Design Basics - 7e - c 02.pdf - po ang - Januszek66

Peter Arno. 1959.

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CHAPTER

UNITY

INTRODUCTION

Harmony 28

UNITY WITH VARIETY

The Grid 42

INTRODUCTION

Visual Unity 30

UNITY WITH VARIETY

Varied Repetition 44

GESTALT

Visual Perception 32

UNITY WITH VARIETY

Emphasis on Unity 46

WAYS TO ACHIEVE UNITY

Proximity 34

UNITY WITH VARIETY

Emphasis on Variety 48

WAYS TO ACHIEVE UNITY

Repetition 36

UNITY WITH VARIETY

Chaos and Control 50

WAYS TO ACHIEVE UNITY

Continuation 38

UNITY AT WORK

Figurative and Nonobjective 52

WAYS TO ACHIEVE UNITY

Continuity and the Grid 40

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INTRODUCTION

HARMONY

The landscape photograph in B consists of varied

shapes with no exact repetitions, yet all the shapes have a

similar irregular jigsaw puzzle quality. The harmonious unity

of the shapes is reinforced by a similarity of color throughout

this monochromatic picture.

Seen simply as cutout shapes, the variety of silhouettes

in C would be apparent. Alex Katz balances this variation

with the unity of the repeated portrait of his wife, Ada. This

approach of theme and variation is the essence of the concept

of unity.

Unity , the presentation of an integrated image, is perhaps

as close to a rule as art can approach. Unity means that

a congruity or agreement exists among the elements in a

design; they look as though they belong together, as though

some visual connection beyond mere chance has caused

them to come together. Another term for the same idea is

harmony . If the various elements are not harmonious, if

they appear separate or unrelated, your composition falls

apart and lacks unity.

The image in A illustrates a high degree of unity. When

we look at the elements in this design, we immediately see

that they are all somewhat similar. This harmony, or unity,

arises not merely from our recognition that all the objects

are paint cans. Unity is achieved through the repetition

of the oval shapes of the cans. Linear elements such as the

diagonal shadows and paint sticks are also repeated. The

subtle grays of the metal cans unify a composition accented

by a few bright colors. Such a unity can exist with either

representational imagery or abstract forms.

Where Does Unity Come From?

Unity of design is planned and controlled by an artist.

Sometimes it stems naturally from the elements chosen, as

in these examples. But more often it reﬂ ects the skill of the

designer in creating a uniﬁ ed pattern from varied elements.

Another term for design is composition , which implies

the same feeling of organization. Just as a composition in a

writing class is not merely a haphazard collection of words

and punctuation marks, so too a visual composition is not a

careless scattering of random items around a format.

Wayne Thiebaud. Paint Cans. 1990. Lithograph, hand-worked

proof, 75.7

58.8 cm. DeYoung Museum (gift of the Thiebaud

Family, 1995.99.12). Art © Wayne Thiebaud/Licensed by VAGA,

New York, New York.

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CHAPTER 2 UNITY | 29

Damon Winter, personal photograph from

Iceland, Communication Arts , May/June 2005.

Alex Katz. Black Jacket. 1972. Oil on aluminum (cutout),

5’ 2 5 / 8 ”

92 cm). Des Moines Art Center (gift

in honor of Mrs. E. T. Meredith, Permanent Collection, 1978.7).

Art © Alex Katz/Licensed by VAGA, New York, New York.

3’ 1 / 4 ” (159

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INTRODUCTION

VISUAL UNITY

unity of idea—that is, a conceptual unity not observable

by the eye. A unifying idea will not necessarily produce a

uniﬁ ed visual composition. The fact that all the elements

in A deal with African American history is interesting but

irrelevant to the visual organization.

The unity in B does not derive from recognizing all the

items in the design as plant specimens. The visual unity

stems from the repetition of spiral forms and curvilinear

features. Then the variety of thick and thin, dark and light,

and arrangement adds interest.

The need for visual unity does not deny that very often

there is also an intellectual pleasure in design. Many times

the task of a designer is to convey an idea or theme. Now the

visual unity function is important along with an intellectual

reading of the design. One example can show this dual

appreciation. The Communication Arts cover in C is for an

issue of the journal that has the theme “green design.” The

varied shades of green provide unity and reinforce the title.

The repeated, stylized leaf shapes also unify the design with

an element that suggests design in harmony with nature.

An important aspect of visual unity is that the whole must

predominate over the parts: you must ﬁ rst see the whole

pattern before you notice the individual elements. Each item

may have a meaning and certainly add to the total effect, but

if the viewer sees merely a collection of bits and pieces, then

visual unity doesn’t exist.

This concept differentiates a design from the typical

scrapbook page. In a scrapbook each item is meant to be

observed and studied individually, to be enjoyed and then

forgotten as your eye moves on to the next souvenir. The

result may be interesting, but it is not a uniﬁ ed design.

Exploring Visual Unity

The collage in A is a design. It is similar to a scrapbook in

that it contains many diverse images, but we are aware ﬁ rst

of the pattern the elements make together, and then we begin

to enjoy the items separately.

Do not confuse intellectual unity with visual unity.

Visual unity denotes some harmony or agreement between

the items that is apparent to the eye. To say that a scrapbook

page is uniﬁ ed because all the items have a common theme

(your family, your wedding, your vacation at the beach) is

Visual Unity

Module

Fred Otnes, designer. Collage for National Geographic magazine.

January 1988.

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Design Basics - 7e - c 02.pdf

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