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Elements and Principles Notes PDF

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a ’ ent”. Elements and & iwe| Principles |“ 7 of Design | STUDENT f GUIDE WITH ACTIVITIES ©) Z| > =— Pi . convey | . 2 eee: q a, =the _ a i Bs ‘ . ad Pee wd INTRODUCTION Elements of Design Line . 4-5 SHAPE 6-7 FORM : 2.9 color ae VALUE a TEXTURE 14-15 SPACE 46.47 Principles of Design BALANCE ae-19 MOVEMENT 20-21 RHYTHM aa : 22-23 CONTRAST 24-25 EMPHASIS he 26-27 PATTERN 28-29 unity 30.34 CREDITS 32 u -y Congress Cataloging in Publlation Data laments and principle of design: student guide with activites. IAN o78.1-56200.271-1 Bem. Printed in the United Stoves of America ISBN 1-56290-271-7 Desian—Themes, motwes—Hendbooks, manuals ete Copyright © Crystal Productions Co 2. Decoration and armament Handbooks, manusle ee NK1510843 2008 701'8—de22 AllRights Reserved 2004016208 Whatare they? Elements Principles Line BALANCE SHAPE MOVEMENT FORM RHYTHM coor CONTRAST VALUE EMPHASIS Texture PATTERN SPACE unity How are they used to create a good composition? [An image which captures our attention and is pleasing to us always has a good compatition. A good composition includes mary of the elements of design working with the principles of design. For example colors an element and balance, + principle, i the arrangement of color so that one side orsection of a work of art doesritlook heavier or stronger than the other and isn visual balance. Also, movernent a principle, uses colo, ine, ang shape todiect the viewer's eye from one part ofa design toanother. Unity, a principe. isthe resut of all the clements and principles working together. What are the concepts ofeach? Elements of Design contour fines; hatching and crass-hatching: gestural lines; implied lines; and expressive lines. Shaper geometric and organic shapes; positive and negative shapes; abstract shapes; and outlined shapes. Form: geometric, organic, and natural forms; realistic abstract. and nonobjective forms. Color: primary and secondary colors; warm, cool, and neutral colors, color value; hue;and intensity. INTRODUCTION Valuezhigh key — light — and low key — dark — paintings; value contrasts; graded values; and values in atmospheric perspective Texture: actual and simulated texture; textures in febric, wood, metal, and in nature. ‘Space: two-dimensional and three-cimensional space; creating space with difterent sized and overlapping shapes; and linear perspective. Principles of Design Balance: symmetrical ard asymmetrical balance; radial balance; value, shape, color, and texture balance. ‘Movement: linear movement: visual movement with lines and shapes, value, and perspective, Rhythm: regular, regular, and progressive thythms; repetition of colors, shapes, and lines to create rhythm, Contrast: value contrast: color intensity; texture, shape, and warm and cool color contrast. Emphasis: color dominance. focal areas, and visual ‘emphesis with shapes. Pattern: planned or random repetitions of colors, lines, values, and textures to create patterns. Unity color, texture, shopes, and value ere used to create unity, Tow do Luse this Student Guide? Each element and principle is clearly defined on one page which includes many visual examples and expianations as well as a work of ert showing howa masterartist has used the elements and principles. These pages corralate to Crystal's Elements {and Principles of Design Posters. The page opposite each element and principle provides activities you can do which will reinforce your knowledge and comprehension of them, The activity pages include visual examples to halp you understand how to do the activities and should be used as a reference. Mark Tobey’ painting, Calligraphy n wnt, saline. He actually dren with is brash, then repeste lines creating a complex pattem. Tobey'slines ae the subject ofthe panting and are not used toautine shapeser objects. The word calligraphy" in the tle refersto © qusliy ofline thot is thickand thin. varying wit Drushpressure. The length chines varisin Tabeys “peru itng" techn ELEMENTS OF DESIGN Line isa mark made by 2 pointed tool — brush, peri stick, par et — and is often defnedas a moringdot ithas length and wicth, butts wich very ny compared to tslength Alineiscrestedby themavement cf stool and rigmant, end often suggests movement in e drawing er parting, eo 1 Examples of Lines Make chart oflines using citferent :oals:a [Link],chercoal, brush, marker twig with ink an¢ ethors. Vary theines to show ‘thick, thin, curved, angular, broken lines wth dots and ashes, hatching (paral ine:)ane cross-hatching (parallel nes that Cross each other, Usethisasareerencefor your drawings and alnenge NT ne Flat sketch penil af 2 Contour Lines Draw theedges of shapes ofan objectsuch as fut «shoe, 2 fark aryour hand Donat lok at your drawing. but follow ‘the eiges of your subject with your eyes and drew slowly and carefully 3. Gesture Drawing Nake a qulek gesture drawing af person posing te show action nd ure sviing-erbbld lines to capture the figure inmotion, Gesture dranings often rateless than e minut A Combining Ty pesofLines ina Drawing Nake drawing of il life, portrait, or lndscapo combining different types of lines: straight, curved, angular, thc, thi, hatching andl eross hatching Shape SHAPE ACTIVITIES Geometric Shapes Organic Shapes vy euting organic Es portion diferent snd ae fen calle pape! background Drawing or Painting nuke a rwing or ping atin Fhiseaulde «sil ie, jive Shapes: ee es 1. Organic Draw an animal drawing of ane animal int a three-ci orm 1. Geometric Forms piece of paper to make enc shape With » pece of cay, rrode! the seme sculpture using gearetcfoms which ate angua or squash fnal form Ths an ergaieform. and have swaightedees. ewo-dimensional Using pces af wood earsbosed,orfoam core construct 2 Wire Seulpture Nakea three-simensional wire sculotureof an animals n an organic form created with ferent medium, finder and angular box Choose a light su rewing wo cestethree-cimensionel Natural Forms In nacuretherear ral forms. from roe, lowers, trae, shal ani some natural forms. ite drawing using thesubject snd vegetables Ci ELEMENTS OF DESIGN Color depsrds on light hecause is made of ight These mustbe light for lst ee color A red shirt ll not looked in tie dark, where there is no light The whiterchellgnt the movetruethecclorswilbe Ayelow ianton 2 ful olor painting wil change the appearance of all the clo, ‘Auguste Renoir (Ren-wohn painted Fults the Mid to richness ofthe vegetables andifrutt of southem France. The diagram willhelp you urderstand bis reasons for making each part of the painting a ferent colo It Isbascally a ool panting with warm aecants, Renoirvse an Impressionist painter whoused color to show degth and volume in hispaintings. of gnt ay of white ight passing *threugh apis is separated int vehes sean na rainbow. The neural eresn mates the purer 100% alow andeometerward Shadows ceatea sense ofform Shacowsae cool Warm ad shape saa to come ‘runes meee mraiiigaea ) apue Itt ola. oo colors contact wth wae colors es Red! e Blue mi and teen Tne Intermediate colors are {eppeste or theceler whee) Yyelowscrange, red-orange edict erainee shoe hevealsed Biuewisst blos-grean snd yellonorean, uesare calles tones inter create an lusion of ert by using color eaonships ue rterstothe names of the colors Lncenstey eso we Ptmary hues are yellow, t,o blue purity ofahue Aang Thesecondery colors ate orange, vice: Scormplementary calor ; | era L. Make a Color Wheel Draw aige circle on apiece of paper then draw 12 cicls or squares evenly spaced etouncit Pant the primary clos, ec, yallow and blae equally spaced on the ceclo Mis thoppimary Colors to make tne secondary colors red and yellow to make ‘range, ed and blue to male volt, andyellow and blue to rake green and paint tnem between the primary colors. Moc thei intermediate colors by mixing a primary calor swt 3 secondary co¥r that is ret tot For example, red and orange rake red orange, /- 2. Mix Complementary Colors to eutralize Them: Drawa chart with ve boxesanc select two complementary color such asblue and orange, and pains tem at oppeste ends of the chart Mi alitl blue with orange and paintit next to the cxange, and alitle orange with blueand psintitnextto the blue Then mx equal parts af blue an aranga forthe center creating neural gray Painting with Complementary Colors Nake. painting of sillife, portrait or landscape using only two complementary colors aes 47 Tiadic colors are any threeco other on the color wheel Select ey tad painting using anly the tor core T varieyy die Colors that are equicistantfrom each jorsand makes provides monecalee 3. Warmay Make two paintings of similar subject using warm calerin one [Link] coors In he other. Netce how the mood c feeling of the zubjact charges 6. Color Backgre Cutthree one-inch squares fom a pico of oleed paporand threefourinen squares tor tree diferent colored papers {lus the one-inch squares onthe fourinch cquaresond see row alterentcclereabactgyourds change te appearance of ELEMENTS OF DESIGN /e Value rfertodare and ight Val contacts hs 4 / lndernanda two dimensional work ofa Ths 7 i because of he contrast cf dark ete ana ight paper value contrast, / isabso evientin colors which enables us a ted shapes in a panting. ringer painting, Tea Tie (Wow spoon, nes tong vl canter 92 9 BS Seenintheblack and white eproducton, The stn syle wth ancl racrures Follow te veval mevament Fam the seed sol pooh por to whic the focal ar Song allecenrst in) yaaa vates . ask values igh values | Gracecvaluas Da mide Colo! anc valueare dlselyratea Some os (yllow and erange| aralight uesare dark valve nd white proto tinghelps you see the ‘aes ofthe cows tat he artst used, Value changas hop uso! she rouncnersof9 ce or ballty shove us how lige its these forms anc cston shadows on them, 2 gray zeae shove ton vals f gry from ight to darks The farther apa \ the values are on the scale, the mo Value contrast forsee betveen ight and Lewkeypalntlngs make ‘Thefecelareacta Tost ofightvaluss use ofderk valued huezan: painting canbe coated mainamminenum of generally contlnite valu by emphasizing darkand Contrast Dark values often Nghe valuecorizests orn andscapes stant features 6 Suggest sadness, deprssion ense colo, sual ightrn value than corer lenetinss ancleomatenes res Depicting such value mee convas scaled etmaspherc perspective. VALUE ACTIVITIES 1. Makea Value Seale Make avalue scale rom white to black. Draw a chart with Five squares next co each other. Pat black a one end and white | atthe other Adda Inde white pantif using tempera, o° wa ‘rifusing watercolor, tothe Bleck ang pain tin tre square next tothe black. Cortinee adding white or watar and paint the ter two squares to complete the vale scale from white to blac You con make 3 more completevalue seals using seven ornine squares instead of fve Use the value scleasa reference foryour paintings. 2. Tints & Shades Make tnt fram 2 pure hue such as red to white 1 Draw fue squares ina row on a piace of paper 2. Paint the first quave withthe pure hue of ed Take some ‘ed painc and adda ltvewhiie paint and pelt it athe second square 2. Adel morowita and paint the thie equate then add even more whiteand paritthefourtn square. Leave thelast quate white, These are called tints ofthe orginal alee 4, Draw another cet of uo equates 5. Paint the fest squarewith the pure uso red [Link] ate black paintand psintin the next square Continue adding blackto darken the value and painen the remaining squares The last square should bo black. Those are shaces ofthe criginal coor. Make a Collage Using Dark and Light Values Nate tite cotape with darkand igh values Prin pieces of pipet eoprexirately4x6inches with diferent values Fomwhte toblack Then cutshapes suchas uta pitcher, bow! era bottle fromthe pecesof paper. Ange and luc the shapes to white and Hack background A. Values in Painting Curautapicture ofan actve figure or [Link] the outing cr tne fgure ona sheet of paper then draw lines outside the outline progressively fathor apart as they go toward the ecg lof the paper ain: the spaces with progressive value changes, starting with s igntvslue and wor towards black, Then, male ‘another painting stating wth a dark value nex tothe figure ‘and worktoward white. This chould createa faling of vibration 5. Monochromatic Portrait Palata porvatt wih differ portrait within ¢recangle and crawlines through i creating abstract shapes Paintthe shapes withlight end dark values of singe color values ofonecoloricrawt ‘Texture == Lae ee 3. Simulated Textures ina Collage mulated textures by making rubbings with a crayon or Afarent colored papers such a ric, cement block, or screen, us senooth papers painted to ook ke [Link] pape into shapes shapes tom: cof simulated or visual texture and andscape collage actual oraculetextue, 2 Actual T Make collage ofactual texcures using diferent vextured ma terials suchas corugated paper fll andpaper fabri. sereen, leaves, and other textured materials an Wl H WA teks aferkor spoon o addins these Space stu vee-dimensional volume ta width eight anda Lamp post overiaps distant ullings Ore point fare anay SPACE ACTIVITIES 1. Linear Perspective 3. Overlapping Objects Develop a drawing cf a cityscape using one-point parepactive Makes collage of stil Draw a horizon ine and place a vanishing pointon ine horizon ine, Cr group offigures by cutting out rom colored papers and overlapping them withthe ‘a street with buildings with ines receding ‘or guresin the foreground. Ovelepping tothe vanshing pointto cieate ceptn i the drewing. ‘feeling of actual depth with space between the objec eg | th 2. \tmospherie Perspective Pains aseras of meuntaing ceding in space, ith watercolor or [Atmospheric perspective soften used In paintings to createa Make a thee-imensional plece of pottery or makea clay feeling of epace, sculptura These occupy actual or real sasce. PRINCIPLES OF DESIGN Balance refers tothe dstibution of visual weight in # work [Link], its the visual equilbium of he elements smageto spnearbalance. 8 Inaworkotert hat cau th be ether symmetrical or agymmesr Invninsiow Homer’ painting elisa story of 8 costume while children watch, strong value contrast t nse sunlight ‘and shadows. He balanced values shapes and colors tocreate a unfied visual carnival gure th = Symmeticl Balance fectel balance Occurs hema te IFeho tocar est tg lrcgulieshapo balanesea larger nple shapes ‘Ancthar term for asymm Ealanceisintomalbaance ce Other termsfor synmerrica balance Volue balances serial to go ng. drawing. One meaium formal classical balance par Bccgreune asmal orght snape lerge middle 1, Symmetrical Balance Example of Symmetrical ‘Make a collage using geometric from colores Balance construction papers Arrange and glue thom to acolored Palo coment 8 aor to showan example background ta show symmetrical ale 2. Asymmetrical Make another cellage using various shapescut Sn papers. Aen ra hanes balancing the smaller shane with intensecolers nee color shapes with the larger 0 show asymetrical balance. G “ backare things a5 wheels ranges cut i half or objects where the elem: PRINCIPLES OF DESIGN Vasusl movementic uted by artiestodzectviowe's through ther work often toa movernent can be the Poon ischarged wt ana med wien story. The nakes slave (peon| is being cut free from poital tyranny: wal s physical Erlaverent bythe ib er, Allmovernent leads focus, wher a aes cutin Binding & ploeecon the act of iberston fader tuanon telibeaing heroes, nts alo created when we racton f which the movemeattanaré thafecvs The owes ookrecty tus wh drove usintothe grouping of ‘iguresanchorses Light medium, and dik aK valued dign sha 2. tp tnetoe Sepes are elon produce easy movements BD olow. Other movernents Re ocrestes 9 inkage Sina alin *ooethe wh repe fr Tesla totho sos fainting by providing suat passege ot Tinkageon ca or ightvaues. Veual ovement usualy (ur eyes move nt 2 painting # he work contsie spine perspec orseuiplue, ou ingsleng As inesand snanes move fOmmove atong wer. a eruptions my fest oureyes willbe eran may cemay pactors move foes macne nent (oa Focal 1. Visual Movement with Dark and 3. Finding Visual Move Light Values Point Make a design with Dick cemperato x hanes that move through the eamporiton sothaty ually see te linkage and passage along the edgesor ne white shapes and black shapes 2. Elongated Shapes and Vi Movement Cut cut curved elongated shapes irom aiferent colored construction pepers. Artange them ona piece of paper rent shape suchas acirce of different color just eff center (he focal point). Gluedown the ovement tothe focal point in youre Sculpture a eulpture Mako or fine atreo dimen: PRINCIPLES OF DESIGN Repeated head shapes arerotenacty alte, buat te varity proves Repeates hp shapes follow the diagonal maversents down te sas placeremphase onthe fracuied thymic fgure ireegular rhythms. ~ rRhyth A. Rhythm in Na re 1 strips of colored paper andthen cutout show regular rhytam i nature shapes about in pictures in megazin: the same size but ina ciferent se thar in 3 0, ane sucha evanly spaced tees. Than find piturcs that show stip one figure, one sig, etc, evenly spaced. Giuethem toa ireguiar rhythm in nature suchas trees that are unevenly backgiourd of colored papor This ilustratas rythm: paced and compare the vo examal Trregular Rhythm ut strips and figure shapes Rhythm Take pictur find pets Rhythm with Repeated Shapes. Make a painting or finda picture ina magazine which include fthe seme abject. The overlapping of PRINCIPLES OF DESIGN When Paul anne (S2y-2ahn painted : paincih heu cont Pattern Contract Intent Fttern NoPatten Value Temperature Dark Values idl Valves Light vous Saw Contrast Edge contrast arc E025 Simultaneous contrast ‘ceurs wren two pure ‘sde. Each Temperature contrast cles to 2 Paint a StILL font ife Using Contrasts nee Darkvalue orm Cole oniyblackand white steps = = = PRINCIPLES OF DESIGN Emphasisis ro werk Arts so create lominanee ane face in i value shapes, or ather Various kinds 0! cores ‘Theemphesisin Hen de TovloueLaurec’ (oo bae lovee) aning, Atte Moun Rouge ison tne atmosprereandithe strange Tighting and eons Pars cabaret Actually, ‘ested a the tbe, whereempnass & on Convessation among iiends the foe a crammed with ceo: contass and fever convesstion Therestof thepaintingis made Spf mich ger, spe. neuttl shapes >” Nouce newer notinvolvedintte sbsret settle butt a vial port the fea Color emphasis ison mete purplish nues wih seve Drigntand intense conta dark shapes load your aye toward ‘ren ttn bright in cotorane Thefecatares Visual emphasis Srephasaee thers na pannng =| portant par fs Sohincod whan woe . aie par forafors west neet i Tighe ra oreatenecessngs Innature, emphasis might be fet when element ateisolated sich asa ee or Sr animal Emphansieusualy onthe clementthatisciferent A Tancscape becomes hero: fcr rly np emphasis of prota. Vetalenphisk ona boa 61 oy tee teense Vinualemphsis st» focaloreacen be chewed by usr testvonpestightand fread usme shape contrast &bulcing Garis conte inthe saul enveenment ll oacome 2 bau and howl cave emphaue. |. Locating a Focal Point or Center of Interest Dn an 1inch piece ef paper draw a vertical ine one "hid ofthe way into the paper and another two-thirds into ‘he paper-Then draw horizontal ines one thir ofthe way down the paper and two-thirds down the paper Where the lines iteroct sa good place for a focal pointor center of Interestin drawing or painting Value Emphasis Make a pencil drawing of landscape and aelect fecal acne or center of interest in your composition, Use middle values ‘throughout the drawing, butt the cent f interes, a the darkest values next to te lightest values. The contrast of darkand light creates 3 focal piet asin the fort ofthe cabin inthe drawing below, 4. Visual Color Emphasis Make a painting ofa landscape, stil it, or portrait using one dominant colar This ¢ 3 monochromatic painting which can Drovide vanity in an artists workandiisan example of color emphasis phasis Using Shape Contrast Faint lancscape anda the cere interest paint abun, ‘Aman made stucare 3 atu landscape wll became focalpoineara willoecomea point of empnass PRINCIPLES OF DESIGN Pattern uses the artslemantsin planned orran (5) seem ineguler because ofthe iegular use and aplication af calor. There ‘sna focalareain many patterned paintings J ptem oforanges ny Ceramics ancother te PATTERN ACTIVITIES 1. Regular and Irregular Pattern 2. Patterns in Clay 3. Patterns ina Line Drawing PRINCIPLES OF DESIGN ryan, te string Bh Stokes and dominance of bel clos tercrtounsye caste thefeeng tet ogethe s! areal jenone are softened or smeared nro shone herd ‘cages se ontincaion ‘dusterog We orci sirongserse ater, pies vareyy Faas ftom beng monotonous The horaontllayers nth orceramic A dominant color wil unify a pairing oilrapesteitecturoe hance oes 1. Unity with Line Mako a drawing ofa pertait stil, orlandscape. Use only vertical pen orpenclines. Vary the distance between the lines toscreate dake or lighter values This develops urity es do the curved ines in van Gogh Story Meh. » Unity with Repeated Shapes and Colors Make an abatactpeirting or colage of stl iferepeeting similarshapes and colors througheut the composition, ‘petition of shepes and coors unies the painung or allage 3. Unity with Dominant Values Paint asi, porralt, or landscape where onevalueis dominant This could ba citner aight middle, 0: cork value ‘The dominant middle value in the paling below unifies the painting objective panting using texture Paint o ch area with watercolorsand press wrinkled clastic wrapinte the wet watereeler for 10 minutes: This will give the watexcolor an overall texture thet wil uriy the painting ‘Make a drawing fa butiding which nasa textured wood surface The tacure throughout the :upjac unifies the ILLUSTRATIONS/CREDITS Jements of Design Line are ober, Areca, 880-1976, Caley Whee. 1957 Temper onpapee 353284 BO 15899. Daas Mum of tcf Mand Wes. James Cla, 97-8 © 203 Etat of atk Tay! hrs igh Society (9) Ne York ‘Donna Berri, Model ink contour craning, xi, Shape Patio Picasso Spanish, 1831-1973. Three ‘Musicions. 1B Oilon canvas, 80153 784i. ‘[Link] Collection, 1952. The Paladelphis ‘Museum of Art Art Resource, NY. © 2012 Estate (of Pablo Peas / Artists Fights Soci (ARS) Now ork. WillBullas. 4 Sheep onthe Job. Watercolor, 30x30, BULWhite,teraption Series/RedKmone. ‘Acnyicon canvas 45 «34 Marge Hof, Marathon. Canvas college, 54% 54 Form Barbara Hepworth, Enatsh, 1903-1975. Assembly of SeaForms, 1972 Marble, mounted on sainless Steel base, 42%. hgh, 72h. dlamete (ovealh Norton Simon art Foundation Pasadera,CA. © 2000 Esato Barbars Hapnoth David Smith, American, 1206-1965, Cub VI 1963, stainless tee, 107% x64 36%in Olas Museum of rt The Eugene & Margaret MCDe- rmott Fund, 1965 32.0 Estate of David Srvth / Licensed by VAGA, New York NY. ene Uber. Malestc Be, Bronae.307n. high Co Pere Auguste enol French, 1841-1918, Fruits of he Mi, 1881 Oilon canvas. 1915/16 2225 1/16in (507 «65.3 er) re Intute of Chicago, Mi ard Ms. Marin Ryerson Collection 1038.1176, Robert. Wood rapa Jewels Watercolor, 2xain, Gere Brommer Mykonos inpresion Colage nel vintamecta, 17315 in Value Jean Metzinget, French, 1883-1956, Teo Time Narsan wit Teaspoen) 1917.0 99

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