“Everything is just tiny dots”
In conceptual terms a point has no dimension - only location. It designates some point in space. However, to graphically represent a point we make a dot or some kind of mark that we perceive as dot like. A point can also be represented as the intersection of two lines. Points can be actual or implied. Our perception of a point changes, from a point to a shape as the size of the point grows in relation to other elements in the composition and/or the size of the ground and frame.
Line: A line has only one dimension. Conceptually it has length, but no depth, it can connect two points. Graphically, it can be thought of as a mark that's dominate attribute is length, even though it must have some width in order to be seen. A line can be thought of a point in motion, or as a series of points which can extend in either direction forever, or can be terminated by points. Lines define edges of surfaces and enclose shapes. A line can be actual or implied. A line can be seen as a positive element or a negative(a gap). Our perception of a line changes, from a line to a shape (plane) as the size of the line grows in relation to other elements in the composition and/or the size of the ground and frame.
A shape is a two- or three-dimensional object that stands out from the space next to it because of a defined or implied boundary. A shape can live in different areas in space, and have other elements like line, color, texture, or movement. Like forms, shapes come in two different types: geometric and organic. Geometric shapes can be drawn using a ruler, compass, or digital instrument. They feel very precise, like an architecture rendering. They’re created in CAD or by hand, and are controlled and orderly. Organic shapes are found in nature or drawn by hand. They’re the opposite of geometric, and often feel natural or smooth. That’s not to say that because they’re natural, they’re less complex. Think of the grain on a stump of wood: It’s complex, but not geometrically precise.
Written by inVision and JimDoEvery shape or form has a place in space. As an element of design, space refers to the area around, above, below, or behind an object.
Objects in space can occur in both two and three dimensions. In a two-dimensional setting, space is about creating the illusion of a third dimension on a flat surface. Shadows, shading, overlap, and sizing can help define an object’s place in space. For example, a button could have a shadow that makes it feel like it’s closer to the user.
Space, like color, is an element that does not have to be used. But when it is, it’s a powerful way to add emphasis.
Written by inVision
Texture is the physical quality of a surface. Like form, it can be part of a three-dimensional object, as in the example below (a small prickly cactus in a shiny ceramic pot).
Or it can be implied through illustration, suggesting that it would have texture if it existed in real life.
In design, texture adds depth and tactility to otherwise flat images. Objects can appear smooth, rough, hard, or soft, depending on the elements at play.
For beginners, textures make great background images and can add a lot of interest to your work. Look closely, and you may find texture in unexpected places, like distressed fonts and smooth, glossy icons.
Scale is a fundamental principle in visual design that refers to the size and proportion of elements in relation to one another. It allows designers to create visual hierarchy, emphasize important elements, and establish a sense of balance and harmony, helping you in generating creative layouts. It tells viewers what things to look at, what order to look at them, and what’s the most important element to focus on.
Written by MicroSoft
Everything posses a form in one way or another. When we talk about form, we’re not talking about the content of the form, but the form itself.
Forms are three dimensional, and there are two types: geometric (man-made) and natural (organic). A digital or physical form can be measured by height, width, and depth. A form can be created by combining shapes, and it can be enhanced by color or texture. Depending on their usage, they can also be ornate or utilitarian.
For digital design, think of form as the object you’re designing for; so if you’re designing for a mobile device, the phone is your form.
Written by InVisionColor is one of the hardest elements to harness, and probably one of the most challenging to understand. The basics, however, are relatively easy.
Color can help the organization of a design, and give emphasis to specific areas or actions. Like other elements, it has a few different properties: hue, saturation, and lightness. Unlike other elements, it does not always have to be used. A design can have the absence of color (yes, black and white are still colors, but you get the point). Color can be used sparingly or in a rainbow of hues, but tends to work best when there’s both a dominant color and a supporting color.
Hue typically references a wavelength of light in the color spectrum, which is blended from the primary colors of red, green, and blue (commonly referred to as RGB). A specific hue can have a vibrant or dull saturation. Cyan, baby blue, navy blue, and royal blue are blue hues that are more or less intense. A color can also be on the light or dark end of the spectrum.
It’s important to note that while color is global, different cultures have different connotations for colors. For example, in some cultures, white is associated with purity; in others, it’s associated with death.
Written by InVisionThe human eye tends to perceive similar elements in a design as a complete picture, shape, or group, even if those elements are separated. The brain seems to craft a link between elements of a similar nature. Then, we perceive them in a relationship with each other, separating them from other elements in a design. Human eyes are good at filling in “gaps” or connecting “dots”. It happens naturally.
Similarity is influenced by the shape, size and color of the elements. When you mix objects with high degrees of similarity to each other with a group of dissimilar objects, the brain then devotes time and energy to creating a link between them so that it can try to understand their relationship with each other.
Written by Mads SoegaardThe law of closure is a visual perception law or Gestalt principle. It describes how humans have a natural inclination to perceive incomplete or fragmented visual elements as a complete object. The brain typically fills in the gaps in an image where there are missing parts to perceive a unified and coherent form.
One of the key reasons why the principle of closure is important in design is the mind’s ability to simplify complex visuals fast and make a meaningful whole from individual elements. As with other principles like the law of continuity, this is a handy technique from the days of survival in the wild. Early humans had little time to perceive objects that were potentially hazardous, namely moving ones.
The principle of closure is evident in various aspects of modern daily human life. These range from recognizing shapes and objects to interpreting symbols and logos. When designers use incomplete or fragmented elements, they can guide the viewer's eye and encourage them to mentally complete the missing parts. This technique helps reduce visual clutter and allows for a more streamlined and cohesive design.
Written by Interaction Design FoundationProximity is the grouping and shaping of objects in a composition. In design we use proximity for two main reasons:
Proximity can create relationships between visual elements in a composition, create relevance, hierarchy, create organization and structure.
Proximity can also be used to suggest no relationship between elements, to break organization and structure.
By moving visual elements closer together or further apart, we are applying the proximity design principle. In design these two forces can be applied in various degrees to help achieve a particular effect or outcome to communicate a message.
Typically in design, related elements should be grouped together so that they will be viewed as a group. Unrelated elements should have distance and should not be in close proximity to each other. Audiences will assume that elements that are not near each other in a design are not closely related.
A good sense of proximity in design can help differentiate visual elements to reduce visual clutter and make design more comprehensible. Proximity is influential to the balance and hierarchy design principles. Space between visual elements will communicate a particular dynamic on a page. Depending on the intended purpose or look and feel, a designer must sense which type of balance to execute to suggest hierarchy.
Written by 254 OnlineThe law of continuation asserts that the human eye follows lines, curves, or a sequence of shapes in order to determine a relationship between design elements.
The continuation can carry through both positive and negative spaces in designs. Positive space is the space in a design that is made up of the subject – the image we insert. Negative space is the rest of the space around and in between that object’s edges. When we view a design layout, our eyes tend to draw a line that connects different elements.
Written by The Interaction Design FoundationThe figure-ground principle states that people instinctively perceive objects as either being in the foreground or the background. They either stand out prominently in the front (the figure) or recede into the back (the ground). Basically, what this means, is Figure-Ground is the state in which we view elements as either the object of focus or the background.
To break these terms down even further, consider the following:
The figure is also referred to as the positive space and is usually made up of visually dominant images on the ground.
The ground, which is also known as the negative space or the background, is the area that surrounds the figure.
When this concept is implemented into designs, the brain will try to distinguish between the figure (the design subject) and the ground.
Typically, when creating a graphic design, designers want their figure to demand attention and the ground to support the figure without distracting the audience. This can be done by adding color to help set the mood, making lines to help define the figure's shape or establishing a point of reference where the figure is what the audience notices.
Written by User Testing and CorelDrawHierarchy 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
Help a viewer navigate and digest information easily
Hierarchy is typically created by contrast between visual elements in a composition. Typically visual elements with highest contrast are noticed first. Using hierarchy we can control how a viewer engages with information to ensure that information is navigated and digested in the way it is intended. For example: Where do we want the eye to look first, second, third and so on. Hierarchy can manifest itself in many visual ways such as in scale, colour, contrast, space, alignment, shape and form.
Written by 254 Online.Light and dark. Big and small. Warm and cool.
As a design principle, contrast is all about using opposites to capture your audience’s attention and draw the eye to key parts of your message.
The design principle contrast refers to the use of visually different elements. In addition to capturing attention, contrast can guide the viewer’s eye to a focal point, highlight important information and add variety, or even drama, to a design. Paired with other principles like proximity, it can really drive a design’s message home.
In theory, applying contrast is simple. All you need to do is use opposite or different elements: color, size, shape, texture, value… you can play with any of these visual elements to achieve contrast.
Written by VenngageBalance is one of the key principles in design. It refers to the distribution and visual weight of elements in a composition. A well-balanced design is naturally pleasing to the eye and exudes a sense of equilibrium. But don’t be fooled by the word “equilibrium”. A balanced design doesn’t necessarily mean every element is given equal weight. Rather, it simply means that no one element overpowers the design — everything works together to create a unified whole.
Often, an asymmetrical balance is the most visually satisfying solution. That said, symmetrically balanced designs also have their time and place. This type of design looks and feels stable. It can be a good choice for more formal documents, or for simple designs where elements have equal importance.
Written by VenngageRhythm is the use of repeating elements in a visual design. Repeating design elements, such as shapes, lines or colors, draws the viewer's eye from one section of the work to another in a cadenced fashion. Rhythm can create a sense of order and a sense of movement. As an example of rhythm, a photographer can compose a photograph of a forest to show tree trunks as alternating thick vertical lines of light and dark colors. Successful designs usually vary the rhythm, or the design can become predictable and boring.
Movement is the use of design elements or principles, such as rhythm, in a way that suggests motion within an image. Movement can be created by implying action, such as a still image of a person dancing. Other ways to indicate movement include blurring the edges of an object. As an example, think of a horse running, with its mane and feet blurred. Some designs may show movement by showing a series of changes in position. Optical illusions are yet another example of movement that graphic design designs.
Although both design principles can suggest motion, don't confuse them. Rhythm is specifically concerned with repeating design elements, such as patterns and colors, to pull the viewer's eye throughout an image or document. The designer may use rhythm as a means to convey movement, but rhythm won't always be used that way. Movement, on the other hand, is used to imply action. In creating a sense of movement, the designer can use rhythm, along with other graphic design principles and elements, to give the viewer a sense of motion within the image.
Written by Page ColemanSymmetrical and asymmetrical are two different concepts in design and art. The main differences are as follows:
Basic principle. Symmetry is based on the equal principle, in which an object or image is divided into two exactly equal parts. Meanwhile, asymmetry is based on the principle of unequality, in which an object or image is not divided into two exactly the same parts.
Visual impression.
Symmetrical design is considered a harmonious, aesthetic form, as the two equal parts create a balanced and soothing visual perception. While an asymmetrical design is considered a unique, dynamic, expressive form, which may not give the impression of harmony. However, if you can compose it correctly, the visual will still look attractive.
Application.
Symmetry can be applied in various fields, such as architecture, art, graphics, and others, while asymmetry is applied in art, architecture, graphics, product design, and other fields. Mostly they are used similarly, but it all depends on which design form suits you well.
Balance.
Symmetrical can give a balanced, harmonious impression. Asymmetrical can give a dynamic, unique, unbalanced impression but that is what makes the design look more attractive.
Effect.
Symmetry usually makes objects look more stable and formal, while asymmetry gives a more dynamic, expressive impression. However, this is not always true as both can be used in creative ways to achieve different effects.
Written by YumnaTypeTension in design is a state of imbalance, conflict, or contrast that creates a sense of anticipation, curiosity, or suspense in the viewer. Tension can be achieved by using various elements of design, such as shape, color, texture, space, typography, and imagery. Tension can also be influenced by the context, meaning, and purpose of the design. For example, a graphic that uses a dark and gloomy color palette, distorted shapes, and chaotic typography can create a feeling of tension that reflects a horror theme or a social issue.
Written by LinkedinVisual framing is the presentation of visual elements in an image or layout in relation to the main subject. You may have experienced the concept of framing in relation to the border that goes around a painting, but it’s just as applicable to what’s going on within the visage, too! As well as other visual arts, framing is commonly used in photography and cinematography to make a shot more aesthetically pleasing and draw attention to the main focus.
While it may not be spoken about as much as color(opens in a new tab or window) or typography, framing is considered one of the key principles of graphic design(opens in a new tab or window). Why? Because it’s essential for creating visual balance and unity within a composition! It can be used to decorate, highlight or crop the visual elements in a design, depending on your goal. It creates visual hierarchy(opens in a new tab or window) in your work and guides the user’s gaze around the layout. It also allows you to draw attention to the focal point in your layout and set it apart from its surroundings. Essentially, framing is the underdog of the visual design world and you often don’t realise how important it is until it’s not there. After all, an image or layout with no framing would likely look bland, unorganized or chaotic. Or, your audience simply wouldn’t know where to look!
Written by Emma Norris“Abstraction”.The seventeenth-century usage of the word in the Oxford dictionary is: “the further we move (abstract) from the body … the more we become fit to see divine light” (Arnheim 2015, 176). Meaning that as we get closer to the abstract, in other words to the essence, the more we get rid of concrete thinking. Is it getting clearer or what? If it doesn’t, as designers or illustrators working in this field for some time, we all hear that certain phrase: “In design, less is more”. Surely we all heard it but what does it really mean? Does it mean that we have to stop creating endless layers and components in our works? Wait for a second! Just because you read this blog while you are working it doesn’t mean that you have to remove all the layers and components on your current works.
Let’s take a deep breath and take a look at the meaning of abstraction in design principles. Which is “The act of purifying or deleting the details of an object”. What would be the best way to simplify this definition? The answer is our “beloved legos” which are the favorite thing on earth for all the children and famous illustrator and graphic designer Christoph Niemann. Let’s suppose that you are asked to make a taxi by using legos. What would you do? You would take a medium-sized yellow and black lego and merge them right? Thought so… And we all know that it’s the best lego taxi anyone can see because it is similar to a taxi better than anything. In a documentary called Abstract: The Art of Design, Christoph Niemann has explained it all perfectly. Niemann says: “Every idea requires a very specific amount of information. Sometimes a lot of detail and realism are required, and sometimes just a line and a pixel can do. But every single idea has an important role to play at this scale.”
Written by Perfist“Design is not for philosophy, it’s for life.”
Created by Houston Gyasi Trent