THE PRINCIPLES

OF ART DESIGN
DESIGN
The proper arrangement of the different
art elements in order to produce something
beautiful.
Good design is the result of careful and
correct application of the principles of
design. The most important factor for an
artist to remember is to execute these
principles in order to achieve beauty and
better perception.
 Architects, engineers, painters,
sculptors, and other artists are not the
only designers in the world; everybody
is a designer. All of us are designers in
our own ways. Thus, it would be very
beneficial for us to be familiar with the
principles of art design.
PRINCIPLES OF ART DESIGN

 Harmony
 Rhythm
 Balance
 Proportion
 Emphasis
1. HARMONY

is the principle which produces an

impression of unity through the
selection and arrangement of consistent
objects or ideas. It is the quality which
unifies every part of an arrangement. If
there is harmony, there is order. Every
orderly arrangement is harmonious.
 5 ASPECTS OF HARMONY

1.Harmony of lines and shapes

2.Harmony of size
3.Harmony of color
4.Harmony of texture
5.Harmony of idea
1.Harmony of
lines and
shapes

 Transitional
lines
 Opposing or
contrasting
lines
 1.Harmony of lines and
shapes

Transitional lines – It is usually

curved, graceful line which
connects two or more
opposing lines.
 1.Harmony of lines
and shapes

Contrasting or Opposing
lines – a straight line
which intersects each
other and form angles.
1.Harmony of lines and
shapes

Repetition – if a small
rectangle is placed within a
bigger rectangle so that
their sides are parallel.
 2. Harmony of size

- This refers to good proportion.

- As you can see in the picture,
both figures in Egon Schiele’s
painting occupy the same
amount of space. The figure
with the yellow bonnet sits on
a dark mat while the figure
with the dark bonnet sits on a
yellow mat. Both bonnets and
mats occupy the same
amount of space.
 3. Harmony of color
Creating harmony of color means using
two or more colors in decorating an article or
object. It does not mean the mixing of the
colors.
A girl, for instance, may use three colors in
her dress, that is, the blouse may be pink, the
skirt is dark red and buttons on the blouse are
red.
There are two standards or groups of color
 4. Harmony of
texture
The character of
texture can be determined
by feeling the object with
the fingertips or by looking
at it.
Coarse textures should
not be combined with fine
textures.
 Combining antique and 5. Harmony of idea
modern furniture in the same
room does not show harmony
of idea.
A store window
displaying dresses, hardware
and
school supplies would be a
very poor display.
It is not enough that
shapes, sizes and textures
have something in common:
there must be harmony in
2. RHYTHM
 Refers to a relationship between elements
that creates a sense of harmony.
 Can be seen in patterns, in relationships
between colors and shapes, and in
repetitions of lines and forms.
 Rhythm is not only applied to the graphic
arts (drawing, printing, and painting) but
also to architecture, textiles, laces,
furniture, glassware, dresses, gardening,
 Rhythm is classified into formal and
informal.
Formal or uniform rhythm is the
repetition of a motif in uniform and
regular arrangement while informal or
free rhythm
the repetition of a motif with variation in
its form, size, and arrangement.
Formal or Uniform Rhythm
Informal or Free Rhythm
3. BALANCE
is a condition or quality which gives a
feeling of rest, repose, equilibrium, or stability.
Mathematically, objects are balanced when they
have equal physical weights and are placed
equally distant from a common center or axis.
In art, we do not exactly arrange objects of
equal physical weights or sizes to produce
balance. It is the visual weights of lines, forms,
values, textures and colors that we really
balance.
 Visual weight is the quality which gains
and holds attention. In other words, it is the
power of attraction of each of the elements of
art. Objects should be balanced horizontally,
vertically or diagonally, that is, the attraction
should be distributed on either side of the
vertical, horizontal or diagonal axis of any
arrangement.
 Symmetrical Balance
Symmetrical balance is the balance
of equal visual weights placed at
equal distances from the axis.
Symmetrical balance can be
described as having equal “weight”
on equal sides of a centrally placed
fulcrum.
It may also be referred to as formal
balance. When elements are
arranged equally on either side of a
central axis, the result is bilateral
symmetry.
 Asymmetrical Balance
Asymmetrical design is typically of-
centered or created with an odd or
mismatched number of disparate
elements.
When the left and right sides of the
design are unequal it is said to have
asymmetrical balance.
Is the balance of unequal visual
weights, the heavier one being nearer
the axis and the lighter one farther.
It is also called informal, occult or free
balance.
4. PROPORTION
is the art principle which shows pleasing
relationship between a whole and its parts and
between the parts themselves. It can be
achieved through proper arrangement of space
divisions.
Most objects around us are rectangular in
form-the tables, windows, closets, houses,
books, newspapers, magazines, picture frames,
etc.
 The Parthenon, a building in
Athens, Greece, is considered the most
perfectly proportioned architectural
structure in the world.
 There are three (3) aspects of proportion: proportion
in the grouping of objects; proportion in space divisions;
and scales. Proportion is established when two or more
objects are placed near or adjacent to each other.
An arrangement or grouping of objects may show
good or bad proportion. In arranging objects, it is more
pleasing to group three objects with another three, or
two objects with three, than to group two objects with
two or two with four.
It is because odd numbers are more interesting than
even numbers. Very small objects should not be grouped
with very large ones. Otherwise, they will be out of
proportion. Harmony of size is the same as good
proportion.
5.) EMPHASIS
is the principle of art which tends to
carry the eyes from the center of interest
or dominant part of any composition to
the less important or subordinate parts.
There is no dominance without
subordination, and no subordination
without dominance.
 The answer to the question, "What things
should be emphasized?" depends upon the
artist's purpose. It may be the outline, form,
color, texture, size, idea, or value of an object.
The least thing that should be emphasized
in any arrangement or composition is the
background. Hence, it must be plain and
should not be more conspicuous than the
objects placed before it.
 METHODS OF EMPHASIZING
OBJECTS

5.1 By arrangement or grouping of

objects. If objects are grouped
together, the one to be emphasized
should be located at the center and
should be the biggest and brightest
in color.
5.2 By decoration. An object or an act
intended to increase the beauty of a person,
room, etc.
Something nice that you put in or in
something else to make it look more
attractive.
5.3 By color contrast. It depends on how high
the saturation is. With less saturation, the
tonal contrast becomes noticeable. With
more saturation, the color contrast takes
over.
5.4 By the use of plain background space.
Simple decorations which are placed against
sufficient plain background will be more
emphatic than when the background space is
small.
5.5 By unusual lines, shapes, and colors.
Novelty or newness can also draw attention
to s specific element of work. It is difficult to
keep the eye away from extraordinary figures
or subjects.
5.6 By action or movement. Dynamic
illustrations usually attract more attention
than passive ones.
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