Chapter 8 : The Principles of Design

    This chapter discusses the basic principles of "design". The first being "balance". Which  is the "even distribution of weight, either actual weight or visual weight, in a composition." According to our text, there are three methods of achieving "visual balance".  1) Symmetrical: Where the two halves of a composition match each other in "size, shape, and placement of forms". 2) Asymmetrical: Where neither side mirrors each other. However, balance is achieved by having a similar disribution of "weight" in the artwork. 3) Radial: Where all the elements of a circular artwork seem to radiate outward from a central hub, much like the "spokes on a wheel". Another concept, "focal point", refers to the creation of a "visual center of attention", that may or may not match the physical center of the composition. Its purpose, to draw the viewer's gaze to where the artist wants it. "Scale", is basically the size of the piece in comparison to the objects around it. "Proportion", is the relationship between the "parts of an object  and the whole". "Repetition and rhythm", occur when a regular pattern is repeated for artistic effect. "Unity and variety", occur when different aspects of a composition share a common artistic element. Our book gives a number of examples to illustrate thes concepts. I personally feel that there is no better example, of most of the principles mentioned in this chapter, than da Vinci's, " Study of Human Proportion: The Vitruvian Man". Why? The male figure pictured is "perfectly balanced and symmetrical". The proportions are totally realistic. The focal point of this
composition is the figure's umbilicus. (The vital connection between the unborn child and mother. Emphasizing the "source of life itself"!) This figures body parts are to scale also. The "Vitruvian Man's" limbs, are inscribed within the square once, to represent the "finite". And a second time, within a circle to suggest the "infinite". So, this wonderful work by Leonardo encompasses both Heaven and Earth! Contrast this with the Santa Monica "residence" designed by Frank Gehry. This is the antithesis of da Vinci's unity. It breaks many of the design principles in the name of creativity. Its "postmodern" use of the old and new together is very bold. I like it from an artistic standpoint but I definitely would not want to live in it. On the other hand, I would have no problem residing in the Taj Mahal. Its  architecture, gardens, and reflecting pool are a marvelous example of "symmetrical balance". Jan Vermeer's, "Woman Holding a Balance" is a wonderful example of an "asymmetrically balanced composition". It, apparently, shows a woman weighing her jewelry on a scale. On the wall to her rear is a painting of the "Last Judgement". This juxtapositioning, is no accident on the part of the artist. Both God and the woman are determining worth. This theme connects the material and spiritual worlds for the viewer! Plus, the central axis is connected at the fulcrum of the scale, dividing the painting into "areas of light and dark on each side balance the design." A fine example of "radial balance", is the "Rose Window", in Chartres Cathedral in France. It pictures the "Last Judgement". It has Jesus at its center, with Biblical scenes radiating outward to the outer ring of scenes from the Book of Revelations. Emphasis and focal point are illustrated by Anna Vallayer-Coster's, "Still Life with Lobster". The artist uses the interplay of complimentary color schemes and light to draw
emphasis to the focal point of this composition- the brightly colored lobster. On the other hand, Larry Poons work, entitled "Orange Crush", is an "afocal" work where no particular point "demands our attention". The focus is more democratic, any point will do! Oldenberg and van Bruggen's, "Spoonbridge and Cherry", is an interesting example of artists altering "scale" for artistic effect. This duo, wildly exaggerate the size of everyday objects and the concept of  a garden sculpture in this work. Our text suggests, it is also a sly commentary on the utility of art. A classic example of "proportion", is the Parthenon in Athens. It was built to satisfy a mathematical ratio called the "golden section". "Repetition and rhythm" are nicely illustrated by Auguste Rodin's, "The Three Shades". The three guardian figures in this independent sculpture are identical, except for their orientation in a semicircle. Even though each figure is the same, their placement creates a "visual rhythm" that makes them appear different. "Unity and variety" are shown in Rodin's companion piece, called the "Gates of Hell with Adam and Eve". In this sculpture, Adam mimics the posture adopted by the "Three Shades". This common artistic element, unifies the different figures portrayed.