design principle

In art, any of a number of guidelines that may be considered by artists and designers when composing the formal art elements into a work of art. Specific principles are interdependent, but those regarded as the most important when creating or analysing a work of art are unity, variety and harmony, emphasis, rhythm and movement, and balance. Acceptance or rejection of the principles depends on the artist's intention, and will have a profound effect on the finished work of art.

Unity relates to the sense of complement in a composition; proximity (putting objects near each other), similarity (making objects similar in colour or shape), and continuation (directing the viewer's eye with line) are all ways of achieving unity. Variety adds interest to a composition while harmony aids in the creation of a restful appearance. Emphasis, or dominance, draws attention to areas of the composition - lines of sight and the use of a radial design are ways of emphasizing elements. Rhythm and movement is used to suggest excitement or flow, and can be achieved through the use of repetition and pattern. Balance, of which there are three types; asymmetrical, symmetrical, and radial, involves the equal distribution of visual weight.

Unity The ‘wholeness’ of composition. A work of art does not have a beginning and an end, instead its parts work together creating one total picture - a seamless composition. Some believe that unity is the most important of the design principles; the viewer needs to be aware of the total creation before looking at the parts. The three main ways of obtaining unity are proximity, similarity, and continuation.

Proximity, or putting objects close to one another in the composition. is one way of achieving unity. When objects are placed close together the viewer's eye is forced to move from one object to the next inevitably taking in the entire composition, almost as if they are reading a sentence. Similarity, or making things similar, also creates a sense of wholeness. Using similar textures, colours, or shapes tends to visually connect the parts of a composition. For example, a certain texture used throughout the picture plane will prompt the eye not only to travel around the composition, but also to see it in its entirety. Continuation is when vision is directed by a line (actual or implied) that travels around the composition. This line can be a true line, such as the edge of a road or buildings in an urban landscape, or it can be a suggested line where the eye moves from object to object depending on placement.

Variety and harmony Variety and harmony aid the creation of a pleasing and absorbing composition. Variety pertains to differences and diversity; it is what makes a work of art interesting. Variety can be achieved in a number of ways. An artist can vary textures, colours, and shapes, and alter their contrast, tone, and intensity to create an exciting composition. Variety is controlled by harmony. Harmony in art, as in music, is the blending of elements so that they are agreeable to the senses. A unified composition is created by achieving the perfect balance between harmony and variety.

Emphasis Sometimes called dominance, emphasis is the focal point of a composition; the eye is usually drawn there first. Artists use emphasis to highlight an element in order to control the viewer's eye and stress the significance of a certain object. Emphasis is accomplished in many different ways. Lines of sight (where the figures in a composition are looking) are usually directed at something the artist wants to emphasize, as viewers tend to look in the same direction as the characters out of a natural curiosity. Emphasis can also be created by placing an object or figures in the centre of the composition, or by using a radial design. The artist can also govern what will stand out in their work by making objects larger, creating them in a different texture or colour, or using interesting colour interactions (how colours react when next to each other).

Rhythm and movement Repeating an element creates a sense of movement, flow, or activity. In art, rhythm can be felt as well as seen. There are three main ways to use repetition to create rhythm: repetition of the same element, such as a type of line, figure, or shape; repetition of two or more elements used in a type of pattern, such as two different shapes or forms; and progressive repetition of an element, for example, going from the very small to the very large, or from dark to light. Movement (one of the formal art elements), or a sense of movement, is also accomplished through the use of repetition. However, movement as it is associated with the design principles also refers to the use of devices to aid the viewer's eye around the composition, as in the use of continuation to create unity.

Balance The equal distribution of visual weight or the placement of elements evenly throughout a composition, balance is obtainable in three ways: asymmetrical balance, symmetrical balance, and radial balance.

Asymmetrical balance means the composition is balanced using different elements, objects, or figures on each side. In other words, even though the elements are different (asymmetrical), they are still balanced because the visual weight of the combinations on each side is equal. Symmetrical balance, on the other hand, is achieved by using the same elements on both sides of an implied central vertical or horizontal axis. This type of balance is often seen in textiles and craft items. Radial balance, when objects or elements are arranged around a central point, is another way of accomplishing equilibrium. Primarily, the elements radiating from the central point are repetitive. A fine example of radial balance in art can be seen in the decoration of some American Indian pottery, where the designs spread outwards from a fixed central point. Balance can also be realized through symmetrical or asymmetrical distribution of colour, shapes, and textures.