Principles of Art

To reiterate, the appreciation and engagement of art relies substantially on being equipped with
the appropriate language that allows it to be more comprehensible. If the elements of art were
like the letters (e combining these letters will form words, phrases, and sentences) then the
principles of art would perhaps be the closest to the rules of grammar and composition.
Learning these principles will lessen the mimidation and might even open vast possibilities for
the novice looker to have a more pleasurable experience of art. These principles will provide
explicit ways in which these elements are used, how they are manipulated, how they interact,
and how they imfarm the overall composition of the artwork to assist the artist in conveying his
intention. It is the principles of art that influence the effect achieved by the elements, and the
linkages of other principles. These principles are: balance, scale and proportion, emphasis and
contrast, unity and variety, harmony, movement, rhythm, and repetition and pattem.

EXPLANATION:

(Appreciating art becomes easier and more meaningful when we understand the "language" of
art—specifically, its elements and principles. The elements of art, like line, shape, color, texture,
and form, are the building blocks, much like letters in a language. When these elements are
combined, they form the foundation of visual expression, similar to how letters combine to form
words, phrases, and sentences.

The principles of art—such as balance, scale, proportion, emphasis, contrast, unity, variety,
harmony, movement, rhythm, and pattern—are like the rules of grammar and composition.
These principles govern how the elements are arranged and how they interact with one another
to create meaning and impact. They guide artists in arranging elements thoughtfully, shaping
how the artwork feels, looks, and communicates with viewers.

Consider a fashion designer creating an outfit. The *elements* of art are like the basic materials
the designer works with—fabric types, colors, patterns, and textures. Each fabric or color choice
brings its own quality, similar to how individual lines, shapes, and colors contribute to an
artwork.

The *principles* of art, then, are like the stylistic choices that guide the outfit's design. Balance
in the outfit could mean choosing the right proportions, so one part of the outfit doesn’t
overshadow the rest. Emphasis might be a bold pattern or color that draws attention to a
particular part, like a neckline or waist. Unity is ensuring all parts of the outfit feel cohesive, and
movement is about creating a sense of flow and direction, perhaps through how fabric drapes or
moves with the body.

Understanding these principles is like knowing the designer’s intention behind the choices—how
each element contributes to the outfit’s overall look and feel. Similarly, understanding the
principles of art allows viewers to see how an artist’s choices come together to shape the impact
of the artwork, making the experience richer and more immersive.)
1. Balance

This principle refers to the distribution of the visual elements in view of their placement in
relation to each other.

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. Arranges elements so no part of the artwork
feels heavier or overwhelming, creating stability and harmony.

Example: Isamu Noguchi’s "Cube" at the Entrance of Marine Mediest Balding, Manhattan

Red Cube is a gigantic monumental sculpture by the American landscape architect and artist
Isamu Noguchi, located in Lower Manhattan. The minimalist masterpiece combines architecture
and art, creating a fascinating monochromatic cube that balances nimbly on one of its corners.

Isamu Noguchi’s *Cube* (1968) is a fascinating example of balance in the principles of art. It’s a
large, steel sculpture shaped like a cube but set at an unusual angle. Instead of standing flat on
one of its six faces, the cube rests on one of its corners, giving the impression that it’s defying
gravity and might tip over at any moment. This setup creates a visual tension that challenges
our expectations of stability and balance.

The principle of balance is evident in how Noguchi uses the cube’s positioning and angles.
Although the cube is tilted, it’s precisely calculated to remain upright and stable. This balance is
both physical and visual; physically, the weight is distributed in a way that prevents it from
falling, while visually, it engages the viewer’s attention by creating a sense of poised suspense.
By setting the cube on its corner, Noguchi achieves an asymmetrical balance, where the visual
“weight” feels evenly distributed even though it’s not arranged symmetrically.

This intentional imbalance forces us to rethink stability and creates a dynamic interaction with
the space around it. The sense of balance in *Cube* is not just about symmetry or equal weight,
but about creating a harmony between tension and stability, making the sculpture feel both
grounded and airy, heavy and light. It’s a powerful example of how the principle of balance can
be used to play with viewers' perceptions and create a more engaging, thought-provoking
experience.
3 forms of balance:

1. Symmetrical Balance (Formal Balance):

- Symmetrical balance is the most straightforward form of balance. It involves creating a

composition where elements are mirrored on either side of a central axis. This axis could be
vertical, horizontal, or even diagonal, but the key is that the design on one side mirrors the
design on the other side.
- The visual weight on both sides is roughly equal, which leads to a calm, stable, and
organized feeling.
- **Effect**:
- This type of balance creates harmony and order. It tends to give the viewer a sense of peace,
formality, and tradition, often evoking feelings of stability and reliability.
- Symmetry is often used in formal, classical art and architecture, where a sense of precision
and permanence is desired.

EXAMPLE:

2. Asymmetrical Balance** (Informal or Dynamic Balance):

- Asymmetrical balance is achieved when elements on one side of a composition are not the
same as those on the other, but they still achieve equilibrium through other factors, such as
size, color, texture, or placement.
- In this type of balance, one side may have larger or more complex elements, but these are
balanced out by smaller or simpler elements on the other side, creating an equilibrium of visual
weight rather than identical shapes or sizes.
- Asymmetry can be achieved in various ways, such as through positioning objects at different
distances from the center or using a range of colors and textures to distribute visual weight
evenly across the artwork.
- **Effect**:
- This balance creates a sense of movement, tension, and energy. It often feels more
spontaneous, modern, or informal compared to symmetrical balance. It encourages the viewer’s
eye to travel around the artwork, keeping their interest engaged.
- Asymmetrical balance is often used in contemporary and abstract art, where unexpected
juxtapositions or contrasts are meant to stimulate thought and emotion.

EXAMPLE:

2. Radial Balance (Circular or Spiral Balance):

 - Radial balance involves arranging elements around a central point, creating a sense of
movement that radiates outward from the center. The design elements follow a circular or spiral
pattern.
- This balance type focuses the viewer’s attention on the center, with the rest of the
composition unfolding in all directions around it.
- Radial balance is often used to create focal points and can be dynamic or meditative
depending on the use of colors, shapes, and repetition.
- **Effect**:
- Radial balance draws the eye inward, creating a sense of unity and harmony as everything
seems to converge toward the center. It can evoke a sense of wholeness or completeness.
- This type of balance is often used in designs that are meant to be captivating or mesmerizing,
drawing attention to a focal point or center of interest.

EXAMPLE:

Scale and Proportion

Scale pertains to the size in relation to what is normal for the figure or object in question. Artists
can use scale to create different effects on the viewer by making their work larger or smaller
than it would be in real life.

Figure: Claes Ortenberg and Contr Mandir Cote Des Mones (2001)
Plantoir

The French noun plantoir is a pointed hand-tool for making holes in the ground for seeds or
young plants. This tool often called a dibble and sometimes a trowel.

This whimsical, oversize gardener’s trowel titled “Plantoir” created by artists Claes Oldenburg
and Coosje van Bruggen, was designed specifically for outdoor viewing in a garden setting. The
brilliant red digging tool is an exaggeration in form and color. It is more than 23-feet tall and
weighs 2,300 pounds, and is designed to withstand winds up to 120 miles per hour. It is sited at
the west entrance to downtown Des Moines, on the grounds of Meredith Corporation.

Sculptures of exaggerate scale are common all over the world as many artists are taken by the
whimsical quality of these objects. One cannot help but smile upon seeing them in public
spaces. In the Philippines, Arturo Luz has created enormous sculptural versions of the paper
clip. For a long time, it occupied a prominent spot at the entrance of the Ayala Museum.

picturee!!

Proportion, on the other hand, is the size of the components, or of objects in relation to one
another when taken as a composition or a unit. This can also refer to values such as amounts or
number of elements or objects in the composition.

One of the most common cannons asserted relates to the proportion of the body. This varies
from one culture or tradition to another. For the Egyptian artists, the human form follows a
square grid and is informed by the palm of the hand as a unit of measure. To complete a
standing human figure, 18 units (squares) are needed from head to foot. On the other hand,
Greeks held that numerical relationships-the golden ratio was the key to beauty or to perfection.
In the golden ratio, the figure is divided into two unequal segments wherein the smaller is the
same ratio to the larger segment, and that the longer segment is the same ratio in relation to the
whole, în figures, it can be valued at 1:1.618.
( The passage highlights two distinct systems used by the Egyptians and Greeks to represent
the human body, focusing on proportion and measurement:

1. **Egyptian Proportions**:
- Egyptians used a **square grid** to structure the human body, where each grid unit was
based on the **palm of the hand**.
- A standing human figure required **18 units** (squares) from the top of the head to the
bottom of the feet, establishing a system of body proportions that was consistent across their
artwork.
- This method was practical and straightforward, relying on a physical measurement (the
palm) to ensure consistent size and proportions in different figures.

2. **Greek Proportions (Golden Ratio)**:

- The Greeks, on the other hand, embraced a more abstract and mathematical approach to
beauty and proportions, emphasizing the **golden ratio** (1:1.618).
- This ratio divides a whole figure into two parts: one part is smaller, and the other is larger, but
both parts maintain the same proportional relationship. The larger part is to the whole figure as
the smaller part is to the larger part.
- This ratio was believed to create an ideal, harmonious balance in the human form and was
used in both sculpture and architecture, aiming to represent perfection and natural beauty.

In essence, Egyptians focused on practical, unit-based measurements for the human figure,
while the Greeks sought to capture a more philosophical or mathematical ideal of proportion
through the golden ratio.)

Figore 71. Leonardo da Vino, "Vitruvian Man" (1490) Pen and ink with wash over metalpoint on
paper Gallerie dell'Accademia Venice, Italy

Leonardo da Vince Vitruvian Man" is an exploration on the ideas of the Roman architect
Vitruvius, in which the human body is an example of a classical proportion in architecture. For
da Vinci, man's body can be used to better understand the symmetry that exists in nature and
the universe.
Proportion can be:

Nature– refers to the realistic size of the visual elements in the artwork, especially for figurative
artworks. When it is the accuracy in relation to the real world that the artist is after, this is now
refered to as the principle of scale.

Exaggerated-refers to the visual size relations of visual elements, deliberately exaggerating the
immensity or minuteness of an object.

In relation to this, there are notions in scale that differentiate when an element is smaller than
expected (diminutive), and when something appears to be larger than what is presumed
(monumental).

idealized-most common to those that follow canons of perfection, the size-relations of elements
or objects, which achieve the most ideal size-relations:

In the principles of art, **nature**, **exaggerated**, and **idealized** proportions refer to

different approaches artists use to depict the human body or objects, each serving a specific
purpose or artistic intention.

1. **Nature (Realistic Proportion)**:

- This approach seeks to represent the human body or objects in a way that closely mirrors
**natural proportions** as observed in real life.
- Artists who use nature-based proportions aim to depict figures or scenes realistically,
following actual measurements and anatomical accuracy.
- For example, in realistic portraiture or lifelike sculptures, the body’s proportions (such as
head size relative to body height) are accurately portrayed, as they would appear in the real
world.

2. **Exaggerated Proportion**:
- In this approach, artists **distort** or **amplify** certain aspects of the human figure or
objects for dramatic or expressive effect.
- Exaggeration might emphasize specific features or emotions, such as large hands,
elongated limbs, or oversized heads, to communicate certain ideas or feelings.
- For example, in caricatures or comic art, exaggerated proportions are used to convey humor,
satire, or strong emotion by magnifying particular physical traits.

3. **Idealized Proportion**:
- Idealized proportions refer to representations that **emphasize beauty, harmony, or
perfection**, often based on cultural or artistic standards rather than real-life accuracy.
- Artists create **perfected versions** of the human form or objects, often smoothing out
imperfections or adjusting proportions to convey an ideal vision.
- In classical art, such as Greek sculpture, artists used the **golden ratio** to achieve the
"ideal" human form, which was considered to represent beauty, balance, and symmetry.
### Summary:
- **Nature (Realistic)** proportions aim for accuracy and lifelike representation.
- **Exaggerated** proportions distort features for emphasis, drama, or humor.
- **Idealized** proportions present a perfected, harmonious version of the subject, often based
on cultural ideals of beauty or perfection.

3-4 Emphasis and Contrast

Emphasis allows the attention of the viewer to a focal point(s), accentuating or drawing attention
to these elements or objects. This can be done through the manipulation of the elements or
through the assistance of other principles, especially that of contrast.

An emphasis can be established by creating strong contrasts of light and color.

In Still Life with Lobster, Anna Vallayer-Coster used the complementary color scheme to focus
our attention.
By painting everything else in the composition a shade of green, she focuses our attention on
the red lobster in the foreground.2

Contrast is the disparity between the elements that figure into the composition: One object may
be made stronger compared to other objects (hance, emphasis). This can be done in many
ways using the elements of art. For instance, space, specifically the use of negative and positive
space. is an example of contrast. Another example is the use of complementary colors in a work
of art
(Emphasis and Contrast**: Focus the viewer’s attention on specific areas, creating a focal point.
High contrast, for instance, draws the eye to a point of interest, while lower contrast can make
an area recede into the background.)

5-6. Unity and Variety

Unless intended to be otherwise, compositions are intended to imbue a sense of accord or

completeness from the artwork. This is unity.

Figure 72. Vasudhara Mandala dated to 1777, Samvat 897), Distemper on cloth Gift of Stephen
and Sharon Davies Collection, 2015 The Metropolitan Museum of Art, New York.

Variety, on the other hand, is the principle that aims to retain the interest by lowing patches or
areas that both excite and allow the eye to rest.

unity and variety are principles of art that describe how artists use elements to create a
composition. Unity is when the parts of a composition work together to create a sense of
harmony and wholeness. Variety is when different visual elements are placed next to each other
to add interest.

(Unity and Variety**: Ensure the artwork feels cohesive and complete while maintaining enough
variation to keep it engaging. Unity brings together different parts of an artwork to feel
harmonious, and variety adds elements of difference to keep the piece visually interesting.)

7. Harmony
Like what is hinted above, unity and variety is related to the principle of harmony, in which the
elements or objects achieve a sense of flow and interconnectedness.

example: Morning Sparkle, Tower Bridge | Andrew Grant Kurtis

there is blending of similar elements or colors in a way that makes the work feel calm and
connected, while still interesting and pleasing.)

8. Movement

This refers to the direction of the viewing eye as it goes through the artwork, often guided by
areas or elements that are emphasized. These focal points can be lines, edges, shape, and
color within the work of art, among others.

In art, **movement** refers to the way artists create the sense of motion or guide the viewer’s
eye through a composition. It can be **actual movement** (like in kinetic art where parts of the
artwork move) or **implied movement** (where motion is suggested through visual elements like
lines, shapes, and repetition). Techniques like dynamic lines, rhythm, and foreshortening help
suggest movement in static artworks, giving them energy and direction.
as you can see in the picture, there is an optical illusion that the art is moving when in fact it is
not.

Yes, optical illusions are often connected to movement in art. **Optical illusions** create the
appearance of motion or changing images by manipulating visual cues, such as lines, colors,
and shapes. These illusions can make static images seem like they are moving or vibrating,
even though they aren't actually changing.

Thus, optical illusions play with visual perception to simulate movement, often enhancing the
viewer's experience by creating dynamic effects in a static artwork.

9. Rhythm

This is created when an element is repeated, creating implied movement. Variety of repetition
helps invigorate rhythm as depicted in the artwork.

(Direct the viewer’s eye through the artwork, creating a sense of flow. Movement might be
achieved by repeating shapes or colors that guide the eye, and rhythm provides a beat or
pattern that can feel dynamic or calming.)
10-11. Repetition and Pattern

Lines, shapes, colors, and other elements may appear in an artwork in a recurring manner. This
is called repetition. In addition, the image created out of repetition is called pattern. With
repetition, there is a sense of predictability that is conveyed, which in turn imbues the feelings of
security and calmness.
(Repetition and Pattern**: Use recurring elements to create consistency, rhythm, or emphasis.
Repeated shapes or lines, for instance, can create visual “texture” or depth, adding complexity
and structure.)