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1. THE PRINCIPLES OF
ART DESIGN
GROUP 3 HUMANITIES
BSMT-1B

2. DESIGN
• A plan or drawing produced to show the look and function or
workings of a building, garment, or other object before it is built or
made.
• The proper arrangement of the different art elements in order to
produce something beautiful.

3. THERE ARE 5 PRINCIPLES OF ART DESIGN
WHICH ARE:
• 1) HARMONY
• 2) RHYTHM
• 3) BALANCE
• 4) PROPORTION
• 5) EMPHASIS

4. EXAMPLES OF
DESIGN

5. 1) HARMONY
• Is the principle which produces an impression of unity through the
selection and arrangement of consistent objects or ideas.
• If there is harmony, there is order and every orderly arrangement
is harmonious.
• To create harmony, appearance as well as its use to have
considered.
• Visually pleasing agreement among the elements in a design.

6. Harmony has five aspects which are:
1.1 Harmony of lines and shapes
1.2 Harmony of size
1.3 Harmony of color
1.4 Harmony of texture
1.5 Harmony of idea

7. • TRANSITIONAL LINES
• OPPOSING LINES
• REPETITION
1.1 HARMONY OF LINE AND
SHAPES

8. 1.1 HARMONY OF LINES AND SHAPES
• Transitional line- Softens and modifies other lines.
• It is a usually curved, graceful line which connects two or
more opposing lines.

9. 1.1 HARMONY OF
LINES AND SHAPES
• Repetition- If a small rectangle is
placed within another a bigger
triangle so their sides are parallel.
• Repeating. Repetition shows
harmony.

10. 1.1 HARMONY OF LINES AND
SHAPES
• Contrasting/Opposing lines- A straight
line which intersects each other and form
angles.

11. 1.1 HARMONY OF LINES AND
SHAPES

12. 1.2 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.
Schiele’s use of repetition gives the work
an interesting harmony due to the size
relationships of the various elements.

13. 1.3 HARMONY OF COLOR
• Means using two or more colors
in decorating an article or object.
It does not mean mixing the
colors.
• Color combination giving the
most pleasure are most likely to
be those possessing harmony or
unity.

14. 1.3 HARMONY OF
COLOR

15. 1.4 HARMONY OF TEXTURE
• The character of texture can be determined
by feeling the object with the fingertips or by
looking at it.
• Coarse and fine materials used together do
not give harmonious effect and so should be
avoided.

16. 1.4 HARMONY OF TEXTURE

17. 1.5 HARMONY OF IDEA
• It is not enough that shapes, sizes and
textures have something in common: There
must be harmony in the idea presented
together.

18. 1.5 HARMONY OF IDEA

19. 2) RHYTHM
 Is the regular, uniform or related visual movement made through the repetition of a
unit or motif.
 Is the basis of almost all performing arts because it is the principle which is more
quickly felt.
 A strong, regular, repeated pattern of movement or sound.
 Synchronization.

20. 2)
RHYTHM
 MOTIF- a decorative design or pattern.
 -A dominant feature or part repeated in a design or decoration.
 Repetition of a unit creates a feeling movement or rhythm.
 Rhythm is classified into two: Formal and Informal
 Formal/Uniform rhythm- The repetition of a motif in regular arrangement.
 Informal/Free rhythm- The repetition of a motif with variation in its form and
arrangement.

21. 2.1 FORMAL RHYTHM

22. 2.2 INFORMAL RHYTHM

23. RHYTHM
 Not all movements in a design are rhythmical.
 Rhythm can be observed when the units are of the same sizes and distances from
one another.
 If a unit is repeated in one-direction, it produces are border design, and in two-
directions, a surfaced pattern.
 Rhythm is not only applied to graphic arts but also to architecture, music, textiles,
laces, furniture, glassware, dresses, and many more.

24. 3) BALANCE
 A quality which gives the feeling of rest, peace, repose, and stability.
 A state of equilibrium or equipoise; equal distribution of weight, amount, etc.
 In arts, we don’t exactly arrange the objects of equal physical weights to produce
balance. It is the visual weight of lines, forms, values, etc.
 VISUAL WEIGHT – The quality which gains and holds attention.

25. BALANCE
Balance is divided into two:
 3.1 Symmetrical Balance
 3.2 Asymmetrical Balance

26. 3.1 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 the elements are arranged equally on
either side of a central axis, the result is Bilateral
symmetry.

27. MORE EXAMPLES OF SYMMETRICAL BALANCE

28. 3.2 ASYMMETRICAL BALANCE
 Asymmetrical design is typically off-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.

29. MORE EXAMPLES OF ASYMMETRICAL BALANCE

30. 4) PROPORTION
 Size relationships of one part to another part or the whole.
 A quality of art which shows pleasing relationship between a whole and its
parts and between the parts themselves.
 Expressed in terms of ratios.

31. Proportion in ArchitectureProportion in Painting
Proportion in Sculpture

32. This is a real sense of
proportion in each of the
two paintings at the side.
Without the effective use of
the principle of the
proportion, you would not
experience the majesty of
the mountain cliffs in the
painting on the left or the
beauty in the right.
PROPORTIO
N

33. PROPORTIO
N
Greek oblong or rectangle
with the ratio of two is to
three (2:3)- The standard
Greek proportion for two-
dimensional or flat surfaces.

34. • The Parthenon, a building in Athens, Greece, is considered
the most perfectly proportioned architectural structure in
the world.
• A Greek standard for three-dimensional objects or solids is
the ratio, 5:7:11, which is especially used in buildings and in
determining the proportion of margins for framed pictures.

35. 3 ASPECTS OF PROPORTION
4.1 Proportion in the grouping of objects
4.2 Proportion in space divisions
4.3 Proportion in scales

36. 3 ASPECTS OF PROPORTION
• Grouping of objects – also called arrangement, may show good or bad proportion.
*It is more pleasing to group 3 objects with another three,
two objects with three than to group two objects with two or two
with four. Because odd number are more interesting than even
numbers.
* Very small objects should not be grouped with very large
ones. Otherwise, they will be out of proportion.

38. 5 EMPHASIS
 Artists use emphasis to
make certain parts of
their artwork standout
and grab your attention.
 It may be the outline,
form, color, texture, size,
idea, or value of an
object/artwork.

39. EMPHASIS

40. EMPHASIS

41. METHODS OF EMPHASIZING OBJECTS
5.1 BY ARRANGEMENT OR GROUPING OF OBJECTS
• An orderly group of things considered as a unit.
• Should be located at the center and should be the biggest and brightest in colors.

42. METHODS OF EMPHASIZING OBJECTS
5.2 BY DECORATION
• An object or an act intended to increase the beauty of a person, room, etc.
• Something nice that you put on or in something else to make it look more attractive.

43. METHODS OF EMPHASIZING OBJECTS
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.

44. METHODS OF EMPHASIZING OBJECTS
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.

45. METHODS OF EMPHASIZING
OBJECTS
5.5 BY UNUSUAL LINES, SHAPES, AND COLORS
• Novelty or newness can also draw attention to a specific element of work. It is difficult to keep
the eye away from extraordinary figures or subjects.

46. METHODS OF EMPHASIZING
OBJECTS
5.6 BY ACTION OR MOVEMENT
• Dynamic illustrations usually attract more attention than passive ones.

47. NOVELTY OR NEWNESS
VARIETY OR VARIATION
UTILITY, ADAPTABILITY, OR FUNCTION
CONTRAST
OTHER ART PRINCIPLES

48. OTHER ART PRINCIPLES
NOVELTY OR NEWNESS
• A new dress style appears more attractive
and interesting than ordinary dress design.
Novelty provides the best opportunity for
developing one’s creative ability.

49. OTHER ART PRINCIPLES
NOVELTY OR NEWNESS

50. OTHER ART PRINCIPLES
VARIETY OR VARIATION
• A set of furniture which is arranged in a certain way
and remains as it is for long periods of time appears
to be monotonous. Variation in the arrangement or
style of furniture makes the space the furniture
occupies more interesting and attractive.

51. OTHER ART PRINCIPLES
VARIETY OR VARIATION

52. OTHER ART PRINCIPLES
UTILITY, ADAPTABILITY OR FUNCTION
• A work of art must not only possess beauty
but also utility. The object must be adaptable
to the purpose for which it is made.

53. UTILITY, ADAPTABILITY OR FUNCTION
OTHER ART PRINCIPLES

54. CONTRAST
• This art principle is synonymous to
opposition or contradiction. It has some
relationships with balance and emphasis.
Two contrasting lines or colors may balance
each other. The center of interest in a
composition is in contrast with the
subordinating parts in the same composition.
OTHER ART PRINCIPLES

55. CONTRAST
OTHER ART PRINCIPLES