 This lecture will cover the following

principles of Visual Design:

• Balance
• Rhythm
• Contrast
• Harmony

 Allied terms of Pattern, Gradation, Repetition and

Alignment will also be touched upon in this lecture

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The Principles of Design are concepts
used to organize or arrange the
component elements of design.
The way in which these principles are
applied affects the expressive content, or
the message of the work.

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 Generally, most of the principles of
design are applied to any visual
composition a designer creates.
 How a designer applies principles of
visual design that determines how
effective a design is in conveying the
desired message and how attractive it
appears.
 There is seldom only one correct way to
apply each principle.

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 The Principles of visual Design are generally
stated to be:
• Balance
• Proportion
• Rhythm
• Emphasis
• Unity
• Contrast
• Harmony

 Thinkersand design philosophers may use

other terms to address these principles.
 There is no particular order or priority of these
in a composition and often, more than one may
be applied in a visual composition.

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BALANCE

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• Visual balance works more or
less like a physical balance.
• Visual balance comes from
arranging elements in the
composition so that no one
section is heavier than the other.
• Sometimes, an experienced
designer may intentionally
throw elements out of balance to
create tension or a certain
mood.

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 Balance in a Visual Composition is
brought about with the balancing
of "weights" of the segments of
each element.
 Here the weights are visual weight
that could be a consequence of
selection of shape, color, texture,
dimension or size i.e. the
elements.
 Balance is thus an equilibrium of
similar, opposing, or contrasting
elements that together create a
unified whole.
 The intention is to create a unified
whole of different elements.

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 Balance - is a feeling of visual
equality in shape, form, value,
color, etc.
 Balance can be symmetrical or
evenly balanced or asymmetrical
and un-evenly balanced.
 Objects, values, colors, textures,
shapes, forms, etc., can be used
in creating a balance in a
composition.
 A large shape close to the center
can be balanced
by a small shape close to the
edge. A large light
toned shape will be balanced by
a small dark toned
shape (the darker the shape the
heavier it appears to be)

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 Balance is the concept of visual
equilibrium, and relates to our
physical sense of balance.
 It is a reconciliation of
opposing forces in a
composition that results in
visual stability.
 Balance in a three dimensional
object is easy to understand; if
balance isn't achieved, the
object tips over.
 To understand balance in a two
dimensional composition, we
must use our imaginations to
carry this three dimensional
analogy forward to the flat
surface.

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 Most successful compositions
achieve balance in one of two ways:
symmetrically or
asymmetrically.
 Symmetrical balance can be
described as having equal "weight" Balance Balance around a
on equal sides of a centrally placed around a horizontal and
fulcrum. vertical axis vertical axis
 It may also be referred to as
formal balance.
 When the elements are arranged
equally on either side of a central
axis, the result is Bilateral
symmetry.
 This axis may be horizontal or
vertical. It is also possible to build
formal balance by arranging
elements equally around a central Balance on a Balance on a
point , resulting in radial radial axis diagonal axis
symmetry.

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 Asymmetrical balance, also called informal
balance, is more complex and difficult to envisage.
 Visual balance can be seen in the same light as
physical balance that is a study of physics. See it in the
following light:
 It involves placement of objects in a way that will allow
objects of varying visual weight to balance one another
around a fulcrum point. This can be best imagined by
envisioning a literal balance scale that can represent
the visual "weights" that can be imagined in a two
dimensional composition.
 For example, it is possible to balance a heavy weight
with a cluster of lighter weights on equal sides of a
fulcrum; in a picture, this might be a cluster of small
objects balanced by a large object.
 It is also possible to imagine objects of equal weight
but different mass (such as a large mass of feathers
versus a small mass of stones) on equal sides of a
fulcrum.
 Unequal weights can even be balanced by shifting the
fulcrum point on our imaginary scale.

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 Thereis a variant of
symmetrical balance
called approximate
symmetry in which
equivalent but not
identical forms are
arranged around the
fulcrum line.

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Some examples of asymmetrical
balance in forms and color

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 INVERTED
SYMMETRY
Inverted symmetry
uses symmetry with
one half inverted like
a playing cards. This
is an interesting
variation on
symmetry but can
make for an awkward
balance.

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 BIAXIAL SYMMETRY
A symmetrical composition
can have more than one axis
of symmetry. Biaxial
symmetry uses two axes of
symmetry -- vertical and
horizontal. These guarantee
balance: top and bottom as
well as left and right. The top
and bottom can be the same
as the left and right, or they
can be different. The most
regular and repetitive image
occurs when they are the
same.

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RHYTHM

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 Rhythm in a visual composition can
be inserted by arranging the
constituent objects so that there is a
sense of movement. It is usually
achieved by a systematic repetition
of some objects. Alternation of
different objects is also used for
creating rhythm.
 Rhythm is a word taken from music
and when there is a “beat” or
“harmonic flow” the composition -
musical or visual becomes rhythmic.

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 Artists use this principle
to bring excitement to
their works.
 Rhythm can be created in
a number of ways. Note
the different “flows” of
lines and forms on the
different parts of the vase.
Its basic circular shape
also helps in this aspect.

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 Rhythm - is a
movement in which
some elements recur
regularly. Like a
dance it will have a
flow of objects that
will seem to be like
the beat of music.

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 Rhythm is created by
Variety and Repetition.
 Variety in a composition
adds „visual delight‟ fro
the viewer.
 Repetition of elements ,
gives a suggestion of
motion and generates
excitement and
dynamism in a
composition.

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CONTRAST

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 Indesign, big and
small elements, black
and white text,
squares and circles,
can all create contrast
in design.

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 Contrast means showing
differences in two different
sections of the design or
showing somehow that the
design being created is very
different from other designs
because of its contrast.
Contrast can also be used to
show emphasis in any part of
the design

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 Contrast achieves emphasis
by setting the point of
emphasis apart from the rest
of its background. Various
kinds of contrasts are
possible. The use of a
neutral background isolates
the point of emphasis.
 Contrast of color, texture, or
shape will call attention to a
specific point.
 Contrast of size or scale will
also make the eye move to a
particular point in a
composition.

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 Contrast offers some change in quality of
components of a composition.
 Contrast can be generated by different
shapes.
 It can be used to bring objects out and
forward in a design.
 It can also be used to create an area of
emphasis.
 Contrast is the juxtaposition of opposing
elements e.g.. opposite colors on the color
wheel - red / green, blue / orange etc.
Contrast in tone or value - light / dark.
Contrast in direction - horizontal / vertical.
 Too much contrast scattered throughout a
composition can destroy unity and make a
work difficult to look at.

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HARMONY

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 Harmony means forming a
consistent or orderly or
pleasing or agreeable
whole. A harmonious
composition is concordant
and free from dissent or ill-
feeling.
 Harmony brings
togetherness in a
composition . If a
composition was using
wavy lines and organic
shapes the designer would
stay with those types of
lines and not put in just one
geometric shape.

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 Harmony can be seen as similar
to Unity - some sources list both
terms to mean the same spirit.
 Harmony is required within each
element and as a whole.
Harmony can affect the emotional
response to the composition

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 Harmony in painting
is the visually
satisfying effect of
combining similar,
related elements.
e.g.. adjacent colors
on the color wheel,
similar shapes etc

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PATTERN

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 Pattern is keeping a
design in a certain format.
For example, a designer
could plan to have wavy
lines all around a design as
a pattern, but then the
designer must continue
those wavy lines throughout
the design for good
patterns. It wouldn't look
good if suddenly the
designer stopped all the
wavy lines and drew a
picture of a dog.
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GRADATION

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 GRADATION
Gradation of size and
direction produce linear
perspective. Gradation
of color from warm to
cool and tone from dark
to light produce aerial
perspective. Gradation
can add interest and
movement to a shape. A
gradation from dark to
light will cause the eye
to move along a shape.
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 Gradation employs a
series of motifs patterned
to relate to one another
through a regular
progression of steps. This
may be a gradation of
shape or color. Some
shape gradations may in
fact create a sequence that
is suggestive of movement
or depth.

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REPETITION

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 Repetition
A composition is made of
several objects. If all the
objects are different,
then the composition
would become chaotic.
Repetition thus is
essential.
Total repetition of the
same object may
become „boring‟.
Certain variety thus also
becomes essential.

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 Repetition involves the use of
patterning to achieve timed movement
and a visual "beat". This repetition may
be a clear repetition of elements in a
composition, or it may be a more
subtle kind of repetition that can be
observed in the underlying structure
of the image.
 Rhythm can be described as timed
movement through space; an easy,
connected path along which the eye
follows a regular arrangement of
motifs.
 The presence of rhythm creates
predictability and order in a
composition.

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Repetition with variation
is interesting, without
variation repetition can
become monotonous.

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Alternation is a specific
instance of patterning in
which a sequence of
repeating motifs are
presented in turn;
(short/long; fat/thin;
round/square; dark/light).

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ALIGNMENT

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Order in a composition can be achieved
by putting objects in a certain arrangement
where these all seem connected. The easiest
order is when the objects are put in alignment
with each other.
This is true about all situations. When cars are
parked according to the parking slots they look
much more organized. The same is noticed on a
composition of a printed page.

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 By now you would have started appreciating
that a beautiful composition can not be
produced arbitrarily.
 It requires a system and deep thought and
some idea for it to look appealing.
 While the principles of design are simple
words these are very important for designers.
 Consciously think of these while designing.

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THE END

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