Design 1 test 2

Asymmetrical

(Occult Balance) Asymmetrical balance occurs when there is equal attraction and visual weight. There are no set rules for asymmetrical balance. Eye attraction = visual weight. An example is placing a small bright colored shape on one side and a large neutral shape on the other side. The achievement of balance is intuitive. This type of balance is achieved although the artwork has dissimilar sides of equal or non-corresponding parts with no visible or implied axis.

Symmetrical

(formal) Symmetrical balance (pure symmetry) consists of identical elements being presented in a mirror like repetitive fashion on either side of a central axis.

Golden Ratio

Approximately equal to a 1:1.61 ratio, the Golden Ratio can be illustrated using a Golden Rectangle: a large rectangle consisting of a square (with sides equal in length to the shortest length of the rectangle) and a smaller rectangle. If you remove this square from the rectangle, you'll be left with another, smaller Golden Rectangle. This could continue infinitely, like Fibonacci numbers - which work in reverse. (Adding a square equal to the length of the longest side of the rectangle gets you increasingly closer to a Golden Rectangle and the Golden Ratio.) 1+1=2, 1+2=3, 2+3=5, 3+5=8, 5+8=13, etc.

Implied

Ashape that is not bound by line but is suggested by several means such as dots and edges

Amorphous

Ashape without clear definition; formless, indistinct, and of uncertain dimension

Proximity

Elements that are placed closer together are perceived as being more related than those spaced further apart. Proximity occurs when elements are placed close together. They tend to be perceived as a group. Proximity uses the close arrangement of elements to create a group association between those objects. If individual elements are also similar, they will tend to be perceived as a single whole, even though they are separate elements.

Approximate symmetrical

In approximate balance, there is similar imagery on either side of a central axis. The visual material on one side may resemble that on the other but is varied to prevent visual monotony.

Similarity

Objects that look similar in shape, size, or color are perceived as being grouped together or related. Similarity occurs when objects look similar to one another. People often perceive them as a group or pattern. The principle of similarity can be triggered using color, size, orientation, texture, and even fonts When objects look similar to one another, viewers will often see the individual elements as part of a pattern or group. An element can be emphasized when it's dissimilar, breaking the pattern of similarity. This effect is called an anomaly

Closure

Our minds tend to fill in missing information and ignore gaps to create familiar shapes and images. Closure occurs when an object is incomplete or a space is not completely enclosed. If enough of the shape is indicated, people perceive the whole by filling in the missing information. Closure is a common design technique that uses the human eye's tendency to see closed shapes. Closure works where an object is incomplete or the interior space of an element is not fully closed, but the viewer perceives a complete shape by filling in the missing information.

Gestalt ology

The theory that the whole is greater than the sum of its parts.

Continuity

We perceive lines as part of a continuous movement in order to minimize abrupt changes. Continuation occurs when the eye is compelled to move through one object and continue to another object. Elements are visually associated if they are aligned with each other. Continuation is the principle through which the eye is drawn along a path, line or curve, preferring to see a continuous figure than separate lines. This can be used to point toward another element in the composition, and is seen where a line is cut through one object, often in a curve, aligning perfectly with a secondary element.

Balance

a feeling of evenness and equality in weight, attention, or attraction of the various elements within an artwork.

The rule of thirds

a guideline more than a rule. It is intended to help the artist with the placement of the elements and focal point(s) within the composition. The rule of thirds gives you a guide for placing focal points. If you design your focal points according to the intersections of any of the nine rectangles, your picture will have the counterbalance needed to make the composition more interesting and more compelling.

Geometric

a shape related to geometry

Subjective

a shape that comes from the mind.

Objective

a shape that is based on actuality. Objective shapes are usually easily recognizable.

Abstraction

a term given to forms created by the artist but usually derived from objects actually observed or experienced. Abstraction usually involves a simplification and/or rearrangement of natural objects to meet the needs of artistic organization or expression. Sometimes there is so little resemblance to the original object that the shapes seem to have no relationship to anything ever experienced in the natural environment

Representational

a type of art in which the subject is presented through the visual art elements so that the observer is reminded of actual objects

Nonobjective

a type of art that is completely imaginative; not derived from anything visually perceived by the artist

Shape

an area of an artwork that stands out due to a boundary or differences in value, texture, and color

Bioorphic

an irregular shape that resembles the freely developed curves found in living organisms

Non objective

comes entirely from the mind, there is no source, made up

Abstract

comes from something, there is a source

Positive space/ shape

foreground. Figure

Economy of expression

is vital to unity. If parts of a work are complicated, too emphatic and confusing, they must be brought into agreement by economically sacrificing certain particulars and unnecessary detail. Economy is often associated with the term abstraction. An artist often sacrifices particular details and

Radial

occurs when elements are distributed around a central point and radiate from it.

Decorative

ornamenting or enriching but, more importantly in art, stressing the two-dimensional nature of an artwork or any of its elements. Emphasizes the flatness of a surface

Visual weight

refers to the inclination of shapes to float or sink; refers to the relative importance of a visual element within a design

Rectilinear

shapes that stress the use of straight lines

Objective

that which is based on physical reality of the object and reflects no personal interpretation, bias, or emotion

Subjective

that which is derived from the mind, instead of physical reality, and reflects a personal bias, emotion, or innovative interpretation

Shallow space

the illusion of limited depth

Style

the specific artistic character and dominant trends of form noted during periods of history and art movements. Style may also refer to artists' expressive use of media to give their works individual character

Negative space/ shape

white, background. Ground