Unity Composition Variety The organization of elements in

Unity: The sense of oneness, of things belonging together and making up a coherent

Symmetrical Balance: Mirror image of Shapes/Forms on either side of an imaginary axial dividing

Relieved Symmetry: or Approximate Symmetry: Slight differences between axial areas of a work. Frida

Asymmetrical Balance: Two sides that do not correspond to one another in size, shape,

Sakai Hoitsu, late 18 th-early 19 th century.

Emphasis: The viewer’s attention will be centered more on certain parts of the composition

Scale: Size in relation to a constant or “normal” size. Proportion: Refers to size

Benin, A Royal Altar to the Hand, 18 th century.

Proportions of the golden section Leonardo da. Vinci, The Study of Human Proportions According

Visual Rhythm: Depends on the repetition of accented elements, usually shapes. Peit Mondrian, Broadway

Unity Variety Repetition Rhythm Balance Emphasis/Focal Point Proportion/Scale Pablo Picasso, Girl Before a Mirror

Nike of the Samothrace, Louvre, Paris Pablo Picasso, Weeping Woman

Black Figure Pottery, Ancient Greece Marcel Duchamp, Nude Descending a Staircase

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Unity Composition: Variety The organization of elements in a work, aka, the design. Repetition Rhythm Balance Emphasis/Focal Point Proportion/Scale

Unity: The sense of oneness, of things belonging together and making up a coherent whole. Variety: Differences that provide interest and contrast. Ben Jones, Black Face and Arm Unit, 1971.

Symmetrical Balance: Mirror image of Shapes/Forms on either side of an imaginary axial dividing line. Elements correspond to one another in size, shape, and placement. Tori Busshi, Shaka Triad, 623.

Relieved Symmetry: or Approximate Symmetry: Slight differences between axial areas of a work. Frida Kahlo, The Two Fridas, 1939.

Asymmetrical Balance: Two sides that do not correspond to one another in size, shape, and placement. Gustav Klimt, Death and Life, Before 1911 -1915.

Sakai Hoitsu, late 18 th-early 19 th century.

Emphasis: The viewer’s attention will be centered more on certain parts of the composition than on others. Focal Point: A specific spot to which one’s attention is directed. Subordination: A less visually interesting area. Henry Tanner, The Banjo Lesson, 1893.

Emphasis: The viewer’s attention will be centered more on certain parts of the composition than on others. Focal Point: A specific spot to which one’s attention is directed. Paul Cézanne, Still Life With Compotier, Pitcher and Fruit, 1892 -94.

Scale: Size in relation to a constant or “normal” size. Proportion: Refers to size relationships between parts of a whole or between two or more items perceived as a unit. Rene Magritte, Delusions of Grandeur II, 1948.

Benin, A Royal Altar to the Hand, 18 th century.

Proportions of the golden section Leonardo da. Vinci, The Study of Human Proportions According to Vetruvius, c. 1485 -90.

Visual Rhythm: Depends on the repetition of accented elements, usually shapes. Peit Mondrian, Broadway Boogie-Woogie, 1942 -43.

Unity Variety Repetition Rhythm Balance Emphasis/Focal Point Proportion/Scale Pablo Picasso, Girl Before a Mirror

The Parthenon, Athens Greece

Nike of the Samothrace, Louvre, Paris Pablo Picasso, Weeping Woman

Black Figure Pottery, Ancient Greece Marcel Duchamp, Nude Descending a Staircase

Andy Warhol, 10 Marilyns

Jackson Pollock, Number 5