ELEMENTS a guide to the principles of design
10
of the most used design principles explained
ELEMENTS a guide to the principles of design
Creator: Helena Knutsen-Nevison
1
2
04-07
CONTRAST 08-11
PROPORTION 12-15
BALANCE 16-19
RHYTHM 20-23
ALIGNMENT 24-27
DIRECTION 28-31
REPETITION 32-35
HIERARCHY 36-39
COLOUR THEORY 40-43
UNITY
3
DESIGN CLASSICS PRESENTS:
CO N T R A ST
4
C O N T R A S T
/
P r i n c i p l e
th eor y
D e f i n i t i o n Refers to elements. vs. small to create drama.
the arrangement of opposite (Light vs. Dark colours, large shapes, etc.) in a piece so as visual interest, excitement and
One of the main reasons to use contrast within your designs is to:
5
C O N T R A S T Contrast is when two elements of a design are different. An example can be that the text and the background colour are
It could also be the difference between a large and small graphic within a composition.
A piece of design is more attractive when contrast is used, and the purpose and organisation of the document are much clearer because of the stand-out differences.
In design we use contrast to generate impact and highlight importance. This can be seen in contrast such as colour contrast and shape contrast.
The important thing about contrast is that the elements should be completely different. Not just slightly different.
Above is colour contrast, all shapes are the same, the colour creates contrast within the composition making the audience feel like the contrasting colour is more/ less important.
Contrast is used as a principle to grab the attention of your audience. The ‘odd one out’ effect can be seen in the figures. This is when an aspect of a piece clearly stands out against all others around it, causing contrast in a design, resulting in the audience’s attention being on that aspect.
Here we have three shapes, the same scale but with different characteristics. This is an example of shape contrast, using this within a composition would cause the eye to be drawn to the most well-rounded shape.
6
The context of contrast is as important as the principle itself, the objects around the design change the way it is perceived. For example, you can have a simple circle...
It does not say much by itself, but when you add another, smaller circle, the aspects of the piece suddenly contrast in size.
Then, if you add a darker circle it suddenly suggests that this circle is closer to the audience or more important.
Contrast creates interesting relationships between visual elements, it can push elements away, connect them, or complicate them. Contrast entices our visual senses. Our eyes like contrast because it grabs our attention and makes it easier to understand what we are looking at, which is why it is a strong method in communicating visually without typography.
When applying contrast to your work, it is important to remember that contrast comes in all different forms such as: colour, scale, shape, texture, and layout. These will all impact how your design is perceived, but by using this simple shape guide and applying what has been said on contrast, it will effectively impact your design positively.
CONTRAST CONTRAST CONTRAST CONTRAST 7
DESIGN CLASSICS PRESENTS:
P RO P O RT I O N
8
P RO P O RT I O N
/
P r i n c i p l e
th eor y
PROPORTION
Definition-
Proportion refers to the relative size and scale of the various elements in a design. 9
PROPORTION Proportion in design is the relationship between two or more elements of a composition with reference to size, colour, quantity, position etc. You should try to achieve the correct sizing and distribution of an element or object, which creates good proportion. Good proportion adds harmony, symmetry, and balance to a design as a whole.
When applying proportion you should consider each one of these points: The relevant height, width and depth of one element compared to another.
HARMONIOUS COMPOSITION When applying proportion, you should create major and minor areas in the design since equal parts can quickly become monotonous and boring. The effective use of proportion in design is often referred to as harmony, a relationship in which the various elements of the composition appear as if they belong together in size and distribution. 10
The size of one area to the size of another area.
There is a common mathematical ratio found in nature that can be used to create pleasing, natural-looking compositions of your design work.
FIB Say you have a composition with three aspects-
ONACCI The Fibonacci spiral describes the perfectly symmetrical relationship between two proportions.
The arrangement goes 1, 2, 3, 5, 8,13, 21, 34 and so on. This ratio is naturally pleasing to the eyes, that is why it’s so important within design. This ratio is used in creating proportions for architectures, paintings, sculptures, photography and design. For an example in practice, the logo we all know and love known as the Apple logo actually uses this ratio.
This composition is simple. If you then add proportion in terms of the size of one aspect compared to the other and add Fibonacci ratio, your composition would be more harmonious and allow the audience’s
eyes to move about it with naturally occurring direction therefore increasing effectiveness like this-
This design principle will psychologically, make your audience’s like the composition of your design more because of the naturally occurring ratio applied.
SPIRAL
11
DESIGN CLASSICS PRESENTS:
BALANCE
12
B A L A N C E
/
P r i n c i p l e
t h e o r y
D e f i n i t i o n : Balance in design is the distribution of elements of a design. You balance a design visually because you want to balance the points of interest in your composition, so that viewers spend time absorbing all of the information you want to convey.
13
B A L A N C E
A balanced composition a p p e a r s r i g h t . I t fe e l s s t a b l e and aesthetically pleasing.
Making your composition balanced involves arranging type and image in such a way that no one area of the design overpowers other areas. Everything should work together and fit together for a seamless whole. The individual parts contribute to their sum but don’t try to become the sum. Balance serves a composition greatly by making it appear whole and easy on the audience’s eyes aesthetically. 14
An unbalanced composition can lead to tension. When a design is unbalanced, the individual elements dominate the composition, most often on one side, making it confusing to look at for an audience. In some projects, unbalanced might be right for the message you’re trying to communicate, but generally, you want balanced compositions. Above are examples of balanced and unbalanced
pieces of work. Apply this principle to your designs to see the difference in effectiveness. Your designs shouldn’t be heavy on one side and should communicate your message clearly. There are different ways of creating balance, whether you use symmetry or asymmetry in your design.
Symmetry & Asymmetry Symmetry and Asymmetry are the different ways you can achieve balance within a composition.
Symmetrical balance occurs when equal weights are on equal sides of a composition. Symmetrical balance creates feelings of wholeness and elegance. The downside of symmetrical compositions are that they can become stagnant with no personality, as both sides of the design are predictable to the audience.
Asymmetrical balance is unequal visual weight on each side of the composition. One visually heavy element on one side might be balanced by a handful of lighter elements on the other. Asymmetrical balance is more dynamic and interesting. It creates movement and energy in compositions. Asymmetrical balance offers a more exciting design for your audience.
Symmetrical composition
Asymmetrical composition 15
DESIGN CLASSICS PRESENTS:
RHYTHM
16
P r i n c i p l e
t h e or y
RHYTHM R H Y T H M
/
Definition: A principle of design that indicates movement, created by the careful placement of repeated elements in a work of art to cause a visual tempo.
17
R H Y T H M Rhythm in design is also known as repetition. Rhythm allows your designs to develop an overall consistency that makes it easier for your audience to understand. Once the brain recognizes the pattern of the rhythm, it can relax and better comprehend the rest of the design.
Repetition is the simplest way to create rhythm within design. This can be achieved by repeating any of the elements of a design (line, colour, texture and pattern, light, and scale and proportion) to create a design that flows.
An example of rhythm in real life is lines on the pavement as you walk, these lines represent the pace and rhythm you walk at. Your brain recognises these lines as a rhythm, knowing each line is around the same distance from the last, resulting in a steady pace. Alternation is also used to create rhythm by alternating two or more elements of a regular pattern. The pattern may be
ABCABC or ABBABB but always repeating in the same order. 18
Rhythm can also be achieved through progression. Examples are a gradation of colour or a series of objects that start small and become large in a pattern.
Rhythm is all about repetition of design elements that help to create movement within a design.
19
DESIGN CLASSICS PRESENTS:
CO A L ILO G NUM R ETNHTE O RY
20
A L I G N M E N T
/
P r i n c i p l e
t h e o r y
D e f i n i t i o n : Alignment is the placement of text and graphics to design so they line up on the page. It helps increase readability and aesthetics of a composition.
Breaking alignment causes emphasis within a composition; a focal point. 21
ALIGNMENT
There is also central alignment, which places design elements so that they line up with one another on their central axes.
Left alignment is when all content is aligned to the left side of the composition, usually using a grid.
A L I GNM E N T Right alignment is when all content is aligned to the right side of the composition, usually using a grid.
22
Central alignment is effective because it causes a balanced composition as a result of contents being in the centre.
ALIGNMENT
Alignment is an important principle of design because it is used to create order, organize page elements, group items, create visual connections. It also results in a clear, organised, definitive structure.
Another type of alignment is mixed alignment. If mixed alignment is intended as part of a design, it can appear more radical, dynamic, free and playful. This all depends on whether that is how you want your
Alignment can be simple or complex and is commonly achieved with the use of a
contents to appear. Alignment is all about context in your aspects of your design. Using different alignments results in your work being observed differently by your audience.
M A LIG N ENT
G R I D A grid can create an ‘invisible’ structure where visual elements can be placed on. Grids create accurate alignment and consistency in design work. Grids are constructed in design software as a guide on where to place your content.
MIXED ALIGNMENT 23
DESIGN CLASSICS PRESENTS:
DIRECTION
24
D I R E C T I O N
/
P r i n c i p l e
t h e o r y
D e f i n i t i o n : Direction is the visual path your eye will follow in design.
25
D I R E C T I O N
Direction is a principle of design that establishes the general mood and atmosphere in a piece. It creates the illusion that there is movement within the design.
An element could literally move through your design, and its movement will have a direction to the next aspect of your composition.
H O R I Z O N TA L V E R T I C A L Horizontal composition within a design suggests calmness, stability and tranquility when applied. A horizontal line is quiet and moves the eye smoothly from left to right on the page. You can use a horizontal composition by applying images, designs or text that moves from left to right across your design composition.
26
A vertical line gives a feeling of balance, formality and alertness. A vertical line suggests movement from top to bottom. Use your layout to suggest direction. Position dense elements, like photos, in horizontal, vertical or diagonal lines. While less dense elements, like text, surround them. This will lead your audiences’ eye around your design.
D I R E C T I O N
In a composition, the eye goes to the largest element on a page first. Where the eye goes to next depends on how you have applied direction to the design. The motion of the first large object on the page to the next important object can be influenced by several things including: Colour: A bright colour attracts the eye more quickly than a neutral colour. Graphics: An arrow causes the eye to look in a certain direction. Shapes: A shape that winds through the page—like a dotted line moving from one element to the next—carries the eye along its path. All of these elements creating direction through a composition effectively.
27
DESIGN CLASSICS PRESENTS:
REPETITION
28
R E P E T I T I O N
/
P r i n c i p l e
th eor y
D e f i n i t i o n :
Repeating any element of a design to create a theme/unity.
29
R E P E T I T I O N
Repetition unifies and strengthens a design.
Repetition can be in the form of RADIATION where the repeated elements spread out from a central point.
Repetition can reinforce an idea. It’s also a great way to unify a design that brings together a lot of different elements. Repetition can be done in a number of ways: repeating the same colours, typefaces, shapes, or other elements of a design.
Repetition creates a particular style, cohesiveness, emphasis, hierarchy, and strengthens a design. The more we see of something the more we familiarize with it, thus remember it. Repetition is impressionable. It’s human nature to find comfort and attraction in familiarity.
Difference between repetition and rhythm:
Repetition works with pattern to make the artwork seem active. The repetition of elements of design create unity within the artwork. Pattern increases visual excitement by enriching surface interest.
30
Repetition
Rhythm
R E P E T I T I O N
Repetition is fundamental to creating a design that feels consistent and unified.
31
DESIGN CLASSICS PRESENTS:
H I E R A RC H Y
32
H I E R A RC H Y
/
Pr i n c i p l e
th eor y
D e f i n i t i o n :
Visual hierarchy refers to the arrangement or presentation of elements in a way that implies importance.
33
H I E R A R C H Y
DOMINANCE Hierarchy is the control of visual information in an arrangement or presentation to imply importance. Hierarchy influences the order in which the human eye perceives what it sees. In design, hierarchy is used to: Add structure, Create visual organisation, Create direction, Add emphasis, and Help a viewer navigate and digest information easily.
It helps the audience get from
A to B within a piece of design, to digest the information in order of importance. Hierarchy creates dominance within a piece. Visual aspects that can effect hierarchy are: scale, colour, contrast, alignment, and shape.
Contrast
Shape
Scale
Colour
34
Base your hierarchy on the information that has priority within your pieces. First, prioritize everything that will go on the page, and once it’s set, design a visual hierarchy to follow that prioritization.
Alignment
H I E R A R C H Y
35
DESIGN CLASSICS PRESENTS:
CO LO U R T H E O RY
h ee soarmsei moi rl asri m t su gt h ro h ouurt dyo T h e reTuhsee re o fu st e h eo fs atm e liel amr eenl tesmtehnro o uut gyo e suirg nd.e s i g n . T h e re u s e o f t h e s a m e o r s i m i l a r e l e m e n t s t h ro u g h o u t yo u r d e s i g n .
36
C O L O U R
T H E O R Y
/
P r i n c i p l e
t h e o r y
COLOUR T H E O RY D e f i n i t i o n : In the visual arts, colour theory is a body of practical guidance for colour mixing and the visual effects of specific colour combinations.
37
C O L T H E
O O
U R R Y
Colour theory is the science and art of colour. It explains how we perceive colour; how colours mix, match or clash; the subliminal messages colours communicate, and the psychology of colour. Harmony in colour engages the viewer and it creates a sense of order. When something is not harmonious, it’s either boring or chaotic. The human brain rejects what it cannot organize. The visual task requires that we present a logical structure. Colour harmony delivers visual interest and a sense of order.
Colour harmony can achieved through colour theory and studying the colour wheel.
Another part of colour theory is the psychology of Colour. Each colour promotes a certain response from the audience psychologically. E.g.
Complementary colours: 2 opposite colours.
Blue often communicates peaceful, clean qualities. As opposed to more energetic, warmer coolers, blue is seen as calming. In some contexts, it can represent sadness. Using each colour will promote a certain emotional response from the audience, so, choose wisely.
Analogous colours: 3 colours side by side
be
There are three main types of colour palettes you can create and add to your design using the colour wheel.
38
The colour wheel
Triadic colours: 3 colours equally spaced around the wheel
39
DESIGN CLASSICS PRESENTS:
UNITY
40
U N I T Y
/
P r i n c i p l e
t h e o r y
D e f i n i t i o n : The Unity Principle states that design elements should be both visually and conceptually harmonious. Creating an aesthetically pleasing design that feels whole to the audience.
41
U U
N
I
T
Y
The idea behind the design principle unity is to create elements that support each other and all work together toward a common goal. It’s about avoiding mixed messages. Your design elements should look like they belong together and not be randomly placed on your design page.
Visual elements should have clear relationships with each other in a design. Unity also helps ensure concepts are being communicated in a clear, cohesive fashion. Designs with good unity also appear to be more organized and of higher quality and authority than designs with poor unity.
So, to apply unity to your design is to create a complete design that is aesthetically pleasing to your audience.
42
There are two kinds of unity that you can apply: Visual unity – E.G. a group of elements all aligned to a common axis Conceptual unity – E.G. an image of a lion, bear, and a rabbit will all be unified with the common theme of all being animals. Unity is a measure of how well the elements on the page belong together. Through unity an audience should first see the whole and then the sum of the parts making that whole within your design. A sentence conveys more information than random words on a page. Order and organization help convey your message. Unity leads to more order and organization.
To create unity in your design you should have a clear idea of what you are trying to communicate. Your elements can’t be unified toward a common message if you don’t have a clear idea what that message is. Applying some of the design principles can actually help achieve unity within your designs such as: Contrast – adds variety within the unity. Repetition – Things that look alike appear more related to each other. Alignment – Elements that share a common axis appear more related to each other. Applying these principles adds unity to any design.
43
44 44
Elements is your personal guide to 10 of the most used principles within the design industry. You can use this guide to apply these principles to your work to make it more effective for your audience.