Regular Repetition: Week 7 - Principles of Design

WEEK 7 || PRINCIPLES OF DESIGN
Jennaly B. Cuison
ARTA111
Mrs. Merlita Pineda
October 2021
PRINCIPLES OF DESIGN REGULAR REPETITION

 Refer to the visual strategies used by artists,  Donald Judd’s sculpture in particular was
in conjunction with the elements of arts – for based on the repetition of simple geometric
expressive purposes (Fichner-Rathus, 2008). shapes mounted on walls or set on the floor in
 How we apply the principles of design a steady, evenly spaced pattern.
determines how successful we are in creating  Minimalism. An abstract art movement begun
a work of art. in the 1960s that emphasizes the use of pure
and simple shapes and materials.
 Add visual interest to a composition. ALTERNATING RHYTHM
 Draw and hold the viewer’s eye on certain  Different elements in a work repeat
parts of a work. themselves in predictable order.
 Bring visual stability. PROGRESSIVE RHYTHM
 Convey a sense of orderly progression.  Rhythm of elements of a work of art such as
shape, texture, or color change slightly as
INCLUDES they move, or progress toward a defined point
 Harmony in the composition.
 Balance  Minor variations in rhythm can add interest to
 Rhythm a composition.
 Emphasis
 Proportion BALANCE
 Simplicity  Concept of visual equilibrium, and relates to
 Variety our physical sense of balance. It is a
 Unity reconciliation of opposing forces in a
 Contrast composition that results in visual stability.
 Clarity  It is easy to understand in three dimensional
object; if balance isn't achieved, the object
HARMONY tips over.
 All parts of the visual image relate to and  To understand balance in a two dimensional
complement each other. composition, we must use our imaginations to
 Visually satisfying effect of combining similar carry this three dimensional analogy forward
or related elements. to the flat surface.
SYMMETRICAL BALANCE
RHYTHM  Elements of a work are balanced by similarity
 Organized movement, a beat, a repetition. of form or arrangement on either side of a
 Created by repetition, and repetitive patterns dividing line or plane, or to correspondence of
convey a sense of movement. parts, as in size, shape, or position.
 In the visual arts, the viewer perceives rhythm  Described as having equal "weight" on equal
by grouping elements such as color, line and sides of a centrally placed fulcrum. It may
shape. also be referred to as FORMAL BALANCE.
RHYTHMICAL PATTERNS ASYMMETRICAL BALANCE
 Help the eye to move easily from one part of  There are more than slight differences
the room to another or from one part of a between the divided areas of a work, yet
design to another (Sanchez, et al., 2009). there is an overall sense of balance.
REGULAR REPETITION BILATERAL SYMMETRY
 A means of creating rhythm in which  Elements are arranged equally on either side
elements of a composition are duplicated at of a central axis. This may be horizontal or
orderly or fixed intervals. vertical.
 The easiest and most precise way to create RADIAL SYMMETRY
rhythm.  It is also possible to build formal balance by
 Regular repetition was a core property of arranging elements equally around a central
Minimalist artists, of which Flavin was one. point.
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EMPHASIS
 “All emphasis is no emphasis.”
EMPHASIS BY DIRECTIONAL LINES
 Directional lines. Lines that lead the eye to a
focal point.
EMPHASIS BY ISOLATION
 Here a group of performers is found standing
silently within a barren landscape. Even
though there are many of them and they are
dressed in their costumes, they are less likely
to draw the viewer’s eye than the delicately
rendered woman in “street clothes,” who is
seated apart in the lower right and looks
beyond the edge of the canvas (Fichner-
Rathus,2008).
UNITY
 Unity is a powerful concept.
 It implies harmony. It suggests that the parts
of a composition are there by happenstance;
rather, they fit together to form a meaningful
whole (Fichner-Rathus, 2008).
VARIETY
 British writer Aphra Behn said, “Variety is the
soul of pleasure.” Without variety, life would
comprise a bland sameness, a cookie-cutter
existence from which we all shrink.
 Variety in art, as in life, is seductive. It
demands our attention, turns the predictable
on edge (Fichner-Rathus, 2008).
PROPORTION
 Relative size and scale of the various
elements in a design. The issue is the
relationship between objects, or parts, of a
whole. This means that it is necessary to
discuss proportion in terms of the context or
standard used to determine proportions.
CONTRAST
 Opposite elements are arranged together.
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WEEK 7 || PRINCIPLES OF DESIGN

PRINCIPLES OF DESIGN REGULAR REPETITION

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