- Design Elements—its parts and how they work
- Design Principles—the techniques we use to present the elements.
Elements and principles work together in compelling designs. Although we study
each of the elements and principles separately, none of them stands
alone. Each composition you create, be it based around a particular
element or principle, will nevertheless relate to many (or all) of the
other elements and principles at the same time.
The Design Elements
These are the things we work with:
- Line
- Shape
- Texture
- Color
- Type
- Image
These are descriptions of the visual tools we have at our disposal to visualize an idea on a two-dimensional surface.
Line
Lines come in many different guises: they can be long or short, thin or
thick, solid or dashed, horizontal, vertical or diagonal. They can be
used to create patterns, to divide or unite other elements. They can
indicate direction, act as an anchor or simply decorate a design.
Shape
Shape, like line, is all around us. Our visual cortex is trained to recognize
shape and apply meaning or symbolism to shapes. Interestingly these
meanings are not connected with cultural or societal references but
appear to be a universal human trait.
Designers can use the power of shape in multiple ways. Shape helps organize and guide the
eye around a design. The endless possible interrelations of shapes
continually fascinate us, with each shape holding an emotional
intelligence. Shapes can even lead a viewer into a story, one shape to
the next. Savvy designers use the emotional power of shapes to their
advantage. As designers, it is important to understand the power of
shape, how it can bring its own meaning to a composition, or simply
strengthen other design elements on the page.
Texture
Everything around us has texture and as such is
a fundamental element of all design. Texture can be both tactile and
visual. An example of a tactile texture may be the feel of the
expensive paper used for a brochure. Visual texture describes the use
of line, shape, type and image to create different moods in a design.
In the two dimensions of graphic design we are somewhat limited in how we
can affect the tactile qualities of our design. However, there are a
number of techniques, including embossing, die cutting, the application
of varnish and many others. We can lend a tactile quality to our
designs that will have a direct impact on the message we communicate.
As we gain greater control, we have limitless ways to create visual texture in our designs:
- Photography of actual 3D textures
- Photographic texture through the manipulation of color and tone
- Illustration and artistic rendering
- Use of line and shape to create pattern and texture
- Use of type
- Dot and tone
Color
Like the other elements of graphic design color can be found in nature and
our environment, once your eye is trained to see. Designers use color
for a variety of tasks including drawing attention, creating balance
and much more. Some color combinations are used to create specific
identities, for example the colors used in a recognizable corporate
logo, and other times color is combined with texture to simulate the
look of other objects: the look of a plain paper carton tied with
string or bright lights, for instance.
Color can be found in the paper, the text, or the graphic elements and photos. A
monochromatic color scheme uses a single color, while other layouts
utilize combination's of two, three, or more colors. A monochrome (black
and white) design scheme still uses color, a single color, perhaps in
various tints.
Like shape, we naturally attach emotional meanings to colors although, unlike shape, these meanings are affectedby society and context. For example, in the west red is an
attention-grabbing color, usually considered warm. In the east this
perception may be quite different. By contrast, blues are cool colors,
calming and conveying stability.
One aspect of color that is important to understand is the value of the color. The value is the
relative lightness or darkness of a color area compared with the
surrounding areas. Tints of gray or red are different values of the
same color. Changing the value of the colors you use can create
contrast, movement and emphasis.
Type
Thoughtful typography plays an important role in
effective communication. Using the correct typeface will help to
reinforce an idea. By exploring composition and scale, type can be used
to create visually dynamic and appropriate designs.
Type is much more than a tool we use to communicate written
language; we make judgments about the message by seeing the style of
text.
Image
The use of imagery is an effective way to communicate an idea and message.
Like all of the other graphic elements, an image’s primary function is to
convey information or evoke a distinct emotion. The message conveyed is
strongly influenced by the style of image used. For example, for a book
on botany you would expect floral illustrations or photography to be as
accurate and descriptive as possible, without distracting distortions.
If you were using floral imagery in a more evocative setting (say to
evoke a feeling of the peace and beauty in nature), you would probably
use imagery that was more mood-focused than scientifically descriptive.
It is important, therefore, for designers to consider not just the content of an image, but the techniques used to express it.
The Design Principles
This is what we do with them:
1. Balance
The stability applied to opposing visual elements or forces
- Symmetrical Balance
- Asymmetrical Balance
- Radial Balance
2. Space
The area that surrounds an element
3. Emphasis
- Positive Space
- Negative Space
The creation of visual importance through the use of selective stress
4. Movement
The path the eyes follow when looking at a design or piece of art\
5. Contrast
- Implied Action or Time
- Rhythm
Elements standing in opposition to one another
6. Alignment and Unity
The placement of the elements to organize or unify an area or object; all the elements working together harmoniously
Balance
Balance is always a part of design. A design needs enough balance
for unity, and enough variation to be interesting. There are three
forms of balance: Symmetrical Balance, Asymmetrical Balance, and Radial
Balance.
1. Symmetrical Balance
A composition divided in half, so that one side is exactly (or almost
exactly) the same as the other, creates a mirror image and is
considered symmetrically balanced.
There are four types of symmetrical balance:
Complex Symmetry:
The page can be divided in half vertically, horizontally, and
diagonally. To accomplish this the page (or space) must be a square.
Horizontal Symmetry:
The space (or page) can be divided in half horizontally so that the top
and bottom will mirror each other. Horizontal symmetry is most commonly
seen in visuals that have a reflection.
Vertical Symmetry:
The most commonly used form of symmetry where the page (or space) is
divided in half vertically so that both sides match. When the two sides
match exactly it is called perfect symmetry. However, as soon as
typography is added to the page, the symmetry is no longer perfect.
Approximate Symmetry:
A layout that is based upon symmetry but with minor variations that do
not follow exactly. The overall balance must still be symmetrical to
qualify as approximate symmetry. A visual element might be added to
break the severity of the symmetry, to add visual interest, or to
attract attention. This is the type of symmetry most often used by a
graphic designer.
2. Asymmetrical Balance
A design or composition where a center line or point is ignored and the design
elements are balanced visually. Asymmetry is a sensed balance. The
designer manipulates images within a given space until the feeling
of balance is achieved within the parameters set for the completed
design. There are no rules for reaching this sense of balance. This
form of balance is subjective and open to an infinite number of
interpretations.
3. Radial Balance
A design where the elements radiate from a central point and calls for
repetition. Radial balance is often found in nature, as well as in many
designed objects.
Space
Shapes and forms have substance and occupy space. Space is identified in two ways:
1. Positive Space
This is occupied space. The item(s) or element(s) put on a page is positive space.
2. Negative Space
This is the unoccupied or empty space. The empty area(s) or background is negative space.
Emphasis
Emphasis creates one or more focal points in a design and thus
directs the eye to the most important element(s) in any design, and to
the other details in their order of importance. The element that
attracts the viewer first is the focal point of the design. The
designer must decide how to achieve focal point, what to emphasize, and
where to place the emphasis.
Emphasis can be created with:
- contrast
- a simplified background
- isolation of subject matter
- use of the unusual or unexpected
- proportion, size, repetition and number
- movement and lines
- the creation of a path
Visual Hierarchy
Hierarchy stands for the placement of the members of a group according to the importance of each.
When we apply hierarchy to graphic design, we are working with the elements
(or parts) of a composition, and the placement has to do with the order
in which we want an audience to become aware of each. What should they
perceive first? Second? Third? Visual hierarchy becomes essential so
that the message is perceived in the intended order and is easy to
understand.
Movement
The path of the viewer’s eye
as it follows a work of design is known as movement. Attention can be
drawn to areas of greatest interest. Movement can attract and hold
attention beyond a momentary glance. If the composition has a rhythmic
flow, the eyes are easily led from one place to another. The placement
of images and objects cues the eyes to follow.
Movement and time are closely associated. The amount of time a design holds the
attention can be controlled to some degree by the arrangement of the
elements and the amount of movement they offer. This might be as simple
an experience as an awareness of the seconds it takes for the eye to
travel across the page. Movement can also give the experience of real
time passing — from seconds to days to weeks to years to even ages.
There are several types of movement:
- Vertical
- Horizontal
- Diagonal
- Radial
- Line and Shape
- Value
- Color
1. Vertical Movement
When the eye sweeps up or down on the page or image, vertical movement is achieved.
2. Horizontal Movement
Horizontal movement can convey
many moods, from tranquility and peace to speed and energy. It is
strengthened by its position in relationship to the top and bottom
borders of a frame, space or page. Many horizontal compositions move
from left to right, but the movement can also be from right to left
depending on the desired implication. The horizon line and eye levels
are both common experiences for everyone and cause an automatic
experience of horizontal movement.
3. Diagonal Movement
Diagonal movement usually creates a sense of unrest, stress or imbalance and reinforces action.
4. Radial Movement
Rotating panels and spinning devices are often used in three-dimensional displays to attract attention. This
effect can also be used in the two-dimensional format to indicate
rotation (such as a wheel) or to draw the eye into a center point (such
as a bull’s-eye). Spiral configurations can draw the eye either inward
or outward.
5. Line and Shape Movement
Lines invite the eye to follow
a path. Shape can also invite the eye to follow along if it is longer
than it is wide or pointed at one end. An elongated shape will produce
eye movement along its axis, or might be experienced as a bold line.
Several shapes can also be arranged in a way that implies there is a
line set up between them. This imaginary line directs the eye in a
particular direction. The eye will follow the outline or edges of
shapes, or the path taken by the shapes and images.
6. Value Movement
Value can be used to generate movement in three ways:
- By passage through similar values that touch each other.
- By transition from dark to light or light to dark.
- By skipping from one place to another that is of similar value.
7. Color Movement
Color moves. Warm colors advance. Cool colors recede. Bright colors seem
closer. Pale or muted colors seem farther away. Colors repeated in a
design pull the eye to each repetition. Similar colors will also pull
the eye: the related hue in each of them will create a path.
Contrast
Elements with strong contrast stand in opposition to one another: light against dark, large against
small, round against square, smooth against rough, and more. For
example, color contrast might mean warm colors against cool colors, or
light colors against darks.
Contrast is used to create emphasis. Contrast creates order and visual
hierarchy. Contrast is also a tool to highlight differences between
elements. Most designs require this contrast in one form or another.
Some types of Contrast are:
- Positive/Negative
- Line Contrasts
- Shape and Form
- Color Contrasts
- Texture Contrasts
- Contrast with Identical or Similar Shapes
- Dark and Light
- Contrast in Imagery
- Contrast in Typography
- Complex vs. Simple
- Large vs. Small
- Organic vs. Geometric
- Many vs. Few
- Bold vs. Delicate
- Straight vs. Curved
- Smooth vs. Rough
- Order vs. Chaos
Alignment and Unity
Good alignment is invisible.
Most readers won't consciously notice that everything is lined up
neatly on the page, but they will feel it when things are out of
alignment. On the other hand, deliberately misaligning elements can
also be used effectively to create a feeling of movement, anxiety and
emotion. Designers will use one or more of the kinds of alignments to
create a pleasing layout.
Alignment is the placement of text and graphics so they line up on the page. Alignment can:
- Create order
- Organize page elements
- Group items
- Create visual connections
There are several types of alignment:
- Horizontal
- Center
- Vertical
- Edge
- Visual or Optical
- Strong
- None
1. Horizontal Alignment
In horizontal alignment the left and right margins are exactly (or
visually) equal, however horizontal alignment does not necessarily mean
center alignment. Horizontal alignment can be across the page or within
columns. For example, a block of flush left/ragged-right text can be
aligned horizontally. Though individual lines of text are not perfectly
aligned on each side, careful attention to the amount of rag (white
space at the end of the line) can result in a visually balanced margin
on each side of the block of text.
2. Center Alignment
Center alignment may be horizontally or vertically aligned, or both.
3. Vertical Alignment
In vertical alignment the top and bottom margins are exactly or visually equal.
4. Edge Alignment
Edge alignment puts text or objects along their top, bottom, left, or right edges.
5. Visual or Optical Alignment
Visual or optical alignment fixes some of the problems that can occur with
other types of alignment due to the varying shapes of letters and
graphics. In visual alignment, the objects may not be precisely
aligned, but to the eye they appear lined up.
6. Strong Alignment
This
is when the strength of alignment is central to the design of the
communication. This is especially evident in newspaper design.
7. No Alignment
This is when the design deliberately uses no alignment to express an idea or mood.
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