ULGASAN, JELLYN C.

AR21KA1

THE ELEMENTS OF DESIGN

LINE Line can be considered in two ways. The linear marks made with a pen or brush or the edge created when two shapes meet. SHAPE A shape is a self contained defined area of geometric or organic form. A positive shape in a painting automatically creates a negative shape. DIRECTION All lines have direction - Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and tranquillity. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action SIZE Size is simply the relationship of the area occupied by one shape to that of another. TEXTURE Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. Texture can be physical (tactile) or visual. COLOUR Also called Hue VALUE Value is the lightness or darkness of a colour. Value is also called Tone

THE PRINCIPLES OF DESIGN BALANCE Balance in design is similar to balance in physics

A large shape close to the center can be balanced by a small shape close to the edge. A large light toned shape will be balanced by a small dark toned shape (the darker the shape the heavier it appears to be) GRADATION Gradation of size and direction produce linear perspective. Gradation of Colour from warm to cool and tone from dark to light produce aerial perspective. Gradation can add interest and movement to a shape. A gradation from dark to light will cause the eye to move along a shape.

REPETITION Repetition with variation is interesting, without variation repetition can become monotonous.

The five squares above are all the same. They can be taken in and understood with a single glance.

When variation is introduced, the five squares, although similar, are much more interesting to look at. They can no longer be absorbed properly with a single glance. The individual character of each square needs to be considered. If you wish to create interest, any repeating element should include a degree of variation. CONTRAST Contrast is the juxtaposition of opposing elements eg. opposite colours on the colour wheel - red / green, blue / orange etc. Contrast in tone or value - light / dark. Contrast in direction - horizontal / vertical. The major contrast in a painting should be located at the center of interest. Too much contrast scattered

throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and confusion are what you are seeking, it is a good idea to carefully consider where to place your areas of maximum contrast. HARMONY Harmony in painting is the visually satisfying effect of combining similar, related elements. eg.adjacent colours on the colour wheel, similar shapes etc. DOMINANCE Dominance gives a painting interest, counteracting confusion and monotony. Dominance can be applied to one or more of the elements to give emphasis

UNITY Relating the design elements to the the idea being expressed in a painting reinforces the principal of unity.eg. a painting with an active aggressive subject would work better with a dominant oblique direction, course, rough texture, angular lines etc. whereas a quiet passive subject would benefit from horizontal lines, soft texture and less tonal contrast. Unity in a painting also refers to the visual linking of various elements of the work.

HUMAN FACTORS A human factor is a physical or cognitive property of an individual or social behavior which is specific to humans and influences functioning of technological systems as well as human-environment equilibriums. In social interactions, the use of the term human factor stresses the social properties unique to or characteristic of humans. Human factors involves the study of all aspects of the way humans relate to the world around them, with the aim of improving operational performance, safety, through life costs and/or adoption through improvement in the experience of the end user.

ERGONOMICS Is the study of designing equipment and devices that fit the human body, its movements, and its cognitive abilities. Ergonomics (or human factors) is the scientific discipline concerned with the understanding of interactions among humans and other elements of a system, and the profession that applies theory, principles, data and methods to design in order to optimize human well-being and overall system performance. Ergonomics is employed to fulfill the two goals of health and productivity. It is relevant in the design of such things as safe furniture and easy-to-use interfaces to machines and equipment. Proper ergonomic design is necessary to prevent repetitive strain injuries, which can develop over time and can lead to long-term disability.

ANTHROPOMETRICS Refers to the measurement of the human individual. An early tool of physical anthropology, it has been used for identification, for the purposes of understanding human physical variation, in paleoanthropology and in various attempts to correlate physical with racial and psychological traits. Today, anthropometry plays an important role in industrial design, clothing design, ergonomics and architecture where statistical data about the distribution of body dimensions in the population are used to optimize products. Changes in life styles, nutrition and ethnic composition of populations lead to changes in the distribution of body dimensions and require regular updating of anthropometric data collections. Is the study of the dimensions and abilities of the human body. Static anthropometry is the measurement of body sizes at rest and functional anthropometry is the measurement of abilities related to completing tasks. In the case of wheeled mobility, static anthropometry includes measurement of people and their devices. Functional anthropometry includes measurement of reaching abilities, maneuvering and other aspects of space and equipment use from a wheeled mobility device.

COLOR THEORY Is a body of practical guidance to color mixing and the visual impacts of specific color combination. There are also definitions (or categories) of colors based on the color wheel: primary color, secondary color and tertiary color. Although color theory principles first appeared in the writings of Leone Battista Alberti (c.1435) and the notebooks of Leonardo da Vinci (c.1490), a tradition of "colory theory" began in the 18th century, initially within a partisan controversy around Isaac Newton's theory of color (Opticks, 1704) and the nature of so-called primary. From there it developed as an independent artistic tradition with only superficial reference to colorimetry and vision science.

Color theory was originally formulated in terms of three "primary" or "primitive" colorsred, yellow and blue (RYB)because these colors were believed capable of mixing all other colors. This color mixing behavior had long been known to printers, dyers and painters, but these trades preferred pure pigments to primary color mixtures, because the mixtures were too dull (unsaturated).

The RYB primary colors became the foundation of 18th century theories of color vision, as the fundamental sensory qualities that are blended in the perception of all physical colors and equally in the physical mixture of pigments or dyes. These theories were enhanced by 18th-century investigations of a variety of purely psychological color effects, in particular the contrast between "complementary" or opposing hues that are produced by color afterimages and in the contrasting shadows in colored light. These ideas and many personal color observations were summarized in two founding documents in color theory: the Theory of Colours (1810) by the German poet and government minister Johann Wolfgang von Goethe, and The Law of Simultaneous Color Contrast (1839) by the French industrial chemist Michel Eugne Chevreul.