Principles of Design

PRINCIPLES OF DESIGN REPETITION VARIATION CONTRAST BALANCE – symmetry/asymmetry EMPHASIS - accent ECONOMY PROPORTION SCALE Some

What are they used for? Used to organize the elements of art and allows for a good design to happen.

|_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ Repetition in Art Creates visual rhythm /////////////////////////////// \\\\\\\\\\\\\\\\\\\\\\\\\ \\\\\\\ >>>>>>>>>>>>>>> <<< <<< <<< <<< <<< O OO OO OOO OO OO O and patterns XXXXXXXX

Andy Warhol, Orange Disaster No. 5, 1963

Eadweard Muybridge, photographer

Monet Poplars...

VARIATION: the alliance between repetition and surprise The extensive poem, moreover, satisfies another two-fold requirement, one that is closely related to the rule of variety within unity: repetition and surprise. Repetition is a cardinal principal in poetry. Meter and its accents, rhyme, the epithets in Homer and other poets, phrases and incidents that recur like musical motifs and serve as signs to emphasize continuity. At the other extreme are breaks, changes, inventions - in a word, the unexpected. What we call development is merely the alliance between repetition and surprise, recurrence and invention, continuity and interruption. Octavio Paz, “Telling and Singing” in The Other Voice

The Four Evangelists, from the Gospel Book of Charlemagne, early 9 th century TEXTBOOK p. 135

CONTRAST

Martin Munkacsi Black Boys on the Shore of Lake Tanganyika (1931) photograph

David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

Degas Waiting

Contrasts in Degas’s Waiting (1882, pastel) WHITE – BLACK COLOR – NO COLOR OPEN – CLOSED YOUNG – OLD PERFORMER – SUPPORTER BUSY – EMPTY INWARD GAZE – OUTWARD GAZE

BALANCE symmetry E Q U I L I B R I U M

Leonardo da Vinci, Proportions of the Human Figure (“Vitruvian Man”) TEXTBOOK p. 192

Shiva, bronze temple sculpture, Chola Era (9 th -13 th C.), South India

Durer Dancing Peasants 1514

Frida Kahlo, The Two Fridas, 1939

EMPHASIS accent

David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

Andy Warhol, Orange Disaster No. 5, 1963 not a good example of EMPHASIS

PROPORTION

Leonardo: The Last Supper, 1498

Diego Rivera, The Flower Carrier, 1935, 48x48 in.

Carlo Crivelli Venetian, c. 1430/ Madonna and Child Enthroned with Donor, 1470 tempera on panel, painted surface: x 50.7 cm (49 5/16 x 19 15/16 in.) including unpainted margins: x 54.4 cm (51 x 21 7/16 in.) donor

SCALE SCALE - the size of a work compared to the environment: miniature, human, monumental. The term can also apply to musical works, although it has an entirely different meaning than “musical scale.” (“A symphony is a large-scale musical work when compared to a song.”)

Claes Oldenburg, Knife Ship I, 1985 Vinyl-covered wood, steel, and aluminum with motors, dimensions variable, maximum height 31 feet 8 inches x 40 feet 5 inches x 31 feet 6 inches.

Robert Motherwell, Elegy for the Spanish Revolution No. 34,

Georgia O’Keefe on scale & flowers: Nobody sees a flower—really—it is so small—we haven’t time—and to see it takes time, like to have a friend takes time.... So I said to myself—I’ll paint what I see—what the flower is to me—but I’ll paint it big.... I will make even busy New Yorkers take time to see what I see of flowers.

Geogia O'Keeffe American, 1887–1986, White Rose with Larkspur, No. 2, 1927, Oil on canvas; 40 x 30 in.

Geogia O'Keeffe Jimson Weed 70x84 in Scale has to do with the size of the work itself

PRINCIPLES OF DESIGN REPETITION VARIATION CONTRAST BALANCE – symmetry/asymmetry EMPHASIS - accent PROPORTION SCALE Some

George Bellows American, Both Members of This Club, 1909 oil on canvas, 115 x cm (45 1/4 x 63 1/8 in.)