| The fundamentals of design are the very
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| | such a way as to create an effective work
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| building blocks of the arts. Everything
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| | of art. With experience and study the
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| in art can be distilled down to a matter
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| | artist develops his "aesthetic sense" to
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| of design. So what is design? One
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| | the point where he automatically sees
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| dictionary definition is "the
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| | whether a painting or drawing "looks
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| organization or structure of formal
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| | right" or not.
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| elements in a work of art." Not very
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| | The elements of design are:
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| informative, perhaps, but not incorrect,
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| | 1. Line
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| either. Design is simply how things are
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| | 2. Value (light and dark)
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| arranged in a work of art.
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| | 3. Color (or "hue")
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| There must be organization in a work of
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| | 5. Intensity
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| art, or else it degenerates into a
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| | 6. Texture
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| confusing mess! The basics of design
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| | 7. Shape
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| apply not only to the fine arts, but to
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| | 8. Size
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| the minor arts as well. The wallpaper in
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| | Obviously, these are the things that a
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| your living room has a design on it; even
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| | visual artist would use to create his
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| the paper towels in your kitchen have a
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| | work. A writer would use metaphor,
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| design printed on them. Design is the
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| | simile, allusion, etc, while a composer
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| placement of elements on a
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| | would use full notes, half notes, sharps,
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| two-dimensional surface, while
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| | flats, and so forth. The elements of
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| composition is the arrangement of
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| | design will vary according to the medium
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| elements in the illusion of
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| | employed; the principles of design remain
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| three-dimensional space. Both must be
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| | the same for any art form.
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| taken into account when creating a
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| | I have learned to look at a painting or
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| painting, or even a sculpture, for that
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| | drawing both as a two-dimensional design,
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| matter.
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| | and as a three-dimensional composition.
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| Design can be broken down into two areas:
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| | In reality, a painting really is just a
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| principles and elements.
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| | collection of shapes and colors on a flat
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| Here are the principles of design (Note:
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| | surface, and during its creation it
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| in using the word "element", I am
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| | should be viewed as such in order to
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| referring to the objects or figures in an
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| | ensure that its design is sound. But if
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| artwork, the "things" in a design):
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| | you work in a realistic, representational
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| 1. Unity - although there should be some
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| | style as I do, you are also trying to
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| difference in the elements in a design,
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| | create the appearance of three dimensions
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| all elements taken together should work
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| | in your work, and you have to look at the
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| together to create a single, coherent
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| | piece in this manner as well. This is why
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| design.
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| | I think it is advisable to work in a
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| 2. Conflict - although to achieve unity
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| | totally abstract style from time to time,
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| in a design most elements need to be
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| | so as to develop a better understanding
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| similar, or serve a similar function,
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| | of pure design, even if you usually work
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| there should be some contradiction to add
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| | in a representational style.
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| variety and life to the work.
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| | Even a fully realistic treatment of a
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| 3. Dominance - to help in achieving
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| | subject is nothing more than an abstract
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| unity, one element out of the many
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| | motif taken to a more highly developed
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| elements that make up a design should
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| | level. Da Vinci's "Mona Lisa", as
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| predominate; i.e. there should be more of
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| | realistic as it may be, can still be
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| one color than any other, or dark values
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| | viewed as a collection of shapes
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| should predominate over lighter values,
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| | organized in a harmonious pattern on a
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| etc.
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| | flat surface. When a sculptor creates a
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| 4. Repetition - the repetition of
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| | figure in the round, mean to be seen from
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| elements, such as geometric shapes, helps
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| | a full 360°, he still has to be
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| to create a sense of rhythm and unite the
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| | conscious of the two-dimensional aspect
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| various elements in the design.
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| | of the work when seen from different
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| 5. Alternation - variety is necessary in
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| | viewpoints. To be effective, it has to
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| order to prevent monotony; i.e. breaking
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| | present an aesthetically pleasing
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| up a large area of shadow with a patch of
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| | appearance from any angle, and that means
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| light.
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| | it has to have a solid design no matter
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| 6. Balance - self-explanatory. Avoiding
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| | where the viewer is standing. To
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| too much or too little, too many or too
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| | demonstrate this, do a series of sketches
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| few.
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| | of a statue or statuette from different
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| 7. Harmony - all elements in a design
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| | viewpoints. If the sculpture has been
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| work together visually in an orderly
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| | designed well, it should look good from
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| fashion.
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| | any angle, and your flat, two-dimensional
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| 8. Gradation - the subtle change of
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| | sketches should reflect this.
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| color, value or shape contrasted with
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| | Take a look at some of my paintings and
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| sharp or dramatic change helps to enrich
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| | drawings on my website. Forget that they
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| the design.
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| | are supposed to represent
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| 9. Direction - the "lines of motion" in a
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| | three-dimensional objects and figures.
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| painting should largely point in the same
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| | Simply look at them as flat,
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| way, although allowing for some variety.
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| | two-dimensional patterns, and try to see
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| It's easy to see that these principles
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| | how I've used the principles of design in
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| apply to any art form, not just the
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| | these works. Try analyzing other artist's
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| visual arts. Writers, composers, even
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| | work in this manner, too. This is an
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| dancers and film directors must employ
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| | excellent exercise for strengthening your
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| these rules if they are to achieve an
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| | own sense of design.
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| effective result. It should also be
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| | In the end, art and design are one and
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| apparent that combining all of these
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| | the same. Color theory, composition,
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| principles effectively is a difficult and
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| | value schemes, drawing techniques and all
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| very subjective undertaking, since some
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| | the rest simply flesh out the basic
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| principles seem to contradict others.
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| | design. Understand design, and you'll
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| Nonetheless, the artist balances them in
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| | understand what makes great art.
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