) and texture (rough vs.
smooth).
Emphasis can also be created by
placement. Implied lines all directed
toward the same place can create a
focal point there. Isolating an
element from the others by its
position in space will also create
emphasis.
This painting uses colour
and placement to
emphasize the apple. the
placement of the apple in
front of the man's face
draws you in.

‘Son of Man’

René Magritte
1964
 Guidelines for Creating Emphasis

• The point of emphasis

should command
attention, but not
dominate the overall
design.
 Harmony
• There are 2 types of harmony.

• Unity
• Variety
 HARMONY
Harmony creates Unity by stressing the similarities of separate but related parts.
Harmony emphasizes relationships in the artwork, which encourages the eye to
move throughout the piece.

Kandinsky
 UNITY
Unity occurs when all of the elements of a piece
combine to make a balanced, harmonious, complete
whole. Unity in an artwork creates a sense of
harmony and wholeness, by using similar elements
within the composition and placing them in a way
that brings them all together. Variety adds interest
by using contrasting elements within the
composition. Unity is another of those hard-to-
describe art terms but, when it's present, your eye
and brain are pleased to see it.
 There is a strong sense of unity in this painting, “People of Chilmark”
by Thomas Hart Benton. The consistent style of form and color work to
unify this rather complex composition. Ultimately, the various figures
exist harmoniously with each other the painting is seen as one.
 VARIETY
•When two or more
different elements of
design are used to
add interest to a
design.
•Variety can be
achieved by
combining different
styles and materials,
as long as they are
compatible.

‘I and the village’

Marc Chagall
 CONTRAST
The difference in quality between two instances of an art
element, or using opposing qualities next to each other.
For example, dark and light, black and white (contrasting
values), organic/curvy and geometric/angular (contrasting
lines/shapes/forms), and rough and smooth (contrasting
textures).
The greater the contrast, the more the object will stand out
and call attention to itself. This applies to whole works of
art as well as areas within an artwork. Areas with greater
contrast in value (stronger darks and lights) will tend to
appear more forward in space, as over distance atmospheric
haze lessens contrast (atmospheric perspective). Contrast
can also be used to set the mood or tone of the work. High
contrast makes a work more vibrant, vigorous, brash, lively
- it "pops" more. Low-contrast work is more quiet, calm,
subtle, reflective, soothing.
Vincent Van Gogh THE NIGHT CAFE
 MOVEMENT
Using art elements to direct a viewer's eye along a path
through the artwork, and/or to show movement, action and
direction. Also, giving some elements the ability to be
moved or move on their own, via internal or external
power.

In a still picture such as a painting or photograph, where

nothing is actually moving, various strategies can be used
to give the viewer a sense of movement and speed, or to
move the viewer's eye through the work. These include
lines, diagonals and unbalanced elements; blurring;
placement; direction; and motion lines and afterimages.
Henri Matisse Dance (II), 1909-1910
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.