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AMT-103
Design & Communication Process
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❖ Composition:
Composition is the placement or arrangement of visual elements or
'ingredients' in a work of art, as distinct from the subject. It can also be thought
of as the organization of the elements of art according to the principles of art.
The term composition means 'putting together' and can apply to any work of
art, from music to writing to photography, which is arranged using conscious
thought. In the visual arts, composition is often used interchangeably with
various terms such as design, form, visual ordering, or formal structure,
depending on the context. In graphic design for press and desktop publishing,
composition is commonly referred to as page layout.
To put it as simply as possible, composition is an arrangement of elements that
makes us see them as a whole. Every artwork has some composition. You
either create it consciously or by accident, but you can't create a drawing
without it.

In a more practical sense, composition is the relation between the elements of

the picture.

Elements of art are the visual tools that the artist uses to create a
composition. These are line, shape, colour, value, form, texture, and space.

The principles of art represent how the artist uses the elements of art to
create an effect and to help convey the artist's intent. The principles of art and
design are balance, contrast, emphasis, movement, pattern, rhythm, and
unity/variety. The use of these principles can help determine whether a
painting is successful, and whether or not the painting is finished.
❖ Elements of Art:
A work of art can be analyzed by considering a variety of aspects of it
individually. These aspects are often called the elements of art. A commonly
used list of the main elements includes form, shape, line, color, value, space
and texture.

1. Line: an element of art defined by a point moving in space. Line may be two-
or three-dimensional, descriptive, implied, or abstract.

2. Shape: an element of art that is two-dimensional, flat, or limited to height and

width.

3. Form: an element of art that is three-dimensional and encloses volume;

includes height, width AND depth (as in a cube, a sphere, a pyramid, or a
cylinder). Form may also be free flowing.

4. Value: The lightness or darkness of tones or colors. White is the lightest

value; black is the darkest. The value halfway between these extremes is
called middle gray.

5. Space: An element of art by which positive and negative areas are defined or a
sense of depth achieved in a work of art.

6. Color An element of art made up of three properties: hue, value, and intensity.

• Hue: name of color

• Value: hue’s lightness and darkness (a color’s value changes when white or
black isadded)

• Intensity: quality of brightness and purity (high intensity= color is strong and
bright; low intensity= color is faint anddull)

7. Texture: An element of art that refers to the way things feel, or look as if
they might feel if touched.
❖Principles of Art:
The artist decides what principles of art he or she wants to use in a painting. While
an artist might not use all the principles of design in one piece, the principles are
intertwined and the use of one will often depend on another. For example, when
creating emphasis, the artist might also be using contrast or vice versa. It is
generally agreed that a successful painting is unified, while also
having some variety created by areas of contrast and emphasis; is
visually balanced; and moves the viewer's eye around the composition. Thus it is
that one principle of art can influence the effect and impact of another.

Balance refers to the visual weight of the elements of the composition. It is a sense
that the painting feels stable and "feels right." Imbalance causes a feeling of
discomfort in the viewer.

Balance can be achieved in 3 different ways:

1. Symmetry, in which both sides of a composition have the same elements in

the same position, as in a mirror-image, or the two sides of a face.
2. Asymmetry, in which the composition is balanced due to the contrast of any
of the elements of art. For example, a large circle on one side of a
composition might be balanced by a small square on the other side
3. Radial symmetry, in which elements are equally spaced around a central
point, as in the spokes coming out of the hub of a bicycle tire.

Contrast is the difference between elements of art in a composition, such that each
element is made stronger in relation to the other. When placed next to each other,
contrasting elements command the viewer's attention. Areas of contrast are among
the first places that a viewer's eye is drawn. Contrast can be achieved by
juxtapositions of any of the elements of art. Negative/Positive space is an example
of contrast. Complementary colors placed side by side is an example of contrast.

Emphasis is when the artist creates an area of the composition that is visually
dominant and commands the viewer's attention. This is often achieved by contrast.

Movement is the result of using the elements of art such that they move the
viewer's eye around and within the image. A sense of movement can be created by
diagonal or curvy lines, either real or implied, by edges, by the illusion of space, by
repetition, by energetic mark-making.

Pattern is the uniform repetition of any of the elements of art or any combination
thereof. Anything can be turned into a pattern through repetition. Some classic
patterns are spirals, grids, weaves.

Rhythm is created by movement implied through the repetition of elements of art

in a non-uniform but organized way. It is related to rhythm in music. Unlike pattern,
which demands consistency, rhythm relies on variety.

Unity/Variety You want your painting to feel unified such that all the elements fit
together comfortably. Too much unity creates monotony, too much variety creates
chaos. You need both. Ideally, you want areas of interest in your composition along
with places for your eye to rest.
❖BALANCE:

A balanced composition feels right. It feels stable and aesthetically pleasing. While
some of its elements might be focal points and attract your eye, no one area of
the composition draws your eye so much that you can’t see the other areas.

Balancing a composition involves arranging both positive elements and negative

space in such a way that no one area of the design overpowers other areas.
Everything works together and fits together in a seamless whole. The individual
parts contribute to their sum but don’t try to become the sum.

An unbalanced composition can lead to tension. When a design is unbalanced,

the individual elements dominate the whole and the composition becomes less
than the sum of its parts. In some projects, unbalanced might be right for the
message you’re trying to communicate, but generally you want balanced
compositions.

Physical and Visual Balance

Balance is easy to understand in the physical world, because we experience it all

the time. When something is unbalanced, it tends to fall over. You’ve probably
been on a seesaw or a teeter-totter at some time in your life — you on one side
and a friend on the other.
Assuming you were both about the same size, you were able to easily balance on
theseesaw. The following image appears to be in balance, with two equally sized
people equally distant from the fulcrum on which the seesaw balances.

Symmetrically balanced seesaw.

The person on the left makes the seesaw rotate counter clockwise, and the
person on the right makes it rotate clockwise by an equal amount. The force of
eachperson acts in a different direction, and their sum is zero.
If one of the people was much bigger, though, the balance would be thrown off.
 Unbalanced seesaw.

This image doesn’t feel right because we know the person on the left isn’t big
enough to balance the person on the right. The clockwise force should be much
greater, and the seesaw should be touching the ground on the right.
However, if the larger person slid in toward the center, then the seesaw would be
balanced again.

Asymmetrically balanced seesaw.

Here, the force of the larger person is reduced by being closer to the fulcrum on
which the seesaw balances. I’ll trust you’ve been on a seesaw before or at least
watched others play on one and that you have a pretty good sense of what’s
going on.

Visual balance is similar. Physical weight is replaced by visual weight. The

direction in which the physical weight acts is replaced by visual direction.
As a reminder, below are definitions for visual weight and visual direction,
although I’ll refer you back to the fourth post in this series for moredetails.

• Visual weight: This is the perceived weight of a visual element. It’s ameasure of
howmuchanythingonthepageattractstheeyeoftheviewer.
Visual direction: This is the perceived direction of a visual force. It’s the direction
in which we think an element should be moving if it were given a chance to move
according to the forces acting onit.
You don’t use instruments to measure the forces. You don’t use formulas to
calculate whether everything is in balance. Rather, you use your eye to determine
whether a composition is balanced.

Why Visual Balance Is Important

Just as in the physical world, visual balance is a good thing. It’s desirable in and of
itself. An unbalanced composition can feel uncomfortable for the viewer. Look
back at the second of the three seesaw images — it looks wrong because we can
tell that the seesaw shouldn’t be in balance.
Visualweightisa measureofthevisualinterestofanelementorareainadesign. When
a composition is visually balanced, every part of it holds some interest. The visual
interest is balanced, which keeps viewers engaged with thedesign.
Without visual balance, viewers might not see all areas of the design. They
probably won’t spend any time in areas with less visual weight or interest. Any
information in those areas could easily go unnoticed.
You would balance a design visually because you want to balance the points of
interest in your composition, so that viewers spend time with all of the
information you want to convey.

Four Types of Balance

There’s more than one way to balance a composition. The images in the previous
section show two of them. The first image is an example of symmetrical balance,
and the second is an example of asymmetrical balance. Two other types of
balance are radial and mosaic.

Symmetrical balance.
Symmetrical balance occurs when equal weights are on equal sides of a
composition, balanced around a fulcrum or axis in the center. Symmetrical
balance evokes feelings of formality (it’s sometimes called formal balance) and
elegance. A wedding invitation is a good example of a composition that you’d
likely want to be symmetrically balanced.
The downside of symmetrical balance is that it’s static and sometimes regarded as
boring. Because half of the composition mirrors the other half, at least half of the
composition will be rather predictable.

Asymmetrical balance.

Asymmetrical balance results from unequal visual weight on each side of the
composition. One side of the composition might contain a dominant element,
which could be balancedby a couple or lesser focal points on the other side. One
visually heavy element on one side might be balanced by a handful of lighter
elements on the other.
Asymmetrical balance is more dynamic and interesting. It evokes feelings of
modernism, movement, energy and vitality. Asymmetrical balance offers more
visual variety, although it can be more difficult to achieve because the
relationships between elements are more complex.
 Radial balance.

Radial balance occurs when elements radiate from a common center. Rays of
sunlight and ripples in a pond after a stone is tossed in are examples of radial
balance. Maintaining a focal point (fulcrum) is easy because it’s always the center.
Because everything radiates from a common center, everything also leads to that
center, making it a strong point of attraction.

Mosaic balance.

Mosaic balance (or crystallographic balance) results from balanced chaos. Think
Jackson Pollack paintings. The composition lacks distinct focal points, and the
elements share a uniform emphasis. The lack of hierarchy leads to visual noise at
first glance. Somehow, though, it all works together.

Symmetry and Asymmetry

Both symmetry and asymmetry can be used throughout a composition,
independent of, yet while contributing to, the final balance. You can have
symmetrical forms in an asymmetrically balanced composition and vice versa.
Symmetry is usually seen as beautiful and harmonized; however, it can also be
seen as static and dull. Asymmetry tends to be more interesting and dynamic,
despite not being regarded as intrinsically beautiful.

SYMMETRY
There are three primary types of symmetry.
Reflection symmetry (or bilateral symmetry) occurs when everything is mirrored
around a central axis. It’s probably the first thing you think of when you hear the
word “symmetry.” The axis can be in any direction or orientation, although it’s
often vertical or horizontal.
Everything on one side of the axis is mirrored on the other side. Natural forms
that grow or move across earth’s surface develop reflection symmetry. A human
face and a butterfly are examples.
When the reflection is a perfect mirror image, the symmetry is said to be pure.
Much of the time it won’t be perfect and each side will have slight variations. This
is near symmetry, and it’s more common than pure symmetry.
The symmetry can even occur over multiple axes at the same time. For example,
the left and right half of a composition could mirror each other, while the top and
bottom also mirror each other. Snowflakes show reflection symmetry over more
than two axes.

Rotational symmetry (or radial symmetry) occurs when everything rotates

around a common center. It can occur at any angle or frequency, as long as
there’s a common center. Natural forms that grow or move perpendicular to the
earth’s surface develop rotational symmetry. The petals of a sunflower are an
example. Rotation without reflection can be used to show motion, speed or
dynamic action. Think of the spinning wheels of a moving car.

Translational symmetry (or crystallographic symmetry) occurs when elements

are repeated over different locations in space. Repeating fence posts are an
example. The repetition creates translation symmetry. It can occur in any
direction or at any distance, as long as the basic orientation is the same. Natural
forms develop translational symmetry through reproduction. You can create
rhythm, motion, speed and dynamic action through translation symmetry.

The butterfly is an example of reflection symmetry, the fence posts show translation symmetry, and
the sunflower is an example of radial symmetry
 Symmetrical forms are commonly seen as the figure, as opposed to the ground. A
symmetrical form will carry more weight than a similarly sized and shaped
asymmetrical form.
Symmetrical forms convey balance in and of themselves, but they could appear
too stable and too balanced, leading to a lack of interest. Symmetrical forms also
lead to passive space because the negative space is equal all around the form.

ASYMMETRY
Asymmetrical forms lack the balance of symmetrical forms, although you can
asymmetrically balance an entire composition. Asymmetry is rather common in
natural forms: you’re probably right- or left-handed; fiddler crabs have different
sized claws; trees branches grow in different directions; clouds have random
shapes.
Asymmetry creates more complex relationships between elements, and so it
tends to be more interesting than symmetry. Because it’s more interesting,
asymmetry can be used to draw attention.

Space around asymmetrical forms is more active. Unpredictable patterns are

created, and overall you have more freedom of expression with asymmetry than
with symmetry. The trade-off is that it’s harder to achieve.

Much in the same way that similarity and contrast work together, you can
combine symmetry and asymmetry to good effect. Balance symmetrical forms in
an asymmetrical way, or balance asymmetrical forms symmetrically. Break up
symmetricalforms with a random mark to add interest. Contrast symmetry and
asymmetry in your composition to make elements get more attention.

To Know More please visit the link given below.

[Link]
symmetry-asymmetry/

❖Color Theory:
Color is perception. Our eyes see something (the sky, for example), and data
sent from our eyes to our brains tells us it’s a certain color (blue). Objects reflect
light in different combinations of wavelengths. Our brains pick up on those
wavelength combinations and translate them into the phenomenon we call
color.
Color theories create a logical structure for color. For example, if we have an
assortment of fruits and vegetables, we can organize them by color and place
them on a circle that shows the colors in relation to each other. However, there
are three basic categories of color theory that are logical and useful : The color
wheel, color harmony, and the context of how colors are used.
❖The Color Wheel:
A color circle, based on red, yellow and blue, is traditional in the field of art. Sir
Isaac Newton developed the first circular diagram of colors in 1666. Since then,
scientists and artists have studied and designed numerous variations of this
concept. In reality, any color circle or color wheel which presents a logically
arranged sequence of pure hues has merit.

There are also definitions (or categories) of colors based on the color wheel. We
begin with a 3-part color wheel.

Primary Colors: Red, yellow and blue

In traditional color theory (used in paint and pigments), primary colors are the 3
pigment colors that cannot be mixed or formed by any combination of other
colors. All other colors are derived from these 3 hues.
Secondary Colors: Green, orange and purple
These are the colors formed by mixing the primary colors.

Tertiary Colors: Yellow-orange, red-orange, red-purple, blue-purple, blue-green

& yellow-green
These are the colors formed by mixing a primary and a secondary color. That's
why the hue is a two-word name, such as blue-green, red-violet, and yellow-
orange.
❖Color Harmony:
Harmony can be defined as a pleasing arrangement of parts, whether it be
music, poetry, color, or even an ice cream sundae.
In visual experiences, harmony is something that is pleasing to the eye. It
engages the viewer and it creates an inner sense of order, a balance in the
visual experience. When something is not harmonious, it's either boring or
chaotic. At one extreme is a visual experience that is so bland that the viewer is
not engaged. The human brain will reject under-stimulating information. At the
other extreme is a visual experience that is so overdone, so chaotic that the
viewer can't stand to look at it. The human brain rejects what it cannot
 organize, what it cannot understand. The visual task requires that we present a
logical structure. Color harmony delivers visual interest and a sense of order.

❖Color Harmony Formulas / Color

Schemes:
There are many theories for harmony. The following illustrations and descriptions
present some basic formulas.
For more about colors visit these links:

[Link]

10 Brilliant Color Psychology Infographics

The Psychology of Color: A Color Guide For Designers

Color Psychology in Logo Design

How to Use the Psychology of Color to Increase Website Conversions

[Link]
❖ Emphasis and Different ways to create Emphasis

Emphasis is a principle of art which occurs any time an element of a piece is given
dominance by the artist. In other words, the artist makes part of the work stand out
in order to draw the viewer's eye there first.

❖ Why Is Emphasis Important?

Emphasis is used in art to attract the viewer's attention to a particular area or
object. 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.
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.

❖ Different Ways to Achieve Emphasis:

When analyzing the composition of a drawing, painting, or any artistic medium you
realize that the artist has great control over what he can do with that work of art.
An artist can begin to group their options into categories. While there’s an infinite
amount of ways for creating emphasis let’s categorize our options into 3 main
categories:

• Contrast
• Position
• Leading Elements

❖ Creating Emphasis by Contrast

When most people think of emphasizing objects within a work of art, they think of
contrast. This is definitely a good start but even contrast can be broken down into
several types (sub-categories). In other words contrast is not limited to light vs.
dark (value contrast) but can also include the contrast between hues, saturations,
patterns, and textures.
Value is one of color’s three properties. A color’s value can play an important role
in creating emphasis. Need a focal point in a work of art? Make sure you draw
attention to it by arranging your values so that you create the necessary contrast.

A color’s hue is also one of color’s three properties. Our eyes will notice any hues
that are unique to their surroundings. Keep this in mind the next time you need to
emphasize something in your painting.

Often misunderstood saturation can play a very important role in drawing attention
to elements within your artwork. Remember it’s all about contrast… value and
hue are certainly not the only way to emphasize things.

Often overlooked aspects of artwork are the patterns and textures that occur
naturally. While the example given is extremely simple keep in mind that many
objects we come across in real life have naturally occurring patterns and textures.
Learn to identify naturally occurring patterns and textures and you can draw
attention by using a pattern or texture that contrasts.

Sometimes size is enough of a differentiating factor to draw attention to something

within your artwork. If you walked into a room and everyone was approximately 5
feet tall and amongst the crowd there was a 7 foot person would you notice him?

❖ Creating Emphasis with Positioning

It may be one of the most obvious solutions but placing an element in the center of
your composition will certainly draw your viewer’s attention to that central
element.

How you position your elements in your artwork can make a huge difference. An
experienced designer knows how to isolate important elements in order
to emphasize them.

❖ Creating Emphasis with Leading Elements

Art is a visual language and much like a written language we learn to “read” a work
of art. Over many years of looking at artwork and making connections to the world
around us our brain has learned to be directed by certain occurrences as being
viewed in artwork. A character pointing with her hands might lead our eye in that
direction. Perspective lines tend to make our viewers look into the illusionary
distance. There’s bountiful ways in which a clever artist can direct a viewer’s eye
towards an item that desires to be emphasized!

Art VS Design

There is a lot in common between art and design, but they’re not the same. At
times, the lines between the two disciplines become blurred, but the distinctions
remain and are important to understand. Prior to the Industrial Revolution, art and
design were blended in beauty, purpose and craftsmanship. During that era, the
two disciplines separated. Design remained practical and commercial while art for
art’s sake allowed for the pursuit of creative expression as a singular goal and took
off in another direction.

Despite their differences, we need to acknowledge what these two disciplines

have in common:
[Link]’re both visual and belong to the broader category of visual art.
2. They both incorporate the aesthetic principles.
3. Practitioners in both fields need knowledge of history, past movements and
current trends.
4. Both are highly creative activities involving processes that require time,
observation and thinking.

The dividing line between art and design is drawn by the purpose of each:
1. Art allows for self-expression. The artist decides what he or she wants to evoke
and works toward that end. It is self-satisfying. Design is communication and
function in visual form, created for the general population or a segment of it. Design
addresses stated needs and solves problems.

2. Art can rely entirely on aesthetics alone, and artists embark on journeys of
exploration and experimentation. Design marries aesthetics with function to achieve
a purpose.

3. Art is open to interpretation by the viewer. Design cannot be interpretive but

must communicate specifically and clearly to its intended audience.

4. Art is elitist, meaning that it is viewed in galleries and museums, exhibited away
from the mainstream of everyday experience. One looks at art and may or may not
have a significant experience. Design is seen and experienced by just about everyone
in the course of a day. One uses design. Web sites, packaging, billboards, print
advertising, newspaper layouts, fashion, signage, interior spaces, smart phone apps,
products and appliances all have been designed for both visual appeal and practical
use.

5. Art exists for itself. It’s innovative, expressive and sometimes shocking. Design is
practical and carefully crafted. It supports business, commerce, marketing,
entertainment, journalism, communications and causes.

6. Artists stand in front of their work and get to put their signatures on it in plain
view. Designers stand behind their work and remain unknown for the most part.

Most people can name half a dozen artists off the top of their heads. Most cannot
name half a dozen designers – with the possible exception of fashion designers.
(Quickly, and without Googling or Binging – who created the CBS logo? Who
designed the type face used in the London Underground signs?) Yet design carries
far more weight and influence in our time and throughout history than fine art.
Most people don’t make the connection that the bag of chips they’re consuming
was designed by someone, or that it’s by design that cola and root beer products
have different color schemes.

Design’s value is in how it serves

Design involves specific criteria, research and study, along with extreme creativity.
Where an artist can begin with a blank canvas and creatively pursue a serendipitous
route to an end result, a designer begins with a set of criterion and creates within
specific boundaries all the way from concept through completion. Design is not
decoration, and designers do not seek to express their own points of view but to
accurately represent who or what they’re designing for. Design influences and
persuades in the domain of popular culture. It is created for the masses and will
always have a commercial purpose.
Why is it important to understand these differences? Simply because they’re not
the same. We experience and value them differently. We treat artists and designers
differently.
Art is something we go to see at the Getty Center or the Guggenheim, form opinions
about and compartmentalize the experience as being uplifting or at least
interesting. And then we go home. Art requires people to come to it, and its value
lies in that people leave their everyday lives and go look and be inspired or shocked.
Art is a getaway – a time for contemplation and being away from the ordinary.
Design’s value is in how it serves the community, the marketplace and the
enterprises it represents in our commonplace, ordinary living. It comes to
us daily at the grocery store, along roads, in books, at work, at play, when dining
out, when doing our taxes. Every day we use a plethora of things that were
designed.
There are artists who design and designers who create art. If we attempt to say that
one discipline is better than the other, keep in mind that they’re both necessary and
worthy. There is a clear line between the two. The point is that we don’t confuse
them, but value each one in its own right. Clients should not treat their designers as
if they were artists, nor should artists be required to adhere to particular
constraints.