Somehow, our eyes can determine a good layout from a bad one. Somehow, there is a visual paradigm that we adhere to every time we experience visual works. Although we are not all trained in the fields of fine arts, graphic design or visual communication, we can distinguish between what is visually organized or visually cluttered, or what may be considered as visually engaging versus something that is visually confusing or incoherent.
This visual paradigm (defined by actual physical forces that we experience in daily life, e.g. gravity, velocity, friction, etc.), although oftentimes used in a subtle and unconscious way, may be understood through design principles or what we call in the fine arts as the Principles of Visual Organization. These principles make up all visual compositions and are results of a combination of two or more elements of visual arts: Line, Shape and Form, Value, Texture, Color, Space, and Time and Motion. As visually communicative beings, we deliberately or unknowingly use these elements and design principles in creating artworks, design layouts, photographs, films, visual aids and many more.
The Principles of Visual Organization – Harmony, Variety, Balance, Proportion, Dominance (Emphasis and Subordination), Movement, and Economy – are used to create structures or plans for the visual elements. Artists who are able to achieve a good balance between these principles create works that possess visual unity. For instance, Sandy Skoglund, by painting green the cat sculptures in her installation ‘Radioactive Cats’, is able to achieve visual unity in a fresh, interesting and surreal way.
When two different principles are used in two different compositions with the same subject matter, two distinct results will be achieved. For example, a still photograph of the character Flying Snow from the film Hero highlights more the character’s contemplative expression as the principle of Dominance is used by blurring the elements in the background to focus on the facial expression of the subject.
On the other hand, another photograph of Flying Snow, while also using the principle of Dominance but at the same time also strongly applying the principle of Harmony, by capturing the falling yellow leaves in the foreground, middle ground and background, creates a beautiful repetition of golden yellow elements that gives the photograph a deep sense of serenity and mystery.
By being aware of the different Principles of Visual Organization, one may be able to convey an idea in a clearer, more effective way. Oftentimes, confusing and incoherent visual works, although possessing exceptional concepts and techniques, are results of an ignorance or a limited knowledge of the design principles and the elements of visual arts.
Fresh, beautiful and unforgettable art works and communication media are results of the right balance between the concept, choice of media, subject matter, and effective compositional approaches. The best films, paintings, posters, brochures, layouts and ad campaigns are carefully created so that the message may be conveyed most clearly, cleverly and creatively.
~Speck Tackle
hello speck tackle! that’s a great discussion you gave there. i needed a memory refreshment re: those terms.
I love “Hero”. It was visually stunning and the deep meanings embedded in the film was just right.
I couldn’t point out why those shots in the film were so subtle and yet profound visually. Now I know why.
Thanks Speck Tackle!
No problem resplend3nt.
Actually, understanding the dynamics of the design principles is just the tip of the iceberg.
Having a clear vision of what you want to visually achieve and convey is perhaps more important.
The design principles are just tools that we can use to amplify or foreground our ideas. The bottom line is the idea itself. No amount of visual organization can substitute for content. In fact, some films are criticized for merely being too glossy while miserably lacking substance. Hero is just one example of a film that possesses a visual and thematic unity that beautifully resonates. The consistency in cinematography, editing, production design and direction reveals the agreement of the film’s subject, form and content.
What I like about the film Hero is VISION of its filmmaker Zhang Yimou. As an artist, he clearly understands that the message is inextricably intertwined with the medium.
I clearly agree that too many films have too much form (or sell the idea while being in a pretense of things) while giving up substance which is just as important as the delivery. It’s just confusing and right, glossy! I also agree that Hero demonstrates striking a good balance between both.
The real danger with visual arts and in many areas of both interest and study is the subjective point of view on both the artist and the viewer’s part. With so much meaning injected, or none at all, it’s so dangerous to be so random in art. What may look so good may project subliminally something so evil or amoral (if any). What makes me so hesitant to express opinion about artwork to an artist or to a member of the intelligentsia is thinking about the remark “You can look at it that way…” I mean, that’s a hanging statement. And though art can be in ways a barely disciplined science (desirable to some and yet limiting if it becomes so), the artist and beholder should take responsibility for the fluidity and vague objectivity in the works.