HRM _ 615- ERGONOMICS AND

FACILITIES PLANNING

LESSON 5: ELEMENTS AND

PRINCIPLES OF DESIGN
__________
DR. LILIBETH R. SABILLANO
CHTM
 TOPIC LEARNING OUTCOMES
After the end of the lesson, the student should
be able to:
1.Identify ideas for planning and designing
foodservice and lodging operations.
2.Describe the needs of customers.
3.Explain the location factors.
4.Identify the foodservice and lodging elements.
5. Identify the elements and principles of design.
 Principles of Design
1. Line
vLines can be defined as
any linear marks. Lines
make up just about
everything. Even these
words and letters are
made up of thousands of
curved, angled and
straight lines.
 1. Line
vT h i s w i r e f r a m e
illustrations by Ksenia
Stavrova for apparel
brand. By using simple
white lines to execute
e a c h i l l u s t ra t i o n , t h e
design as a whole is given
cohesivity and a
recognizable style.
 2. Scale
vScale is the deliberate
sizing of individual
e l e m e nt s . S c a l e c a n
help us make sense of
designs and images.
 2. Scale
vFor example, this poster
by Gabz Grzegorz
Domaradzki for the
m o v i e D r i ve . I n t h i s
p o s t e r, t h e l e a d
character has been
scaled up dramatically,
drawing attention to
him first, and the other
faces second.
 2. Scale
vThis publication design
by The Consult scales
up certain statistics.
 3.Color
vC o l o r i s p a ra m o u nt .
Color creates specific
moods, atmospheres,
channels emotions and
each shade has certain
specific connotations
associated with it.
 3. Color
vTwo branding examples.
Have a design by Smack
Bang Designs for
wo m e n ’s s k i n
rejuvenation service
‘Lite Luxe’.
 3. Color
vOn the other hand, we
have this branding for
juice brand Frooti
by Sagmeister & Walsh.
 4. Repetition
vRepetition is a crucial
element when it comes
t o b ra n d i n g d e s i g n ,
both in terms of
keeping the branding
consistent and in terms
of tying the items
together.
 4. Repetition
vB r a n d i n g e x a m p l e
by Michelle Wang.
 4. Repetition
vThis packaging design
b y N a s t y a
Chamkina that uses
repetition to create a
beautiful pattern.
 5. Negative Space
vNegative space is the
‘space inbetween’, the
area between or around
othe r e l e m e nt s t hat
form its own shape.
 5. Negative Space
v Escher has used the
space in between the
birds to create the
shape of fish?
 5. Negative Space
vHave a look at these
simple animal icons by
designer George
Bokhua that use simple,
clean shapes to render
clear depictions of each
animal.
 6. Symmetry
vSymmetry is used a lot
in logos in order to
create a harmonious
and balanced design.
 6. Symmetry
vSome examples of large
b r a n d s w i t h
symmetrical logos are
Ta rget , M c D o n a l d ’s ,
Chanel, Starbucks, etc.
 6. Symmetry
vAnnual report spread
design by Brighten the
Corners and Anish
Kapoor that draws
attention to the
symmetricality of the
text columns by
mirroring them on
either side of the
spread.
 7. Transparency
vAlso occasionally known
a s ‘o p a c i t y ’,
transparency refers to
how ‘see-through’ an
element is.
 7. Transparency
vE x a m p l e t h a t u s e s
t r a n s p a r e n c y. T h i s
stunning example
by Jack Crossing layers
various shapes of
different colors, sizes,
and opacities to create
a truly beautiful graphic.
 7. Transparency
vFor example, the poster
by Filippo Baraccani,
M i k ko G ä r t n e r,
a n d L o r e n z
Po tt h a st t h at l aye rs
va r i o u s i m a ge s w i t h
different levels of
transparency to create
an engrossing effect
and sense of movement.
 7. Transparency
vHow this invitation card
f o r t h e N e w Yo r k
Museum of Glass has
aptly been printed onto
transparent glass, giving
the design a unique and
engaging effect.
 8. Texture
vClean, sharp and sleek
graphic designs can be
wonderful, but
sometimes, roughing it
up a little with some
tex t u re ca n b e e ve n
better.
 8. Texture
vAn example that uses
texture in a way that
e nhanc e s t he pi e c e .
This beautiful
typographic design
by Dan Cassaro creates
a vintage-inspired effect
by using texture.
 8. Texture
vT h i s b u s i n e s s c a r d
design by Inkdot for
Foremost Wine
C o m p a ny t h at ta ke s
texturing to a whole
new level by embossing
the topography-inspired
texture directly into the
business card.
 9. Balance
vB a l a n c e i s a p r e t t y
important thing in most
of life, and it’s equally
as important in the
world of design.
 9. Balance
vThis cat logo by George
Bokhua that is
beautifully balanced. If
it were to be printed,
chances are it would sit
upright.
 9. Balance
vThis vibrant piece uses
scale and a clever
distribution of elements
to make for a balanced
design.
 10. Hierarchy
vHierarchy in design is a
l o t l i ke h i e ra rc hy i n
c u l t u re , a s b o t h a re
built on very similar
ideas.
 10. Hierarchy
vE x a m p l e f r o m A 2
Magazine that
showcase three
different ways to signal
t h e t i t l e / h e a d i n g ’s
importance, from the
more subtle examples
right through to the big
and bold examples.
 10. Hierarchy
vThis save the date card
by Southern Fried Paper.
vNotice how the date (a
very important part of a
save the date card) is
made larger, bolder and
more noticeable than
the type below it. And
yet it doesn’t outshine
the obvious “Audrey
and Grant” title.
 10. Hierarchy
vT h i s p o s t e r f o r T h e
Night Market by Mary
Galloway. Can easily
point out the title, the
subheading/date, and
then down the bottom,
the smal l e st t ype of
additional information
that isn’t as crucial to
the communication.
 11. Contrast
vContrast is often the
magical key ingredient
to making the designs
‘ p o p ’, w h i c h i s a
(sometimes frustrating)
demand from many
design clients.
 11. Contrast
vFor example, this poster
b y J o n a t h a n
Correira and the way it
ensu re s t h e re ’s
adequate contrast
against the type and
image.
 11. Contrast
vAnother great example
of a high-contrast
design is this piece
by Robbie Cobb that not
only contrasts dark and
light.
 11. Contrast
vThis technique is used a
lot in website design, an
e x a m p l e
from Audible’s landing
page.
 12. Framing
vJust like you do with the
photographs and pieces
of art, framing the
designs correctly is an
important aspect.
 12. Framing
vFor example, this menu
d e s i g n b y Tr e v o r
Finnegan that chooses
t o f ra m e o n e o f t h e
specials as well as the
business’ mission
statement to draw
attention to these two
elements that the eye
may have otherwise just
passed over.
 12. Framing
vThis poster that uses
random objects to
create a frame for the
superimposed type.
 13. Grid
vD e s i g n g r i d l i ke t h e
foundation to a house –
it’s a crucial first step in
allowing for you to build
a functional, and
beautiful final product.
 13. Grid
vThis example by Nikola
from Magazine
Designing shows a five-
column grid at work.
 13. Grid
vAn example from Nikola
from Magazine
Designing, this image
shows how a twelve-
column grid can give a
lot of flexibility when it
comes to aligning the
elements.
 13. Grid
vThis example has a clear
and identifiable grid
system to which each
element has been
aligned.
 14. Randomness
v Randomness plays a
large part in design, but
it is a specific kind of
randomness.
 14. Randomness
vThis poster by Heath
Killen for the film ‘The
Killer Inside Me’ mostly
uses scratchy.
 14. Randomness
vAlso have a look at this
design by Laura
Berglund that uses a
degree of randomness
to create an organic-
looking , collage-like
effect.
 14. Randomness
vT h e d e s i g n b y J u a n
Camilo Corredor
 15. Direction
vAn important aspect of
many designs is how
the eye moves over the
page, and the direction
it takes – this is also
sometimes referred to
as ‘flow’.
 15. Direction
vHave a look at this eye
tracking study by
Nielsen Norman Group
that tracked people’s
eyes while viewing web
pages to see their
pattern of consumption.
 15. Direction
vThe studies proved that
a common pattern for
the eye to take is an “E”
or “F” shape when it
comes to web pages, so
placing the top content
to the left of the page,
or along the top is the
best bet.
 15. Direction
vThis design by Atelier
Martino&Jaña directs
the eye in a very fluid
a n d o rga n i c way, b y
weaving the text along
the curves and shapes
of the image.
 16. Rules
vThis is a point sure to
spark a lot of debate
and to divide any room
of designers – half
proclaiming that there
are no rules in design,
the other protesting.
 16. Rules
v This poster by Shahir
Zag deliberately breaks
some cardinal
typographical rules in
order to make a (very
true) joke.
 16. Rules
vAnother example of a
rule breaker that
certainly come across
during the design
a d ve nt u re s i s D av i d
Carson.
 17. Movement
vThe direction and flow
of the design, these
factors play a big part in
the movement of the
design.
 17. Movement
vT h i s l o g o e x a m p l e
b y V l a d i m i r
Mirzoyan layers sharp
geometric shapes of
various opacities over
each other to replicate
a hummingbird’s wings
in flight.
 17. Movement
vThe proposed poster
design by Alan
C l a r ke fo r t h e 2 0 1 2
Olympic Games.
 17. Movement
vThis example, a book
cover by German
d e s i g n e rs A n z i n g e r,
Wüschner, Rasp.
 17. Movement
vT h i s exa m p l e b e l o w
by Matt Chase uses
motion lines subtly on
the ‘future’ to indicate
movement.
 18. Depth
vDepth is an important
and exciting principle in
the world of design.
Even with the flattest of
mediums, able to create
a sense of depth, and
an illusion that the
vDesign expands beyond
the second dimension.
 18. Depth
vThis poster for a book
fair by Dominique
Schmitz uses a lot of
shadows in a lot of
different and
challenging, but very
realistic ways.
 18. Depth
vThis design by Fabian
De Lange that overlaps
illustrative elements,
type and graphic
elements (the white
border) to create a
layered look with plenty
of depth.
 18. Depth
vT h i s e l e c t r o n i c a -
inspired poster by Neil
S t e v e n s s ke w s e a c h
letter to the right a little
bit and gives them
distinct shape and
depth.
 19. Typography
vTypography is arguably
one of the biggest
foundations of design.
 19. Typography
vAn example of display
typography.
 19. Typography
vThe magazine spread
designs by Benjamin
Bours, each which have
had their titles custom
designed intricately and
effectively.
 19. Typography
v Example to this
fantastic infographic
by UrbanFonts to
explain.
 19. Typography
vThis magazine design
for 99U Magazine uses
o n l y a fe w d i ffe re nt
typefaces but manages
to combine them in a
whole array of different
ways.
 20. Composition
v‘Composition’ refers to
the overall arrangement
of elements in the
design, which sounds a
bit dull when explained
t h a t w a y, b u t i t ’s
actually one of the
more fun elements of
design.
 20. Composition
vThis design puts the
focus on the “30” by
using scale and depth to
highlight it.
 20. Composition
vT h i s t i m e , a p o s t e r
by Lab B Design Office.
This design uses similar
techniques and design
principles as the
previous one, but
producing a very
different result.
 Elements of Ergonomics
• Each of these ergonomics is responsible for
studying from a different point of view the
relationship between human beings and the
e l e m e nt s i n t h e syste m i n w h i c h t h e y
participate: work, school, home, among
others.

1.Physical Ergonomics
v This one is in charge of studying the human
anatomy and the anthropometric,
physiological and biomechanical traits in
relation to the development of physical
activities.
 Elements of Ergonomics
2.Ergonomics of specific needs
v Ergonomics of specific needs is a subtype of
physical ergonomics that is responsible for
the design of alternatives for people who
have some type of determined need.

3.Cognitive Ergonomics
v It refers to the study of mental processes and
how they affect the relationship between
individuals and other elements of the system.
 Elements of Ergonomics
4.Organizational Ergonomics
vOrganizational ergonomics is responsible
for optimizing systems concerning the
policies of an institution.

5.Environmental Ergonomics
vEnvironmental ergonomics is oriented
toward the study of human relations
with physical space.
 Elements of Ergonomics
6.Corrective Ergonomics
v Corrective ergonomics is the branch of
discipline that is responsible for evaluating
the spaces in which human beings develop.

7.Preventive ergonomics
v Preventive ergonomics aims to create
awareness among workers about safety in
workplaces and the importance of physical
and mental health.
 Elements of Ergonomics
8.Micro-ergonomics
vMicro-ergonomics has as main objective
the creation of product s t hat are
characterized by being easy to use and
to integrate in the environment in
which the individuals develop.

9.Macro-ergonomics
vThe macro-ergonomics is based on the
design of programming and software
that facilitate the work of the users.
 Principles of Ergonomics: Designing
with User Comfort in Mind
vIn order to achieve success in the highly
competitive market, the innovation
should walk side by side with the deep
understanding of the consumer
interaction with both the physical and
digital aspects of the products.
vErgonomics refer to designing products,
services, systems and processes with
social interaction in mind.
 Ergonomics Design Guidance
v Integrating ergonomics
principles during the design
phase of tooling,
equipment, and
workstations offers facility
professionals the
opportunity for
improvement in both
system performance and
their employees’ health
and safety.
 Ergonomics Design Guidance
vEstablishing ergonomic design
s p e c i f i cat i o n s i s o n e o f t h e s i x b e st
practices. Few companies proactively
translate ergonomic design features into
specifications when sourcing workstation
components and machine tools, and even
during space planning.
v Another elements is educating the
engineering team. Many engineers are not
aware of the degree to which they
influence the work environment and
people.
 Idea Generation
vPlanning and desigining a lodging or a
foodservice operation begins with
ideas.

vIdeas could emanate from present

n e e d s s u c h a s i n t h e fo l l o w i n g :
working mothers have become very
aware of the value of time.
 Idea Generation
Foodservice

vIdea - enjoying companionship and

pleasure of drinking coffee.
vIdea - combining film and food.
vI d e a - h o m e m a d e t a s t e a n d
a p p e a ra n c e w i t h c o nte m p o ra r y
convenience.
 Idea Generation
Lodging
vIdea - an inexpensive lodging place
for students and travelers.
 Refining the Ideas
1.A study of the specific needs of the
customers in various types of lodging and
foodservice establishments.

2 . I n fo r m at i o n o f t h e s i te w h e re t h e
establishment is to be located.
 Customer Needs
vI n t h e f i e l d o f m a r ke t i n g , t h e
fundamental message is to see the
business from the customer’s point
of view.
 Customers Behaviors, Foodservice
and Lodging Trends
1.Quality-Conscious
v Quality is defined as the “total features and
characteristics of a product or service that bear
on its ability to satisfy stated or implied
needs”(ISO 9000).
v Theme restaurants feature a unique ambience
with the inclusion of unusual lighting effects,
graphic displays and the sale of merchadise in
harmony with the design concept.
v Foodservice has taken on a new dimension in
shopping malls.
 Customers Behaviors, Foodservice
and Lodging Trends
2.Process-Oriented
v Customers do not only judge the quality of
the food and service, but also the quality of
the management and the facilities producing
them.

3.Value-Conscious
v Most customers in this decade and ito the
next century will be more value-conscious
than cost or price-conscious.
 Customers Behaviors, Foodservice
and Lodging Trends
4.Time-Conscious
v Waiting time not only serves as an inconvenience to
customers, but it also irritates them.
v Aside from the drive-through services, Jollibee,
Shakey’s and other local quickservice restaurants also
provide “delivery service”where the customer calls the
restaurant and orders from its menu list.

5.Health and Nutrition-Conscious

v With the increasing health consciousness of customers,
food caterers are serving menus that meet the criteria
for fitness using the dietary guidelines.
 Customers Behaviors, Foodservice
and Lodging Trends
6.Highly-Informed
v In our local setting, there are customers using the Internet and other
information technologies and can instantaneously compare prices of
food and the quality of its food and service.

7.Environment-Conscious
v As a result of their concern about the increasing environmental
deterioration - both foodservice customers and operations now find
it necessary and desirable to participate in energy conservation,
water conservation and recycling activities.
v For water conservation, most foodservice operators do not serve
water to guests unless requested, and even then, serve it on smaller
glasses.
 Customers Behaviors, Foodservice
and Lodging Trends
8.Global Taste
vCustomers are developing global
taste based on universal standards of
quality.

vLodging and foodservice trends truly

emanate from the needs of
c u sto m e rs a s reve l e a d by t h e i r
characteristics and behaviors.
 Site Selection
vA detailed description of the market
particularly of the customer behavior. The
identification of the locatioon is equally
important to be studies at this stage.

vThe city properties are usually located in

business districts, and have costly real
estates rates.
Other Elements for Consideration
vFor foodservice and lodging concepts
to become a reality takes a lot of
study, patience and commitment.
Thank You!