The Principles and Elements of Design

Design is defined as a decorative pattern, the formal structure of a picture with its arrangement of forms, colors and materials that go together to make a "style." Design begins in the mind of the creator and is processed through his/her interpretation of the "parts" that go together to make the "whole." The principles of design are used to design anything. The elements of design are the nuts and bolts, the mechanicals, and the materials that work together to form the design. In other words, the principles are rules to govern the design and the elements are the components that are pulled together to create the outcome.

The principles of design include seven segments: contrast, emphasis, balance, unity, pattern, movement and rhythm. Contrast shows the difference in two sections of a design by creating dissimilarity between those two components. Extreme darks or lights are examples of contrasts, especially when used in immediate proximity within the painting/print/drawing.

Emphasis is given to an area within the design because that area is meant to be seen or is more important when compared to other places in the design. Shapes that are radically different from their immediate counterpoints are often the emphasis in a painting. Circles placed over long, intersecting lines might be one example of such use of emphasis if the circle is placed and colored for such attention.

Balance means the pattern of design. A balance would be achieved if you used a solid black border to hold and support an interior space of even, repetitious lines or other forms. Unbalanced would be if the design had areas of uneven size that had no similarity in pattern, color or texture. Symmetry is the key to total balance but may not be as interesting as contrived or manipulated balance.

Unity means the way in which you keep your design in a sort of harmony: when all sections make the other sections feel complete. Unity pulls the design into "focus" and makes it seem one design rather than a random collection of shapes.

Pattern is the format in which you present your design. For instance, wavy lines all around your design create a pattern, but they must be continued throughout the entire project to achieve good pattern. If you suddenly stopped the wavy lines, the pattern would be lost and result in a static look.

Movement is the suggestion or illusion of motion in a painting, sculpture or design. Circles going diagonally up and down from right to left, for example, could show that the design moves up and to the right or down and to the left. Simple manipulation of shapes and textures can create dynamic designs, as can repetitions of these manipulations.

Rhythm is the movement or variation achieved with the regular use or alteration of different quantities in a design. It simply means that a pattern can exhibit a flow or beat by repetitious placement of certain designs. Consider that a plain white boxed-in area has no rhythm at all, while a busy, jumbled mass of shapes and lines shows rhythm and activity.

The elements of design are color, value, texture, shape, form, space and line. These components are what help you to create unique work.

Color is easy. Color is mood--it is what people pay attention to. Value is the relative darkness or lightness of a color. Mood can be emphasized by use of dark (down) or bright (up) colors. Texture helps your design be distinctive or have identity and may be the most fascinating element.

Shape is something distinguished from its surroundings by its outline within your design. Your shape can be the entire design or repeated for coverage of an area/item/project. Form is similar to the idea of shape. Form is the structure of your design and how everything in the design looks. It should have continuity and look like it is meant to go together.

Space has to be included in your design. It uses blank areas and shows a relationship between the designs and those open spots. Space lets the viewer feel comfortable and lets the eye distinguish separate parts and how they relate to one another. While not all designs leave space and can be successful, space is most often a vital element in design.

Line defines position and direction. It delineates portion, placement and interaction between shape and space and "is" the drawing/painting. The human eye needs some sort of line, even one that is diffused or very subtle, to anchor upon. This line might be the interplay between two distinct shapes or a soft color change between two areas of a canvas. It is possible to do work that has no "lines" and still have a very successful painting, but lines are the fastest way to connect with a viewer.

In very simple terms, how you apply these principles and elements makes your work unique. When you begin your quest, simplicity is the key to successful design. Think in uneven numbers and keep the main elements of your design simple. Three is a great beginning point and in this number, you might consider three different sizes, three different textures and three colors. Placement of these three shapes might slightly overlap for visual "connection."

Christmas Projects

If you have a pair of scissors and some shiny, decorative papers, you can have fun creating colorful holiday decorations that will dress your home for the holidays and last from year to year.

Garlands add a splash of color and shimmer to any decor and can be used in many different ways to create a festive atmosphere. They are easy to make and require few materials. Use garlands to finish your holiday tree or drape them around a doorway or on a stair banister or simply loop them around the perimeter of a room.

Materials:

Scissors, decorative papers in any size (8½ x 11 is good, or use scraps), ruler, pencil, glue stick, and cellophane in sheet or roll in any color. (Iridescent is very pretty.) One sheet of 8½ x 11 paper will create a loop garland about 34 inches long (1" strips) or a lacy garland approximately 15 feet long!

To create the old-fashioned, loop-style garland, simply cut your paper into strips and glue the strips into interlocked loops. Use specialty scissors to create a decorative edge on each strip. Varying the colors and adding glitter or stickers can personalize your project.

For a different, lacy garland, begin by cutting the 11" length of paper into strips about 2-3/4" wide. (Divide the 8½" width into thirds.) Lay one strip out lengthwise. Use a pencil to lightly mark cutting guidelines every one-half inch. Draw the lines from the top of the strip, but stop the line one-half inch from the bottom. Cut these lines. Turn the strip. Draw new cut lines between each of the previous cuts, again stopping one-half inch from the bottom edge. Cut the new lines. What you will have designed is a series of cuts that, when opened and gently pulled, will create a pointy, lacy-style garland. This style is especially nice when made of pearlized white, bright gold or shimmering silver. It looks great on the tree, so make plenty of garlands.

Cellophane is another product that can be transformed into unusual packaging and decorating items. One way to use it as a package wrap is to gather a large sheet around a plain white wrapped gift box and bundle it in a "poof" at the top. Tie the gathered corners with a length of ribbon and voila! You have a dynamic gift-wrap. Or for a garland of unusual nature, cut cellophane into strips about 6 inches wide. Bunch the strips along the length, and tie the cellophane into knots every 4 to 6 inches. It will relax between the knots and present a textural and shimmery garland like no other.

New Award-Winning Book

In series of 16 richly painted and detailed landscapes, Walking with Henry: Based on the Life and Works of Henry David Thoreau, by author/illustrator Thomas Locker, takes readers on an imaginary journey into the wilderness with America's greatest nature writer. Ages 8 and up, Fulcrum Resources, 32 pages.

Best Children's Products for 2002

Included among Dr. Toy's best children's products for 2002 are the Crayola Crayon Maker (Ages 8-12) from Binney & Smith, which melts down well used bits of crayons and molds them into brand new crayons; Kidz Workshop EZ Build Projects (Ages 8-10) from Action Products International, which includes five fun wooden projects to build and paint; Code Busters (Ages 8-12) from Walter Foster Publishing, which combines information and activities connected to secret codes; and First North Americans Kid Kit from EDC Publishing (Ages 6-10), which includes a book and kit that teach children more about Native Americans as they paint a totem pole, a thunderbird, and make a tee-pee. See more at www.drtoy.org.

The National Association for Gifted Children has also released their 2002 Holiday Toy List. Included are Create with Clay (Ages 8 and up) by Klutz, which includes a guidebook filled with project ideas as well as clay in eight different colors; and Crayola Twistables Crayons (Ages 4 and up), which includes eight colors housed in plastic that you twist when the point becomes worn down. See more at www.nagc.org.

The Web Wheel
By Bev Harcus

Computer monitors display color by combining percentages of red, green and blue light to create the appearance of millions of colors. In the RGB system, the red, green and blue components of each pixel (picture element) are assigned a number between 0 and 255. Choosing colors for display on a computer, projector or video is then a simple matter of selecting a particular combination of red, green and blue.

Using color on the Web becomes a little more complex. HTML (hypertext mark-up language) is the basic programming language for Web graphics. Colors must be recognized as HTML code, and HTML code describes colors using base 16 mathematics. (This goes way back to first generation programming or machine language.) Base 16 math is also called Hexadecimal. All colors used in HTML programming are based on hexadecimal codes.

To further complicate matters, not all colors display similarly on all computers or across platforms or browsers. The Web designer must also keep in mind that a large percentage of Internet users have systems that are not capable of viewing all 16 million colors. Most users are capable of viewing at least 256 colors. So why are there only 216 Web-safe colors?

This has much to do with viewing colors across platforms. Each platform (PC, Mac, SGI, etc.) uses specific colors (about 40) for its own system colors. This now leaves us with 256-40=216 colors that can be viewed similarly on any platform.

Web-safe palettes delineate these 216 colors in a linear fashion, showing specific color swatches. These palettes can be difficult to use, as colors are not arranged in a visual manner.

The Web Wheel by the Color Wheel Company was constructed to aid the user in selecting Web-safe colors based on a visual display. Each color has the hexadecimal code and RGB values printed on it. The Web Wheel makes it easy to locate a color of your choice, without having to search through numbered charts. To use the Web Wheel, all you need to do is choose a color on the wheel and use the printed HEX code, or RGB values, in your HTML coding.

The Web Wheel serves a secondary function, that of finding analogous colors (colors lying side by side), opposite or complementary colors, and color triads. This allows the user to easily find a color scheme that appears blended (analogous colors), has high impact (complementary), or has a harmonious appearance (triads).

One side of the wheel contains a strip of "hue" names, indicating the natural sequence of colors around the spectrum, going from yellow through red, magenta, blue, cyan, green, etc. This allows you to locate "safe" colors that most closely resemble the natural colors of the spectrum.

The Web Wheel is a valuable aid to Web graphics, allowing the user to see, at a glance, colors and codes necessary for the Web design process. With a physical wheel at hand, or propped on a desk, there is no longer a need to flip between programs or to use a digital hex calculator to find the appropriate colors for your Web design.

A good exercise might be to study the paintings by your favorite artists. Learn the placement of shapes, the line and contrasts of the components. Contemporary artists are the boldest with their use of design elements in color, line and balance. A good exercise would be to follow a master's lead, utilizing his/her design elements in your own interpretation. You may be surprised at the results.

Whether you celebrate Christmas, Hanukkah or Kwanzaa, it's that time of year! When making out your "wish list" or buying a gift for an artist, please patronize those manufacturers who bring you ARTtalk each month. Ask for their products at your local art supply store. You can conveniently go to each advertiser's web site when you log on to www.arttalk.com. Thank you and enjoy your holidays!

AMACO's New Artist Painting Color Guide

The American Art Clay Co. has introduced an exciting new system for applying color to canvas--the Artist Painting Color Guide. Using the "ghosted underpainting" of a color design, the artist can apply Genesis Artist Colors, acrylic or oil mediums to complete and brighten the picture. At the same time, you can learn the concepts of shades, highlights, shadows and accents while creating your very own "masterpiece" using the paints of your choice. Choose a level from Beginner to Intermediate, Advanced and Expert. Canvas sizes range from 8 x 10 to 16 x 20. For complete information, go to www.gotcs.com/acg/ where you will also find expanded instruction sheets to learn additional painting techniques and specific color names by brand.

Pastels Studio Chest and Ink Set from Savoir Faire

A wonderful gift for the professional pastel artist is Sennelier's Pastels Studio Chest. This new four-drawer ultra-hip aluminum and chrome chest is compact and makes a great addition to any artist's studio. Filled with 72 assorted colors of this world-famous soft pastel, it can easily be replenished from open stock supply. And Sennelier's Treasure Chest Ink Set contains an exquisite glass pen and five classic writing inks. The dark wood box has brass fittings and makes a handsome addition to any desktop. www.savoir-faire.com.

New Table Stand from Gagne

Gagne has announced the newest accessory item to their projector line of products. The Table Stand allows for a vertical projection from The Projector to a horizontal surface. Attachment to a table or other surface is quick and easy. The Projector is a great all-purpose model that is large enough for most projects, but small enough to be easily transported and stored. It features a 5 x 5 field of view and can project up to 10x. Its convenient handle and bottom-loading design allow for easy projection of larger images by section, giving a clear bright projection right to the edges. Visit www.gagneinc.com to see the Tracemaster and Tracemaster Deluxe; The Light Box and the new THINLITE; the all-new Image Viewing System for viewing, presenting, sorting and organizing slides, negatives and transparencies, and more.

New Digital Photo Painting Kit and Artist Inkjet Papers from Strathmore

The new Digital Photo Painting Kit from Strathmore contains exciting software designed to transform ordinary photographs into "hand painted" pictures. The kit allows you to try out the revolutionary Voila ArtWare, as well as seven digital papers--Fiber, Velour, Weave, Satin Board, Gloss, Matte, and Texture. A sheet of Fome-Cor mounting board is included as well.

Strathmore's new high quality Inkjet Papers produce excellent results in desktop inkjet printers. They have an ideal surface to produce artwork, photographs and craft projects. "Fiber" gives the appearance of rice paper and produces prints with an oriental look and feel; Pastel "Velour" has a velvety surface to give prints a softer look; and "Weave" is coated to produce prints with vibrant colors and beautiful contrasts and gives prints the look of canvas. Twelve sheets to a pack measure 8.5" x 11". See www.strathmoreartist.com.

Artograph's Limited 25th Anniversary Edition DB400

For the past 25 years, graphic designers, illustrators and discriminating fine artists around the world have relished Artograph's DB400 Table Top Projector. To commemorate the DB400's influence, Artograph is manufacturing 90 anniversary units that feature a metal engraved nameplate signifying its 25th anniversary and the signature of Ed Hirschoff, designer of the "DB" and co-founder of Artograph. The manual includes a brief history of the "DB" and Ed Hirschoff. After the production of these 90 units, the DB400 will be discontinued altogether.

The DB400 gained its popularity because of its handy fingertip controls and capability to project from just about anything--photos, line art, lettering, illustrations and 3D objects. It allows for projection from three times enlargement down to 33% reduction. Focusing and scaling are fast and comfortable with controls conveniently at your fingertips. The DB400 combines a five-element color-corrected lens with 400-watts of photo quality lighting to produce a sharp bright image over the entire projection range. To view Artograph's full line of opaque art projectors, light boxes and spray booths, visit their completely redesigned and dynamic web site at www.artograph.com. You'll find useful tips and techniques, a consumer gallery and a unique dealer locator to find products faster.

Tara's New Framing Elements

Tara has introduced Framing Elements, a line of 24 ready-made frame styles and complete sets of prepackaged glass, backing, and two beveled mats. The line features the most popular moulding styles, finishes and ready-made frame sizes and has rabbet depths that accommodate double matting and most standard canvases. You may choose from black, white or cream in sizes of 8x10, 11x14, 16x20 or 20x24. Separate glass and backing packages match all four frame sizes and include two beveled mats. The open-back, shrink-wrapped package lets customers place their art behind the frame to choose the style they prefer. See www.tarapf.com.

Airbrushing J.B.C (Just Before Computer)

It's interesting how the word "airbrushing" has worked its way into our everyday vocabulary. Recently, a "talking head" on TV said that he would love to see Saddam airbrushed out of existence. If only things were that easy!

Has the airbrush finally been accepted by society as just another tool that is available for use by artists? It doesn't seem that long ago that the airbrush had a distinct connotation of being a tool for the commercial artist.

Twenty-five years ago in the commercial art field, airbrushing was experiencing a heyday. Everything was hand-illustrated--print ads, corporation reports, billboards, truck lettering, wall design, and more. Fine artists also used the airbrush extensively. In 1971 an exhibition entitled "Spray" was held at the Santa Barbara Museum of Art in California. It exhibited works of art in which the airbrush was used in development. Artists such as Paul Sarkisian, Paul Wunderlich and John Clem Clarke were represented with diverse forms of painting.

In the fine arts of pre-1985, the artistic spotlight was on sharp focus realism, abstract illusionism, color field painting, and synthetic cubism. Both the East and West Coasts were showing airbrushed works of art from SoHo galleries such as OK Harris, Louis K. Meisel and Nancy Hoffman to the 1982 exhibit "The Airbrush and The Artist," held at San Jose State in California, featuring artists such as Don Eddy, George Green, Audrey Flack and Robert Anderson.

After a long absence from school systems, airbrushing was now being taught at all levels from grade school to college. The rediscovery of this lost art that was kept a secret by cloistered commercial artists was now becoming thoroughly widespread. Illustrators such as Charles White III, Dave Willardson and Peter Palombi enjoyed celebrity status. Airbrush companies abounded. More and more manufacturers of equipment and compatible materials appeared on the horizon--names that were unheard of before. And workshops were taught throughout the U.S. at such conventions as the Tools of the Trade Show in Pasadena, California.

And then along came the computer, which sent out shockwaves among the commercial art community. Work that was hand-done was now being scanned into computers for reproduction. AA's and rework were being done digitally. Photos no longer needed to be retouched by hand. Cutaway technical renderings were produced on computers along with conceptual renderings and hand drafting of any kind. Suddenly, all those mechanically minded illustrators who felt comfortable using this technical tool--the airbrush--slowly embraced computer-generated art. As a result, the entire industry/community of the commercial realm faded away.

At a lecture at the 1982 Art in Action trade show in Dearborn, Michigan on basic airbrush technique, over 900 people were in attendance. Today you might see that high a number if you gave a lecture on PhotoShop. The demise of the airbrush was rumored, but this did not transpire. On the contrary, the computer came to the rescue by creating a community of like-minded people that could communicate with each other on the Internet, resulting in applications being greatly expanded to include every technique from airbrushing makeup to duck decoys. The computer has exposed more people to artistic images than probably any other vehicle in the history of man. And it has also made the equipment for airbrushing readily available, since it can be researched, viewed, or ordered at the click of a button. Students can be registered for seminars and workshops, manuals can be read, and questions can be answered.

For some, the making of art on a computer is enough. But for others, painting is the only answer. In the future, most artists will do both.

New E-Newsletter Issue Available

Arts and craftspeople of all stripes, airbrushers or not, will enjoy reading AirbrushTalk, a bimonthly newsletter with interesting articles that cover everything from the ins and outs of commercial art to great how-tos. In the November issue you'll find Janean S. Thompson's "Kustom FX Templates Something for Everyone"; "The Art of Airbrushing Makeup, Part One: Basic Equipment for the Day Checker" by professional makeup artist Bradley M. Look; and "Painting AFV Models 'Desert Camouflage'" by Nick Cortese. See www.airbrushtalk.com and sign up for your FREE subscription today.

Christmas Creativity

A visit to your local art materials dealer is a guaranteed method to set your holiday creative mood into action. There are hundreds of ideas there and materials that will awaken your "can-do!" spirit. One of the most diverse areas to explore is the paper department, where everything from imported yuzen papers to metallics to translucents to cellophanes makes creating festive items a pure joy.

The first thing that will catch your attention is the colors. There are colors in dozens of hues, weights and textures. Use your imagination with color and combine your favorites to create dashing garlands and folding or pop-up ornaments, or use them as fashionable gift-wraps and greeting or place cards. One project that will be a hit with all your holiday guests will be decorative placemats created with some of the dynamic colors and patterns.

Materials needed include: Paper that is heavyweight and sized to at least 10 inches by 15 inches (Red is always a good holiday choice.); silver or gold metallic paper; ribbons in various widths in colors to coordinate or contrast with your base color; glue stick; ruler; and cutting wheel, knife or scissors.

Decide on the size of your placemat. (Twelve by 16 inches is good, but choose a size that suits you.) Cut your base paper at least one inch larger on all sides. For added strength and a more tailored look, fold this extra border under and glue in place. Cut and lay out ribbons and strips of metallic papers or contrasting papers in a patchwork motif or interlace the strips to create a woven look. Glue the design in place.

For added charm, use a sewing machine to sew the strips and pieces into place. That makes the paper look more like cloth and adds textural interest. Use metallic or multi-colored threads and the stitching will add extra punch. (Note: Use a larger stitch than you would use for regular sewing so that the perforations do not promote tearing.)

To coordinate the entire table setting, you might want to cover simple, straight-sided drinking glasses with the same motif and use them for vases. You could also create place cards and napkin rings and fold origami nut or candy dishes for a totally original and coordinated holiday table.

Explore the possibilities and discover the inexpensive yet appealing materials available. Happy Holidays!

Nomination Announced--President Bush has announced his intention to nominate poet, critic and educator Dana Gioia as the next Chairman of the National Endowment for the Arts. After review and confirmation by a Senate committee, Gioia will serve a four-year term.

New Name/New Building--The American Craft Museum has changed its name to the Museum of Contemporary Arts and Design. It has also announced that Allied Works Architecture has been selected to design the new 54,000 sq. ft. home at Two Columbus Circle.

Artist Selected--Fred Wilson has been selected to represent the U.S. at the 50th Venice Biennale. A MacArthur Fellow and installation artist, Wilson is well known internationally for a body of work that addresses complex issues of race and ethnicity.

Prize Awarded--The Hugo Boss Prize has been awarded to French artist Pierre Huyghe, a video and installation artist who represented France at last year's Venice Biennale. The $50,000 prize is given every two years to recognize significant achievement in contemporary art.

Holiday/Art Events

Palm Beach, FL -- Flagler Museum -- Tree Lighting -- Dec. 1, 3 p.m. The annual tradition of Flagler's descendants lighting the Museum's Christmas tree continues with Christmas carols and holiday refreshments. Holiday Evening Tours will be offered on Dec. 17-21 beginning at 7:05 p.m. Admission. 561.655.2833; E-mail Flagler@ami.net.

Houston, TX -- Museum of Fine Arts -- Bayou Bend Candlelight Open House -- December 6 and 13, 5 p.m. Twilight self-guided tours of the first floor. The rooms are decorated for the season, with a docent in each room explaining holiday decorations and traditions. Admission, but free to members. Bayou Bend Family: Sounds of the Season Dec. 15. Fun-filled activities for the entire family. Free. 713.639.7771.

Denver, CO -- Larimer Square -- Second Annual Art on Ice Sculpting Competition. Dec. 7. Professional sculptors from around the region will shape 300-pound blocks of ice into beautiful pieces of art. Guests will also enjoy art exhibits, entertainment, food and drinks.

New Orleans, LA -- New Orleans Museum of Art -- Festival: Children's International Holiday Celebration - Dec. 8, 2-4 p.m. Bring your children to a fun-filled afternoon of singing, dancing, storytelling, hands-on art projects and much more. 504.483.2316

Hanover, NH -- Hood Museum of Art, Dartmouth College -- Holiday Gala -- Dec. 11, 5 p.m. Surrounded by beautiful art, you can enjoy music and songs of the season, as well as refreshments. Free.

San Marino, CA -- Huntington Library -- Children's Workshop: Gingerbread Builders -- Dec. 14, 11:30 a.m. Youngsters will design, build, and decorate their own delectable gingerbread houses. Ages 6 and up. Fee. Registration: 626.405.2128. See www.huntington.org/EventsCal.html.

Santa Barbara, CA -- Santa Barbara Museum of Art -- Treasures and Tales: Celebrate the Season! -- Dec. 14, Noon. Enjoy seasonal stories, art activities, live music and refreshments at this lively family event. Free. Holiday Family Workshop -- Dec. 21, 10 a.m. -- Celebrate the Winter Solstice holidays with festive activities, crafts, music, food and fun. Admission. Call 805.962.1661 to register.

Ridgefield, CT -- Ridgefield Guild of Artists Holiday Market, Route 35, Copps Hill Commons. Through Dec. 15. Call 203.894.8052.

Washington, D.C. -- National Gallery of Art -- A gallery talk, The Christmas Story in Art will be given by Philip Leonard on Dec. 17, 19, 20, 24, 26, and 27 at 1 p.m.; and Dec. 21 and 22 at 12 p.m. See www.nga.gov.

New York, NY -- Metropolitan Museum of Art -- Annual Christmas Tree and Neapolitan Baroque Crèche A vivid 18th century Neapolitan crèche scene adorns the candlelit spruce, accompanied by recorded music. Lighting ceremony Friday and Saturday evenings at 7:00. Hanukkah Menorah -- This elaborately decorated 18th century menorah marks the holiday season. Through January 5. Call 212.535.7710 for holiday programs or visit www.metmuseum.org, where you can also view The Christmas Story in Art online.

Minneapolis, MN -- Minneapolis Institute of Arts -- Holiday Traditions -- Through Jan. 5. The Period Rooms and the Purcell-Cutts House will be decorated for the winter holidays and costumed docents will lead tours. Reservations: 612.870.3131.

Winterthur, DE -- Winterthur -- Yuletide at Wintherthur -- Through Jan. 5. Bring the family to see Decorating for the Holidays and discover the origins of favorite holiday decorations and customs. Admission. 800.448.3883.

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Copyright ARTtalk Vol. 13 No. 2 -- December 2002