PRINCIPLES OF THE ART

AGUILAR, ANGELICO D.
 vs

The elements of the art are the basic components that

make up a work of art…line, shape, form, value,
texture, space, and color. The principles deal with how
the elements of art are arranged in a work of art. In
essence, the principles of art deal heavily with
composition.
• These are set of techniques used to organize the
basic elements of art: line, shape, form, value,
color, space and texture. They are sometimes
also referred to as the principles of organization
or design principles.
BALANCE
• Balance refers to how the
elements of art (line, shape,
color, value, space, form,
texture) relate to each other
within the composition in
terms of their visual weight to
create visual equilibrium. That
is, one side does not seem
heavier than another.
Adoration of the Mystic Lamb
Jan Van Eyck
Balance is concerned with the visual
distribution or weight of the elements
in a work of art. A painting could be
balanced if one half is of the same
visual weight as the other half. Or,
you could have a small area of
heightened significance which is
balanced against a much larger area
The Son of Man
of less significance, René Magritte
 Humans, perhaps because we are bilaterally
symmetrical, have a natural desire to seek balance
and equilibrium. Artists generally strive to create
artwork that is balanced. A balanced work, in which
the visual weight is distributed evenly across the
composition, seems stable, makes the viewer feel
comfortable, and is pleasing to the eye. A work that is
unbalanced appears unstable, creates tension, and
makes the viewer uneasy. Sometimes, an artist The Vitruvian Man
deliberately creates a work that is unbalanced. Leonardo Da Vinci
 Isamu Noguchi’s (1904-1988) sculpture
“Red Cube" is an example of a sculpture
that intentionally looks off balance. The
red cube is precariously resting on a
point, contrasting with the gray, solid,
stable buildings around it, and it creates a
feeling of tension and apprehension. Red Cube
Isamu Noguchi
Symmetrical balance is when both sides of a
piece are equal; that is, they are identical or
almost identical. Taj Mahal, India

This kind of balance creates a sense of order,

stability, rationality, solemnity, and formality.
Symmetrical balance is often used in
institutional architecture (government
buildings, libraries, colleges, and universities)
and religious art.
Baguio City Hall
 "The Last Supper" by Italian Renaissance
painter Leonardo da Vinci (1452-1519) is one
of the best well-known examples of an
artist's creative use of symmetrical
balance. Da Vinci uses the compositional
device of symmetrical balance and linear
perspective to stress the importance of the
central figure, Jesus Christ. There is slight
variation among the figures themselves,
but there is the same number of figures on
either side and they are situated along the The Last Supper
same horizontal axis. Leonardo Da Vinci
• Radial symmetry is a variation of symmetrical
balance in which the elements are arranged equally
around a central point, as in the spokes of a wheel or
the ripples made in a pond where a stone is dropped.
Thus, radial symmetry has a strong focal point.
• Radial symmetry is often seen in nature, as in
the petals of a tulip, the seeds of a dandelion, or
in certain marine life, such as jellyfish. It is also seen
in religious art and sacred geometry, as in mandalas,
and in contemporary art, as in "Target With Four Target With Four Faces
Faces" (1955) by the American painter Jasper Johns. Jasper Johns
 • FAMILIARITY
Symmetry creates a sense of
familiarity within the subjects
in an artwork. A symmetrical
visual art is more wholesome
and sets the mind at ease. The
comfort of familiarity will
definitely attract the eye and
put your mind at ease at the
same time.
• STABILIZES ALL ELEMENTS
Symmetry stabilizes all
subjects/elements within a
composition. Every other
object will align with the
next one, which will create
a pattern that will be easier
to comprehend by the brain.
• KEEPS THE EYE ENGAGED
Symmetry engages a perfect
flow within a composition.
This makes it easier for the
eye to follow that rhythm.
This engagement of the eye
appeals to the mind, which is
why you will always feel
comfortable and at ease in a
symmetrical work of art.
 In asymmetrical balance, the two sides of a
composition are not the same but appear to have
an equal visual weight nonetheless. Negative
and positive shapes are unequal and unevenly
distributed throughout the artwork, leading the
viewer's eye through the piece. Asymmetrical
balance is a bit more difficult to achieve than
symmetrical balance because each element of
art has its own visual weight relative to the
other elements and affects the whole Woman Holding a Balance
Johannes Vermeer
composition.
Our attention is drawn to the figure of Christ by the use of
bright red in His hair and beard. That small area of
intense color is counter-balanced by the rest of the
composition, which is predominantly dark. Tiny hints of
red in the background and Christ's garment tie the
composition together. The vertical tree trunk in the
center of the composition is asymmetrically balanced by
the horizontal row of hills and trees in the background.
Also, notice the use of space in this work. The figure of
Christ dominates the lower left foreground and takes up
a large area of space, while the tiny figures of His
followers recede into the empty background, and are Christ on the Mount of Olives
perceived as being farther away. Paul Gaugin
Asymmetrical balance is less formal and
more dynamic than symmetrical balance.
It may appear more casual but takes
careful planning. An example of
asymmetrical balance is Vincent van
Gogh's "The Starry Night" (1889). The dark
triangular shape of the trees visually
anchoring the left side of the painting is
counterbalanced by the yellow circle of
the moon in the upper right corner. The Starry Night
Vincent Van Gogh
 "The Boating Party," by American
artist Mary Cassatt (1844–1926), is
another dynamic example of
asymmetrical balance, with the dark
figure in the foreground (lower right-
hand corner) balanced by the lighter
figures and particularly the light sail
in the upper left-hand corner.
The Boating Party
Mary Cassatt
• ARRANGEMENT BY COLOR
human eyes are naturally
drawn by color. Artists use
this trait of ours when
creating asymmetrical
designs to balance larger
areas of more neutral colors
with small areas of vivid,
bright colors.
Christ on the Mount of Olives
Paul Gaugin
 • ARRANGEMENT BY SHAPE AND VALUE
as we have mentioned above, visual objects of
light colors and small size have less weight
than larger, darker visual objects. Several
smaller, lighter objects can be used to
counterbalance one larger, darker object.
Large, empty areas of a composition can, thus,
be balanced by smaller, intricately detailed
areas. Woman Holding a Balance
Johannes Vermeer
 • ARRANGEMENT BY TEXTURE
an area rich with color fluctuations and different
textures can be balanced by a smooth area of the
composition without any remarkable texture
variations.
• ARRANGEMENT BY EYE DIRECTION
A spectator’s eye can be easily directed into one
direction or another, depending on the way the
artist organized the design. Woman in Black Feather Hat
Gustav Klimt
EMPH ASIS
When one element of an artwork stands out
more than another. This creates a sense of
importance and is intentionally used to
communicate a message or feeling.
Emphasis creates variety in your artwork.
Emphasis is a way of using elements
to stress a certain area in an artwork.
Emphasis is really just another way to
describe a focal point in your artwork. In the
painting below, there is strong emphasis on River Landscape By Moonlight
the moon through the use of color contrast. George Henry, 1887
• Emphasis is used to attract the viewer’s
attention to a particular area or object in
an artwork. This is typically the focal point
or main subject of the artwork. For
instance, in a portrait painting, the artist
usually wants you to see the person's face
first. They will use techniques such as
color, contrast, and placement to make
sure that this area is where your eye is
attracted to first. The Third of May
Francisco Goya
• Any piece of art may have more than
one area of emphasis. However, one
typically dominates over all others. If
two or more are given equal
importance, your eye does not know
how to interpret it. This confusion
may lead you to not enjoy an
otherwise good piece of work.
The Dream
Henri Rousseau
• Subordination is used to describe the
secondary or accent elements of the
artwork. While artists emphasize the
focal point, they can also de-
emphasize the other elements to
ensure the main subject stands out.

The Flower Carrier

Diego Rivera
"The Flower Carrier" by Diego Rivera represents the struggles
of the working man living in a capitalist society. Rivera, a
communist, was concerned about the plight of the peasants in
Mexico. As was the case with his other works, Rivera intended
this piece to move the audience to question the social effects
that capitalism has on the working class.
"The Flower Carrier" portrays an exhausted peasant brought to
the ground by the enormous weight of a basket of flowers. Diego
depicts the farmer as physically small, perhaps even frail. A
stout woman, just as tan as the peasant, helps the The Flower Carrier
Diego Rivera
overburdened worker with his load.
• The peasant and the woman represent Mexico's working class,
particularly the native and indigenous people. Their traditional
garb and dark skin indicate they are hard-working mestizos,
not aristocrats descended from a pure line of Spanish elite. By
having the woman come to the aid of the fatigued worker,
Rivera points to the good nature of the common people.
• The flowers are key to understanding the picture. The peasant
is not carrying corn, squash or any other vital crop. He is
collecting flowers, an ornamental agricultural product only
used to adorn the homes of the wealthy. Thus, Rivera implies The Flower Carrier
that the excessive, luxurious lifestyle of the upper class is Diego Rivera
debilitating to the lower classes.
Emphasis is also referred to as point of focus,
or interruption. It marks the locations in a
composition which most strongly draw the
viewers attention. Usually there is a primary,
or main, point of emphasis, with perhaps
secondary emphases in other parts of the
composition. The emphasis is usually an
interruption in the fundamental pattern or
movement of the viewers eye through the
composition, or a break in the rhythm. Café Terrace at Night
Vincent Van Gogh
PR PORTION
• Scale refers to the size of an object (a whole)
in relationship to another object (another
whole). In art the size relationship between
an object and the human body is
significant. In experiencing the scale of an
artwork we tend to compare its size to the
size of our own bodies.
• Proportion refers to the relative size of parts
of a whole (elements within an object). We
often think of proportions in terms of size
relationships within the human body.
• Essentially, scale and proportion help
the viewer make sense of the artwork.
If something seems off, then it can be
disturbing because it's unfamiliar. Yet,
artists can use this to their advantage
as well.
• Some artists purposely distort
proportions to give the work a certain
feel or to relay a message.
• The scale of this overwhelming figure is
larger than life: over 13 feet tall. In addition
it is placed on a pedestal taller than the
average human, so that the sculpture
towers far above the viewer. This gives it a
sense of godlike grandeur.
• The proportions within the body are based
on an ancient Greek mathematical system
which is meant to define perfection in the David
Michel Angelo
human body.
• This makes it an effective expression of the ideology of
the Renaissance: mankind in all its humility raised to the
ideals of rationality, order, and scientific objectivity.
• Because of the nature of the hero it represented, the
statue soon came to symbolize the defense of civil
liberties embodied in the Republic of Florence, an
independent city-state threatened on all sides by more
powerful rival states and by the hegemony of the Medici
family. The eyes of David, with a warning glare, were
David
fixated towards Rome. Michelangelo
• It is important in rendering a realistic or believable image of some
objects or scenes which we have some familiarity.
• It produces harmony aesthetic perception and creates different
visual dimensions.
 Contrast is simply defined as
difference. Difference between art elements
like color, value, size, texture, and so on can
intensify the elements used. As a result, the
elements used in a work of art can become
more powerful. Although contrast is closely
related with variety, it is usually considered
a principle of art. Although some art purist,
stick with variety and argue that contrast
simply creates variety. Café Terrace at Night
Vincent Van Gogh
 Contrast is simply defined as
difference. Difference between art elements
like color, value, size, texture, and so on can
intensify the elements used. As a result, the
elements used in a work of art can become
more powerful. Although contrast is closely
related with variety, it is usually considered
a principle of art. Although some art purist,
stick with variety and argue that contrast
simply creates variety. Café Terrace at Night
Vincent Van Gogh
 Contrast refers to the arrangement of
opposite elements (light vs. dark colors,
rough vs. smooth textures, large vs. small
shapes, etc.) in a piece so as to create visual
interest, excitement and drama.
contrast is exciting and dramatic and
naturally aesthetically pleasing. It creates
something we enjoy looking at, so contrast is
frequently used in visual arts.
The Ecstasy of St. Teresa
Gian Lorenzo Bernini
 Contrasts are not equals; generally one
element becomes more immediately visible
than its contrasted opposite, giving it more
visual weight and attracting the eye. Because
of its ability to create visual hierarchies,
contrast can also be used to produce a sense
of balance and harmony, ensuring that items
of various degrees of visual weight are
distributed in a pleasing way across the page
or screen.
The Ecstasy of St. Teresa
Gian Lorenzo Bernini
 Contrast is one of the main principles of art defined by
art historians and critics. It is a strategy used by an artist
to break up a work of art, and alter or even shatter its
unity by inserting variation. In many ways, contrast is the
opposite of the element of unity, in that it commands the
viewer's attention by sheer force of its differences.
Art historians and critics regularly include contrast as a
main principle of art, although often in a number of
different ways. Contrast is known by a range of terms,
such as variety or variation, difference, unevenness, 'Boy with Fruit Basket‘
individuality, and novelty. Caravaggioo, 1593
The key to working with contrast is to make sure the differences are obvious.
The most common ways of creating contrast are by creating differences in:
• Color — complimentary colors on the color wheel,
i.e. red vs. green, blue vs. orange, yellow vs. violet
• Hue — saturated vs. muted colors
• Movement — fast vs. slow
• Shape — organic vs. geometric shapes
• Size — large vs. small shapes
• Space — positive vs. negative
• Temperature — warm vs. cool
• Texture — rough vs. smooth
• Value — light vs. dark
• The contrast in the illustration coffee pot and cups
is quite obvious. Notice the contrast of the light
background (wall) with dark foreground (table cloth)
and the contrast of the dark shadows on the tea pot
and cup against the wall and with the lights of the
same objects against a dark window.
• There is also a contrast of thin and thick lines in the
napkin, straight and curved lines, and don’t miss the
contrast created by the use of geometric
shapes (coffee pot and cups) with organic shapes
(steam and clouds). The dark steam is also contrasted
with the light clouds off in the distance.
• In the illustration of the lady and parrot is a
good example of contrast between lights and
darks. A contrast of color exists between the
red parrot and white dress. Also notice the
contrast in the depth of shapes in the
foreground against the flatness of the
dark background. Contrast of texture is also
implied by the softness of the silk dress and
soft feathers of the bird against the hard, flat
background.
• Contrast in this painting is much more subtle.
There is contrast in texture. Notice the hard
texture of the fence in the background as
contrasted with the softness of the butterflies
and kittens. Also a contrast exists between the soil
and the foliage. The kittens themselves have a
contrast depicted in their colors verses the color of
the fence in the background and even with each
other. And the red flowers verses green grass
promotes a contrast of complimentary colors.
Contrast is significant because it adds variety to the
total design and creates unity. It draws the viewer’s
eye into the painting and helps to guide the viewer
around the art piece.
Contrast also adds visual interest. Most designs
require a certain amount of contrast, if there is too
much similarity of the components in any design, it
will become monotonous. Too little contrast results in
a design that is bland and uninteresting to view.
‘The Death of the Gravedigger‘
Carlos Schwabe
MOVEMENT
 Movement is the principle of good
design which gives the artist control
over what the viewer sees next. Using
this principle, the artist can create the
path our eyes will travel as we look at a
work of art. For example, our attention
is first captured by the main focal point
and then it proceeds to move around
the composition as one element after “Fish Harvest at Dawn”
Anita Magsaysay-Ho
another catches our attention. Selling price: P52.5 million
 Movement shows action and creates a feeling of
motion within a composition. It also serves as
a guide to direct the eye from one element to the
next. An artist controls and forces the progression
of the viewer’s eyes in and around the composition
of the painting using eye travel. For instance, the
eye will travel along an actual path such as solid
or dotted line, or it will move along more subtle
paths such as from large to smaller elements,
from dark to lighter elements, from color to non- “Madonna of the Meadow”
Raphael, 1506
color, from unusual to usual shapes, etc.
 Compositional lines, sometimes referred to as
implied lines, are imaginary lines that are perceived
as connecting two or more different lines, guiding the
viewer's eye in and around the composition. It is said
that compositional lines were used to direct the
viewer's eye towards the most important parts of the
compositions and/or organize compositional
elements within broader geometric shapes in which
figures are united, such as circles and triangles ,
although there is no mention of such usage in period
literature.
“Madonna of the Meadow”
Raphael, 1506
Movement also contributes to the overall unity in a piece by creating a
relationship between the various components of a work. There are
various ways to create this relationship, it can be done by
using repetition and rhythm.
The use of repetition to create movement occurs when elements which
have something in common are repeated regularly or
irregularly thereby creating a visual rhythm. Repetition doesn’t always
have to mean exact duplication either, however, it does require
similarity or near-likeness. Slight variations to a simple repetition
are good, as this will add interest. Repetition tends to relate elements
together whether they are touching or not. Turning Torso, Scandinavia
 Rhythm is the result of repetition which
leads the eye from one area to another in
direct, flowing, or staccato movement. It
can be produced by continuous repetition,
by periodic repetition, or by regular
alternation of one of more forms or lines.
Movement can also be created by action. In two-
dimensional works of art, action must be
implied. Implied action in a painting creates life
and activity. This is best illustrated by the
direction the eye takes along an invisible path
created by an arrow, a gaze, or a pointing finger.
Action can also be indicated by the “freeze
frame” effect of an object in motion, such as a
bouncing ball suspended in mid air, a jogger
about to take that next step, or a swimmer
taking a dive, etc. You get the idea.
 Movement in the painting on the left is
created in several ways. You see it as your
eye travels from the little girl on the
blanket and moves up the stairs. You will
also see repetition in color. The color of
the building is very similar to the blanket
the child is sitting on. In addition, the
stairs create a repetition effect.
 Repetition creates the movement in the
painting right. The color of the gowns is
repeated leading the eye into the painting.
The pattern on the floor also creates
repetition. You also get the feeling of
movement created by implied action.
PATTERN
 REPETITION is simply PATTERNS are simply a When you repeat elements, the
repeating a single repetition of more than intervals between those
element many times in a one design element repetitions can create a sense
design. working in concert with of RHYTHM in the viewer and a
each other sense of movement.
Moai are monolithic human figures situated
on platforms called ahu on Polynesian
Easter Island. They were carved from rock
and have overly large heads. They represent
the faces of deified ancestors.(aringa ora
ata tepuna).
Imagine encountering this row of 15 moai,
overwhelming in size and able to be seen
from a far distance. The height of the moai is
more than twice the height of the average
human. The largest one is 33 feet
high. Imagine seeing one lone moai on the Easter Island: Ahu Tongariki
coast, compared to a row of 15 of them.
Do-Ho Suh uses repetition in much of his work,
as a profound statement about the value of
each individual within a larger group. In this Easter Island: Ahu Tongariki
sculpture, each figure is different from the
others although they appear as a single entity.
 Pattern is often used symbolically to
represent many things: people, beliefs,
the natural world, history,
tradition. Colors and shapes have
specific meanings, and are passed down
from generation to generation. The
predictability of pattern is important in
establishing a historical tradition and
cultural practice.
Helix-like, refers to the lightning god, also known to be the Symbol of Man
messenger god. This symbol is used to signal man’s efforts
to reach their superior gods, as one would need the help of
the messenger god to talk to the higher gods.
• Rhythm is like pattern, in that the
same elements (i.e.shape, line) are
repeated; however, with rhythm
there are slight variations in the
pattern. Rhythm is easily perceived
but complex and subtle. Think
of water on a beach; it continually
breaks on the shore in lines that are
repeated, yet each one is different.
Grant Wood
Young Corn 1931
 • repetition creates patterns through predictability
• alternation creates patterns through contrasting
pairs (thick/thin, dark/light)
• gradation creates patterns through a progression of
regular steps
 • Regular rhythm — occurs when the
intervals between elements, or the
elements themselves, are similar in size
or length. Regular rhythm repeats the
elements over a predictable interval.
Typically both interval and elements are
consistent, though one or the other can be
varied. The sameness of a regular rhythm
creates a less interesting (though not
necessarily boring) rhythm.
• Flowing rhythm — occurs when the elements
or interval are organic. The organic and
natural patterns are used to create a feeling
of movement. The elements could be organic
over each interval or the interval itself could
be organic.
• Typically the element is unique, though
similar, over each interval. A good example
are the stripes on a tiger or zebra. No stripe is
quite like the next. Seen together they create a
rhythm of natural movement.
Progressive rhythm — occurs when a sequence of forms or
shapes is shown through a progression of steps. Here the
elements repeat over an interval, but with more variation,
usually in progressive steps.
Size, shape or color of the element might have stepped
changes over each interval or the interval itself might
vary. The steps should be progressive. The characteristics
of the element should gradually increase or decrease
creating a sense of direction over the sequence. The
variation leads to more interest and visual tension and
tends to direct the eye along the progression.
Rhythm in art is possibly one of the most difficult
and most important ingredient required for building
an interesting composition that would first of
all catch the viewers’ eye and continues to move the
eye in and around all the parts of the artwork.
In visual art, in most cases, the work is static. It is
with the help of lines, shapes, color, brushstrokes,
light, and space, that the artist is able to produce the
rhythm, important for the creation of the movement,
for the creation of life within a flat surface.
These three are part of the fundamentals that first of all
help us to understand and build a most interesting
composition, help us to convey a certain emotion, and help
to, in a sense, manipulate or guide the public’s attention to
the focus of the piece.
These principles create a tempo or a beat and help invite
the eye to enter into the journey of the artist’s soul
displayed on the canvas, or help the eye travel and reach
its point of focus.
UNITY
• Unity is the hallmark of every good design. It is
the final result when all the design elements
work harmoniously together to give the viewer
COMPOSITIONAL
CONCEPTUAL
a satisfying sense of belonging and
relationship. You know unity has been achieved
when all aspects of the design complement

GESTALT
one another rather than compete for attention.
It serves to reinforce the relationship between
the design elements and relates them to the
key theme being expressed in a painting.
• It creates a sense of order. When a design
possesses unity there will be a consistency of
sizes and shapes, as well as a harmony of
color and pattern. One way this is
accomplished is by repeating the key
elements, balancing them throughout the
composition, and then adding a little variety
so that the design has its own sense of
personality. Learning to juggle the elements
and principles in such a way as to achieve the
right mix is a key to good design. Unity
Monica Stewart
• It also gives elements the appearance of
completeness, that they belong
together. When a composition has unity the
design will be viewed as one piece, as a
whole, and not as separate elements with
the painting. Using too many shapes and
forms may cause a design to be unfocused,
cluttered and confusing. A well organized
design will be achieved by using a basic
shape which is then repeated throughout the
Unity
composition. Monica Stewart
 • https://freshome.com/2014/09/29/why-our-brains-love-symmetry-in-design/
• https://www.cleverism.com/design-101-asymmetrical-and-symmetrical-balance/
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• http://facweb.cs.depaul.edu/sgrais/emphasis.htm
• https://www.sophia.org/tutorials/design-in-art-scale-and-proportion
• https://www.thoughtco.com/proportion-definition-in-art-182453
• https://www.sophia.org/tutorials/design-in-art-scale-and-proportion
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• https://vanseodesign.com/web-design/visual-rhythm/