Fundamentals of

Design
Elements and Principles
Composition

The term composition means "putting together". It can

be thought of as the organization of the elements of art
according to the principles of art.

Composition can apply to any work of art, from music

through writing and into photography, that is arranged
using conscious thought.

The composition of an artwork is defined by how the

image is depicted and laid out on the canvas.
Elements of
composition
Elements of
composition

The elements of art are the basic components of art-marking. It is impossible to create a work of art
without using at least one of the seven elements of art. Artworks can also be analyzed according to the
use of the elements in a work of art.

1. Line — the path that directs the eye across the work
2. Shape — geometric or organic areas of the objects depicted
3. Colour — the value and intensity of the pigments
4. Form — depth, width, or breadth
5. Texture — the richness of surface
6. Value — the light and dark that gives form to the subjects or objects
7. Space — the existence of positive or negative space between subjects and objects
Line
● Line is a mark with greater length
than width.
● Lines can be horizontal, vertical, or
diagonal; straight or curved; thick or
thin.
Line

Line: An element of art used to define shape, contours, and outlines; also to
suggest mass and volume. It may be a continuous mark made on a surface with a
pointed tool or implied by the edges of shapes and forms.

Characteristic of Line are:

● Width - thick, thin, tapering, uneven

● Length - long, short, continuous, broken
● Direction- horizontal, vertical, diagonal, curving, perpendicular, oblique,
● parallel, radial, zigzag
● Focus- sharp, blurry, fuzzy, choppy
● Feeling- sharp, jagged, graceful, smooth
Line
Line
Line
Line as a element of design
Shape
Shape is a closed line. Shapes can be
geometric, like squares and circles; or
organic, like free-form or natural shapes.
Shapes are flat and can express length and
width.
Shape

When a line crosses itself or intersects with other lines to enclose a space, it
creates a shape. Shape is two crosses itself or intersects with other lines to
enclose a space, it creates a shape. Shape is two -dimensional and has height
and width, but no depth.

Categories of Shapes:

● Geometric Shapes - Circles, Squares, rectangles, and triangles. We see

them in architecture and manufactured items.
● Organic Shapes -Leaves, seashells, and flowers are organic shapes. We see
them in nature and they have free flowing, informal and irregular
Shape

characteristics:

● Positive Shapes - In a drawing or painting, positive shapes are the solid

forms (positive space) in a design such as a bowl of fruit. In a sculpture,
positive shapes are solid areas of the sculpture that remain after removing
portions of the sculpture.
● Negative Shapes - In a drawing or painting, the space around the positive
shape is negative space. Negative space can form a shape when it meets a
positive shape. Negative space can include the sky or spaces between
objects.In sculpture, the negative space is the portion that is removed from
a sculpture. The negative space can become a shape when it meets the
positive form of the sculpture.
● Static Shapes - Shapes that appear stable and resting.
● Dynamic Shapes - Shapes that appear to be moving and active.
Line to shape
Pure shape
Form
Forms are three-dimensional shapes
expressing length, width, and depth. Balls,
cylinders, boxes, and pyramids are forms.
Form

● Form is the three-dimensionality of an object. Shape is only two-

dimensional; form is three-dimensional.
● You can hold a form, walk around a form, and in some cases walk inside a
form.
● Value can imply form in drawings or paintings. Shading a circle in a certain
manner can give it the illusion of a sphere.
Shape and Form as a element of design
Color
Color is light reflected from objects. Color
has three main characteristics: hue (the
name of the color, such as red, green,
blue, etc.), value (how light or dark it is),
and intensity (how bright or dull it is).
Color
● Color comes from light - if it weren't for light, we would have no color. Light
rays move in a straight path from a light source. Within this light, rays
include all of the colors in the spectrum or rainbow. Shining a light into a
prism will create a rainbow of colors because it separates the color of the
spectrum.
● When the light rays hit an object, our eyes respond to the rays that are
reflected back and we see only the reflected color(s).
● For example, a red ball reflects all the red light rays. As artists, we use
pigments in the form of powder or liquid paints to create color.
Color as a element of design
Value
Value is the range of lightness and darkness
within a picture. Value is created by a light
source that shines on an object creating
highlights and shadows. It also illuminates the
local or actual color of the subject.

Value creates depth within a picture making an

object look three-dimensional with highlights and
cast shadows, or in a landscape where it gets
lighter in value as it recedes to the background
giving the illusion of depth.
Value

Categories of Values

● Tint is adding white to a color paint to create lighter values such as light
blue or pink.
● Shade is adding black to a paint color to create dark values such as dark
blue or dark red.
● High-Key is a picture with all light values.
● Low-Key is a picture with all dark values.
● Value Contrast is light values placed next to dark values to create contrast
strong differences.
● Value Scale is a scale that shows the gradual change in value from its
lightest value, (white) to its darkest value (black).
Value as a element of design
Texture
Texture is the surface quality that can be
seen and felt. Textures can be rough or
smooth, soft or hard. Textures do not
always feel the way they look; for
example, a drawing of a porcupine may
look prickly, but if you touch the drawing,
the paper is still smooth.
Texture

Categories of Texture

●Real Texture is the actual texture of an object. Artists may create real textures
in art to give it visual interest or evoke a feeling. Real texture occurs only in a
three-dimensional sculpture or a collage. A piece of pottery may have a rough
texture so that it will look like it came from nature or a smooth texture to make it
look burnished.

●Implied Texture in two-dimensional art is made to look like a certain texture

but in fact is just a smooth piece of paper. Like a drawing of a tree trunk may look
rough but in fact it is just a smooth piece of paper
Texture as a element of design
Space
Space is the area between and around
objects. The space around objects is often
called negative space; negative space has
shape. Space can also refer to the feeling of
depth. Real space is three-dimensional; in
visual art, when we create the feeling or
illusion of depth, we call it space.
Space

Categories of Space

●Positive space - Similar to a positive shape, it is the actual sculpture or

building.
●Negative space - Similar to a negative shape, it is the space around the
sculpture or building.
●Picture Plane is the flat surface of your drawing paper or canvas.
●Composition is the organization and placement of the elements on your
picture plane.
●Focal Point is the object or area you want the viewer to look at first.
Aerial Perspective
Space as a element of design
elements of design
Principles of
Composition
 Principles of Design Ordering Principles of Design Gestalt Principles of Design

•Similarity
•Axis
•Balance •Continuation
•Symmetry
•Contrast •Closure
•Emphasis/dominance •Hierarchy
•Proximity
•Pattern •Datum
•Figure/Ground
•Unity •Rhythm
•Symmetry and order
•Movement •Transformation •Law of Pragnanz
•Rhythm •Common fate
•Parallelism
•Focal Points
Principles of composition

The principles of design refer to the manner in which the elements of art are arranged in
a work of art. Since the principles of art mostly deal the organization of a work of art,
they mainly influence the composition. By mastering the principles of art, we can
improve our drawing and painting compositions.
●Balance – can be Symmetrical or Asymmetrical
●Repetition/Rhythm – a repeating visual element (line, shape, pattern, texture, movement); a flowing and regular occurrence. A
subcategory of repetition is pattern
●•Focus/Emphasis/Dominance – the prime center of visual importance within a composition to which all other visual elements
yield; it holds the viewer’s attention because of its attractive and dominant influence on its surroundings Rule of Thirds
●•Unity/Harmony
●•Scale – The overall size of an object
●•Proportion – The relative size of different elements of an artwork.
●•Contrast – When one extreme is pitted against another. Bright vs Dark. Heavy vs Light, Rough vs Soft, etc.
●•Movement – How the artist leads the viewer’s eye around the page
●•Depth – overlapping forms suggest depth; changes in scale can suggest depth; illusionistic perspective can suggest depth,
atmospheric perspective (see images here) can suggest depth
Principles of design
Balance
Balance is the distribution of the
visual weight of objects, colors,
texture, and space. If the design
was a scale, these elements
should be balanced to make a
design feel stable.

In symmetrical balance, the

elements used on one side of the
design are similar to those on the
other side; in asymmetrical
balance, the sides are different
but still look balanced. In radial
balance, the elements are
arranged around a central point
and may be similar.
Balance—some equal distribution of visual weight—is a universal aim of composition. The vast majority of pictures
we see have
been consciously balanced by the artist. However, this does not
mean there is no place in art for purposeful imbalance. An artist may, because of a particular theme or topic,
expressly desire
that a picture raise uneasy, disquieting responses in the viewer.
Imbalance
In this instance imbalance can be a useful tool
The simplest type of balance, both to create and to recognize, is called symmetrical balance. In symmetrical
balance, like shapes are repeated in the same positions on either side of a vertical axis. This type of
symmetry is also called bilateral symmetry. One side, in effect, becomes the mirror image of the other side.
Symmetrical balance seems to have a basic appeal for us that can be ascribed to the awareness of our
bodies’ essential symmetry
Symmetrical Balance
The second type of balance is called asymmetrical balance. In this case balance is achieved with
dissimilar objects that have equal visual weight or equal eye attraction.

Asymmetrical balance
The second type of balance is called asymmetrical balance. In this case balance is achieved with
dissimilar objects that have equal visual weight or equal eye attraction.

Asymmetrical balance
 A third variety of balance is called radial balance. Here all the elements radiate or circle out from a
common central point. The sun with its emanating rays is a familiar symbol that expresses
the basic idea. Radial balance is not entirely distinct from symmetrical or asymmetrical balance. It is
merely a refinement of one or the other, depending on whether the focus occurs in the middle or off
center
Radial balance
Repetition/
Rhythm
Rhythm is created when one or more
elements of design are used repeatedly to
create a feeling of organized movement.
Rhythm creates a mood like music or
dancing. To keep rhythm exciting and
active, variety is essential.

Rhythm as a design principle is based on

repetition. Repetition, as an element of
visual unity, is exhibited in some manner by
almost every work of art. However, rhythm
involves a clear repetition of elements that
are the same or only slightly modified.
Repetition/Rhythm
Regular rhythm or repetition– elements are repeated exactly in an evenly spaced arrangement

Regular Rhythm
Progressive rhythm. Again, the rhythm involves repetition, but repetition of a shape that changes in a
regular manner. There is a feeling of a sequential pattern. This type of rhythm is most often achieved with a
progressive variation of the size of a shape, though its color, value, or texture could be the varying element.

Progressive Rhythm
movement is suggested through repeating organic shapes or through irregular repetition of repeating
elements
Flowing Rhythm
Focus/Emphasis/
Dominance
Emphasis is used by artist to create
dominance and focus in their work.Artists can
emphasize color,value,shapes or other art
elements to achieve dominance.various kind
of contrast can be used to emphasize a
center of interest

●When any two elements in a design are

considered, either the elements will be equal
in every way or one will exert some level of
dominance over the other.
●The more dominant element will attract the
eye and get noticed first.
●It might even appear to exhibit some sort of
control over the less dominant element and
seem to exert force on what’s around it.
Very often in art the pictorial emphasis is clear and in simple composition the focal point is obvious. But the
more complicated the pattern,the more necessary or helpful a focal point may become in organizing the
design
Focus/Emphasis/Dominance
As a rule, a focal point results when one element differ from the others. Whatever interrupts an overall
feeling or pattern automatically attracts the eye by this difference

Emphasis by contrast
A variation on the device of emphasis by contrast is the useful technique of emphasis by isolation.

Emphasis by Isolation
Putting something in the center of a composition creates emphasis.in fact, it is often a criticism of naive or
boring compositions to notice that the subject is plopped down smack in the center. So then it becomes
interesting to see how the center can be used in subtle way to achieve emphasis

Emphasis by Placement
A definite focal point is not a necessary in creating a successful design. It is a tool that artist may or may not
use. Depending on their aims. Artist may wish to emphasize the entire surface of a composition over any
individual element
Emphasizing the whole over the parts
Unity/Harmony
Unity (also called harmony sometimes) is an important principle
of design that gives the artwork a sense of cohesion or
coherence.

Unity is achieved when each element of a design fits in with the

overall concept of the production. It is defined by how those
elements relate to the production as a whole. Harmony, on the
other hand, is defined by how those same elements relate to
each other.It is the wholeness or completeness of a picture. Unity
and harmony in art are used by artists to tie a composition
together and help the composition make sense as a whole piece
of art.

In design , Unity describes the feeling that all the elements in a

work belong together and makeup a coherent and harmonious
whole.

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.
Unity means that a congruity or agreement exists among the elements in a design; they look as though
they belong together, as though some visual connection beyond mere chance has caused them to come
together. Another term for the same idea is harmony.

Unity/Harmony
An important aspect of visual unity is that the whole must predominate over the parts: you must fi rst see
the whole pattern before you notice the individual elements. Each item may have a meaning and certainly
add to the total effect, but if the viewer sees merely a collection of bits and pieces, then visual unity doesn’t
exist.
Visual Unity
Scale and Proportion
Scale and proportion are related terms: both
basically refer to size. Scale is essentially another
word for size. “Large scale” is a way of saying big,
and “small scale” means small. Big and small,
however, are relative.

What is big? “Big” is meaningless unless we have

some standard of reference. A “big” dog means
nothing if we do not know the size of an average
dog. This is what distinguishes the two terms.
Proportion refers to relative size—size measured
against other elements or against some mental norm
or standard.
Scale and proportion
One way to think of artistic scale is to consider the scale of the work itself—its size in relation to other art,
in relation to its surroundings, or in relation to human size. Unhappily, book illustrations cannot show art in
its original size or scale. Unusual or unexpected scale is arresting and attention-getting. Sheer size does
impress us
Human Scale
The scale here, of course, is relative to the overall area of the format—a big element in one painting might
be small in a larger work. Again, we often use the term proportion to describe the size relationships
between various parts of a unit. To say an element in a composition is “out of proportion” carries a negative
feeling, and it is true that such a visual effect is often startling or unsettling.

Internal Proportion
Some artists, however, use scale changes intentionally to intrigue or mystify us rather than to clarify the
focal point. Surrealism is an art form based on paradox, on images that cannot be explained in rational
terms. Artists who work in this manner present the irrational world of the dream or nightmare—
recognizable elements in impossible situations
Manipulating Scale and proportion
The inherent geometry of rectangles such as the golden rectangle and root five rectangle not only
provides an agreeable proportion; the diagonals and other interior structural lines often conform to
significant features in a composition

Geometry and notion of ideal

Contrast
Contrast refers to difference in values, color, texture, shapes and other elements.COntrast creates visual excitement
and add interest to the work.If all the art elements- Value, for example are the same is monotonous and unexciting
 Contrast in shape Contrast in color Contrast in scale Contrast by layout

• Contrast, as a principle of art, refers to the arrangement of opposite elements and effects.
• For example, light and dark colors, smooth and rough textures, large and small shapes. Contrast can be used to
create variety, visual interest, and drama in an artwork.

Contrast
Movement
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
• 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.

Movement
 Progressive and
flowing rhythm
creates
movement

• 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.

Movement
 Movement can refer to the illusion of actual movement in a drawing or painting; or it can refer
to the movement that a viewer’s eye takes when experiencing your art. In terms of
composition, we are most concerned with the latter.

When a viewer interacts with your art, their eyes move from one element to the next. Usually
the most commanding element demands immediate attention. After that, the viewer may move
on to other supporting elements within the scene.
Depending on the subject, the order may look something like this…
1. The viewer is drawn into the work.
2. The viewer is guided to the focal point(s).
3. The viewer is guided to supporting elements.
4. The viewer is guided out of the work or back to the focal point.

Movement
Movement