Visual communication: Principles of design · Visual communication: Principles of design Unity and variety Balance emphasis and subordination directional forces ... 108 de Hooch,

Visual communication: Principles of design�

Unity and variety�Balance�emphasis and subordination�directional forces�contrast�repetition and rhythm�scale and proportion

Unity and variety

— Unity describes a feeling that all elements with in a composition belong together or work in harmony.�

— Variety is diversity, opposite of unity�

* Too much sameness can be boring and predictable, balance between the 2 can make a richer more dynamic composition.

107 Lawrence, Jacob. Going Home. 1946

Detail drawing of 107

108 de Hooch, Pieter. Interior of a Dutch House. 1658

Detail drawing of 108

Balance: Symmetry and Asymmetry

Symmetry / symmetrical balance — represents stability, permanence, motionlessness

* But too much symmetry can be static, boring to look at, and not very dynamic.

109 Giacometti. Alberto. Chariot. 1950

110 Hoban, James

Balance: Asymmetry

Asymmetry / Asymmetrical balance — Left and right sides are not the same. Instead various elements are balanced according to their size and meaning, around a felt or implied center of gravity.

•  Asymmetry does not mean unbalanced. •  As a balancing system, asymmetry works differently than symmetry, but not counter to it.

Asymmetrical balance keys to remember:

1. Larger forms are visually heavier than small ones. — many small forms may balance out one large form

2. Forms gather weight as they approach an edge — a smaller form near and edge can balance a larger form near the center

3. Complex forms are heavier than simple forms. — smaller complex forms can balance larger simple forms

**** Color changes things a bit

4. Warm colors are heavier than cool colors and appear to come forward.

5. Intense colors more heavy than tints and shades

1. Larger forms are visually heavier than small ones. — many small forms may balance out one large form

2. Forms gather weight as they approach an edge

— a smaller form near and edge can balance a larger form near the center

3. Complex forms are heavier than simple forms. — smaller complex forms can balance larger simple forms

4. Warm colors are heavier than cool colors and appear to come forward.

5. Intense colors more heavy than tints and shades

113 Poussin, Nicolas. The Holy Family on the Steps. 1648

Emphasis and subordination

Emphasis is used to draw attention to a specific area or focal point.�

Subordination is the opposite, reducing areas to make them less attention getting, less emphasized

•  Asymmetry does not mean unbalanced. •  As a balancing system, asymmetry works differently than symmetry, but not counter to it.

113 Poussin, Nicolas. The Holy Family on the Steps. 1648

Directional forces: actual or implied

Directional forces are simply paths for the eye to follow.

* Implied directional lines may be suggested by a form’s axis, by the imagined connection between similar or adjacent forms, or the implied continuation of actual lines.

116 Goya, Francisco. Bullfight: The Agility and Daring of Juanito Apinani

Contrast

Juxtaposition of dissimilar elements: color, size, weight, any visual element

* Can be used to balance.

117 Luster-Painted Bowl. Spain. C 1400

Repetition and Rhythm

Repetition of visual elements gives a composition unity, continuity, flow, and emphasis.�

* Can be used to balance.

Detail drawing of 108

119 Korin, Ogata. Cranes. C 1700

Rhythm

Rhythm is created through regular reoccurrences of elements with related variations

— its an organizational device.�

Scale and Proportion

Scale is the size relationship of one thing to another

Proportion is the size relationship of parts to a whole.

121 Oldenburg, Claes and van Bruggen, Coosje. Shuttlecocks. 1994

124 Buonarroti, Michelangelo. Pieta. 1501

125 Boetigen Pieta. 1300 - 1325