‘A flowing rhythm is a graceful path of repeated movements.’ (Vining) I think this is defining linear rhythm as a stylistic quality of a particular artist. ‘Linear rhythm refers to the characteristic flow of the individual line.’ (Jirousek) Several sources, including Jirousek and Vining, include a fourth type of rhythm, linear or flowing rhythm. In this case, gradation equates to linear perspective. An example might be a line of fence posts progressively diminishing in size in a landscape. Gradation (or progressive rhythm) is a sequence of gradual change in an element, suggesting movement. A series of identical windows in the facade of a building, for example, can be varied by showing some open, some closed some with shutters, some without some in darkness, some lit.Īlternation is similar to repetition except the repeating unit is a set of elements which contrast in some way – dark and light, large and small, for example. Repetition needs variety to avoid monotony. Repetition (or regular rhythm) at its simplest is a sequence of identical design elements (motif) separated by regular intervals – in effect, a pattern. These are repetition, alternation and gradation. Whitney doesn’t explicitly list rhythm itself as a design principle but he does include the three forms of rhythm which Jirousek and others describe. ‘Rhythm is…created by repeating visual elements (lines, shapes, forms, etc…) in a regular beat or order.’( Linda Vining) Colour – increase brightness and intensity.Orientation – arrange elements diagonally rather than horizontally/vertically.Number – balance single large element with multiple smaller ones.Value-contrast – increase value-contrast of element.Isolation – move element further away from other elements.Position – move element away from centre.In each case, visual weight of an element is increased by the action specified: These are position, size, texture, isolation, value, value-contrast, number (quantity), orientation, shape and colour. The concept of visual weight which Jirousek mentions is elaborated by Tersiisky who identifies ten design elements or properties of elements which exert visual weight. The assumption is that we recognise intuitively balance/imbalance in composition in the same way that we do in real world situations. The analogy of a beam balance or see-saw occurs in several definitions of this principle. ‘While symmetry achieves balance through repetition, asymmetry achieves balance through contrast.’ ( Donna Tersiisky) Asymmetrical balance is dynamic and is the usual form of balance in representational works. Symmetrical balance is also described as static and is typified by many pre-Renaissance religious paintings. Most accounts distinguish three kinds of balance: ‘The most visually satisfying solution is to have a dominant element balanced by a minor supporting element.’ ( designelementsand ) ‘Balance is the concept of visual equilibrium… It is a reconciliation of opposing forces in a composition that results in visual stability.’ (Jirousek) ‘Balance is the result when forces opposing each other are equal.’ (Whitney) The final section of this article attempts to organize this list of principles into functional groups and then to explore how to get the elements and principles to relate in consistent, logical ways.īut first, the definitions. I could have added more – perspective and pattern, for example – but I’ve settled for those that crop up most often and are well documented. Just as difficult is trying to find any sort of consensus over what to include in the list of principles. The successful composition will have unity: self-consistency and appropriateness to whatever the artist is trying to express.ĭefining the principles is more difficult than defining the elements – which is reflected in the generous number of quotes I’ve tried to canvass the opinions of as many sources as possible. The principles may be used to create emphasis, to establish focal areas in the design, and to direct the eye to these regions. Applied systematically, they enable the artist to arrange the design elements into a hierarchical structure in which each element is subordinated to the design as a whole. Perhaps we should begin by asking what is meant exactly by principles of design? What do they do?ĭesign principles are organising principles. This post is an attempt to do the same with the principles of design. In the previous post I dealt with the elements of design, trying to define them and to show how they relate to each other.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |