Principles of Design

The Principles of Design can be thought of as what we do to the elements of design. How we apply the Principles of design determines how successful we are in creating a work of art.

THE PRINCIPLES OF DESIGN

BALANCE

Balance in design is similar to balance in physics. A large shape close to the center can be balanced by a small shape close to the edge. A large light toned shape will be balanced by a small dark toned shape (The darker the shape the heavier it appears to be).

GRADATION

Gradation of size and direction produce linear perspective. Gradation of color from warm to cool and tone from dark to light produces aerial perspective. Gradation can add interest and movement to a shape. A gradation from dark to light will cause the eye to move along a shape.

REPETITION

Repetition with variation is interesting, without variation repetition can become monotonous.

CONTRAST

Contrast is the juxtaposition of opposing elements, eg., opposite colors on the color wheel - red / green, blue / orange etc. Contrast in tone or value - light / dark. Contrast in direction - horizontal / vertical.

The major contrast in a painting should be located at the center of interest. Too much contrast scattered throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and confusion are what you are seeking, it is a good idea to carefully consider where to place your areas of maximum contrast.

HARMONY

Harmony in painting is the visually satisfying effect of combining similar, related elements, adjacent colors on the color wheel, similar shapes, etc.

DOMINANCE

Dominance gives a painting interest, counteracting, confusion, and monotony. Dominance can be applied to one or more of the elements to give emphasis.

UNITY

Relating the design elements to the the idea being expressed in a painting reinforces the principal of unity. A painting with an active aggressive subject would work better with a dominant oblique direction, course, rough texture, angular lines, whereas a quiet passive subject would benefit from horizontal lines, soft texture, and less tonal contrast.

Unity in a painting also refers to the visual linking of various elements of the work.

Sources:  John Lovett and Studio Chalkboard

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