Visual Design Elements and Principles - Wikipedia

Visual design elements and principles - Wikipedia 19/7/13, 12)56 PM
Visual design elements and

principles
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Visual design elements and principles describe fundamental ideas about

the practice of visual design.
"The best designers sometimes disregard the principles of design. When

they do so, however, there is usually some compensating merit attained
at the cost of the violation. Unless you are certain of doing as well, it is
best to abide by the principles." [1]
— Lidwell, William; Kritina Holden; Jill Butler (2010). Universal Principles
https://en.wikipedia.org/wiki/Visual_design_elements_and_principles Page 1 of 17
of Design (2nd ed.). Rockport Publishers.
Elements of design
See also: Elements of art
Design elements are the basic units of any visual design which form its
structure and convey visual messages.[2][3] Painter and design theorist
Maitland E. Graves (1902-1978), who attempted to gestate the fundamental
principles of aesthetic order in visual design,[4] in his book, The Art of Color
and Design (1941), defined the elements of design as line, direction, shape,
size, texture, value, and color, concluding that "these elements are the
materials from which all designs are built."[5]
Color
Color is the result of light reflecting back from an

object to our eyes.[6] The color that our eyes
perceive is determined by the pigment of the
object itself.[6] Color theory and the color wheel
are often referred to when studying colour
combinations in visual design.[7] Color is often
deemed to be an important element of design as
it is a universal language which presents the
countless possibilities of visual communication.[8]
Hue, saturation, and brightness are the three

characteristics that describe color.[9]
Hue[10] Elements of art and design
Saturation gives a color brightness or

dullness, which impacts the vibrance of the color.[10]
Values, tints and shades of colors are created by adding black to a

color for a shade and white for a tint. Creating a tint or shade of color
reduces the saturation.[10]
Color theory in visual design
Color theory studies colour mixing and colour combinations. It is one of the
first things that marked a progressive design approach.[8] In visual design,
designers refer to color theory as a body of practical guidance to achieving
certain visual impacts with specific colour combinations.[citation needed]
Theoretical color knowledge is implemented in designs in order to achieve a
successful color design.[11]
Color harmony
Color harmony, often referred to as a "measure of aesthetics",[11] studies

which colour combinations are harmonious and pleasing to the eye, and
which colour combinations are not.[9] Color harmony is a main concern for
designers given that colors always exist in the presence of other colors in
form or space.[11]
When a designer harmonizes colours, the relationships among a set of

colours are enhanced to increase the way they compliment one another.
Colors are harmonized to achieve a balanced, unified, and aesthetically
pleasing effect for the viewer.[9]
Color harmony is achieved in a variety of ways, some of which consist of

combining a set of colors that share the same hue, or a set of colors that
share the same values for two of the three color characteristics (hue,
saturation, brightness).[9] Colour harmony can also be achieved by simply
combining colors that are considered compatible to one another[9] as
represented in the color wheel.
Color contrasts
Color contrasts are studied with a pair of colours, as opposed to color

harmony, which studies a set of colours. In color contrasting, two colors
with perceivable differences in aspects such as luminance, or saturation,
are placed side by side to create contrast.[citation needed]
Johannes Itten presented seven kinds of color contrasts: contrast of light

and dark, contrast of hue, contrast of temperature, contrast of saturation,
simultaneous contrast, contrast of sizes, and contrast of complementary.[9]
These seven kinds of color contrasts have inspired past works involving
color schemes in design.[9]
Color schemes
Color schemes are defined as the set of colors chosen for a design. They
are often made up of two or more colors that look appealing beside one
another, and that create an aesthetic feeling when used together.[citation
needed] Color schemes depend on color harmony as they point to which
colors look pleasing beside one another.[11]
A satisfactory design product is often accompanied by a successful color

scheme. Over time, color design tools with the function of generating color
schemes were developed to facilitate color harmonizing for designers.[12]
Use of color in visual design
Color is used to create harmony, balance, and visual comfort in a

design[11]
Color is used to evoke the desired mood and emotion upon the
viewer[6]
Color is used to create a theme in the design[9]
Color holds meaning and can be symbolic. In certain cultures, different

colors can have different meanings.[6]
Color is used to put emphasis on desired elements and create visual
hierarchy in a piece of art[13]
Color can create identity for a certain brand or design product[13]
Color allows viewers to have different interpretations of visual designs.
The same color can evoke different emotions, or have various
meanings to different individuals and cultures[6]
Color strategies are used for organization and consistency in a design
product[10]
In the architectural design of a retail environment, colors affect
decision making which motivates consumers to buy particular
products[13]
Line
Line is an element of art defined by a point

moving in space. Lines can be vertical, horizontal,
diagonal or curved. They can be any width or
texture. And can be continuous, implied, or
broken. On top of that, there are different types of
line, aside from the ones previously mentioned.
For example, you could have a line that is
horizontal and zigzagged or a line that is vertical
and zigzagged. Different lines create different
moods, it all depends on what mood you are Similarly stars in a constellation
using a line to create. connected via imaginary lines are
a natural example of using lines
in a composition
Point
A Point is basically the beginning of “something” in “nothing”. It forces the

mind to think upon its position and gives something to build upon in both
imagination and space. Some abstract points in a group can provoke
humanagination to link it with familiar shapes or forms
Shape
Main article: Shape and form (visual arts)
A shape is defined as a two or more dimensional area that stands out from
the space next to or around it due to a defined or implied boundary, or
because of differences of value, color, or texture.[14] Shapes are
recognizable objects and forms[6] and are usually composed of other
elements of design.[15]
For example, a square that is drawn on a piece of paper is considered a

shape. It is created with a series of lines which serve as a boundary that
shapes the square and separates it from the space around it that is not part
of the square.[6]
Types of shapes
Geometric shapes or mechanical shapes are shapes that can be drawn

using a ruler or compass, such as squares, circles, triangles, ellipses,
parallelograms, stars, and so on.[6] Mechanical shapes, whether simple or
complex, produce a feeling of control and order.[15]
Organic shapes are irregular shapes[6] that are often complex and
resemble shapes that are found in nature.[15] Organic shapes can be drawn
by hand, which is why they are sometimes subjective and only exist in the
imagination of the artist.[6]
Curvilinear shapes are composed of curved lines and smooth edges. They
give off a more natural feeling to the shape. In contrast, rectilinear shapes
are composed of sharp edges and right angles, and give off a sense of
order in the composition. They look more human-made, structured, and
artificial. Artists can choose to create a composition that revolves mainly
around one of these styles of shape, or they can choose to combine both.[6]
Texture
Main article: Texture (visual arts)
Texture refers to the physical and visual qualities

of a surface.[citation needed]
Uses of texture in design
Texture can be used to attract or repel

interest to an element, depending on how
pleasant the texture is perceived to be.[15]
Texture can also be used to add complex
detail into the composition of a design.[6]
In theatrical design, the surface qualities of a
This is only a two dimensional
costume sculpts the look and feel of a
image of a tree, but appears to
character, which influences the way the have the texture of three
audience reacts to the character.[6] dimensional bark.
Types of texture
Tactile texture, also known as "actual texture", refers to the physical three-
dimensional texture of an object. Tactile texture can be perceived by the
sense of touch. A person can feel the tactile texture of a sculpture by
running their hand over its surface and feelings its ridges and dents.[6]
Painters use impasto to build peaks and create texture in their painting.
[15]
Texture can be created through collage. This is when artists assemble

three dimensional objects and apply them onto a two-dimensional
surface, like a piece of paper or canvas, to create one final
composition.[6]
Papier collé is another collaging technique in which artists glue paper
to a surface to create different textures on its surface.[6]
Assemblage is a technique that consists of assembling various three-
dimensional objects into a sculpture, which can also reveal textures to
the viewer.[6]
Visual texture, also referred to as "implied texture", is not detectable by our

sense of touch, but by our sense of sight.[citation needed] Visual texture is the
illusion of a real texture on a two-dimensional surface.[6] Any texture
perceived in an image or photograph is a visual texture. A photograph of
rough tree bark is considered a visual texture. It creates the impression of a
real texture on a two-dimensional surface which would remain smooth to
the touch no matter how rough the represented texture is.[15]
In painting, different paints are used to achieve different types of textures.

Paints such as oil, acrylic, and encaustic are thicker and more opaque and
are used to create three-dimensional impressions on the surface. Other
paints, such as watercolor, tend to be used for visual textures, because they
are thinner and have transparency, and do not leave much tactile texture on
the surface.[6]
Pattern
Many textures appear to repeat the same motif.[6] When a motif is repeated
over and over again in a surface, it results in a pattern.[15] Patterns are
frequently used in fashion design or textile design, where motifs are

repeated to create decorative patterns on fabric or other textile materials.
[citation needed] Patterns are also used in architectural design, where
decorative structural elements such as windows, columns, or pediments,

are incorporated into building design.[citation needed]
Space
In design, space is concerned with the area deep within the moment of
designated design, the design will take place on. For a two-dimensional
design, space concerns creating the illusion of a third dimension on a flat
surface:[15]
Overlap is the effect where objects appear to be on top of each other.

This illusion makes the top element look closer to the observer. There
is no way to determine the depth of the space, only the order of
closeness.
Shading adds gradiation marks to make an object of a two-dimensional
surface seem three-dimensional.
Highlight, Transitional Light, Core of the Shadow, Reflected Light, and
Cast Shadow give an object a three-dimensional look.[15]
Linear Perspective is the concept relating to how an object seems
smaller the farther away it gets.
Atmospheric Perspective is based on how air acts as a filter to change
the appearance of distant objects.
Form
In visual design, form is described as the way an artist arranges elements in

the entirety of a composition.[6] It may also be described as any three-
dimensional object. Form can be measured, from top to bottom (height),
side to side (width), and from back to front (depth). Form is also defined by
light and dark. It can be defined by the presence of shadows on surfaces or
faces of an object. There are two types of form, geometric (artificial) and
natural (organic form). Form may be created by the combining of two or
more shapes. It may be enhanced by tone, texture or color. It can be
illustrated or constructed.
Principles of design
See also: Gestalt laws of grouping
Principles applied to the elements of design that bring them together into
one design. How one applies these principles determines how successful a
design may be.[2]
Unity/harmony
According to Alex White, author of The Elements of Graphic Design, to

achieve visual unity is a main goal of graphic design. When all elements are
in agreement, a design is considered unified. No individual part is viewed as
more important than the whole design. A good balance between unity and
variety must be established to avoid a chaotic or a lifeless design.[10]
Methods
Perspective: sense of distance between elements.

Similarity: ability to seem repeatable with other elements.
Continuation: the sense of having a line or pattern extend.
Repetition: elements being copied or mimicked numerous times.
Rhythm: is achieved when recurring position, size, color, and use of a
graphic element has a focal point interruption.
Altering the basic theme achieves unity and helps keep interest.
Balance
It is a state of equalized tension and equilibrium, which may not always be

calm.[10]
Types of balance in visual design
Symmetry
Asymmetrical balance produces an informal
balance that is attention attracting and
dynamic.
Radial balance is arranged around a central
element. The elements placed in a radial
balance seem to 'radiate' out from a central
point in a circular fashion.
Overall is a mosaic form of balance which
normally arises from too many elements
being put on a page. Due to the lack of
hierarchy and contrast, this form of balance
can look noisy but sometimes quiet.
The top image has symmetrical
balance and the bottom image
Hierarchy has asymmetrical balance
A good design contains elements that lead the reader through each
element in order of its significance. The type and images should be
expressed starting from most important to the least important.
Scale/proportion
Using the relative size of elements against each other can attract attention
to a focal point. When elements are designed larger than life, scale is being
used to show drama.[10]
Dominance/emphasis
Dominance is created by contrasting size, positioning, color, style, or

shape.The focal point should dominate the design with scale and contrast
without sacrificing the unity of the whole.[10]
Similarity and contrast
Planning a consistent and similar design is an important aspect of a

designer's work to make their focal point visible. Too much similarity is
boring but without similarity important elements will not exist and an image
without contrast is uneventful so the key is to find the balance between
similarity and contrast.[10]
Similar environment
There are several ways to develop a similar environment:[10]
Build a unique internal organization structure.

Manipulate shapes of images and text to correlate together.
Express continuity from page to page in publications. Items to watch
include headers, themes, borders, and spaces.
Develop a style manual and adhere to it.
Contrasts
Space
Filled / Empty
Near / Far
2-D / 3-D
Position
Left / Right
Isolated / Grouped
Centered / Off-Center
Top / Bottom
Form
Simple / Complex
Beauty / Ugly
Whole / Broken
Direction
Stability / Movement
Structure
Organized / Chaotic
Mechanical / Hand-Drawn
Size
Large / Small
Deep / Shallow
Fat / Thin
Color
Grey scale / Color
Black & White / Color
Light / Dark
Texture
Fine / Coarse
Smooth / Rough
Sharp / Dull
Density
Transparent / Opaque
Thick / Thin
Liquid / Solid
Gravity
Light / Heavy
Stable / Unstable
Movement is the path the viewerʼs eye takes through the artwork, often to
focal areas. Such movement can be directed along lines edges, shape and
color within the artwork, and more.
See also
Composition (visual arts)
Interior design
Landscape design
Pattern language
Elements of art
Principles of art
Color theory
Notes
n. Lidwell, William; Kritina Holden; Jill Butler (2010). Universal Principles
of Design (2nd ed.). Beverly, Massachusetts: Rockport Publishers.
ISBN 978-1-59253-587-3.
o. ^ a b Lovett, John. "Design and Colour". Retrieved 3 April 2012.
q. Charlotte Jirousek. Art, Design, and Visual Thinking. An online,
interactive textbook. Cornell.edu, 1995.
r. Martin, Jon Henry. An evaluation of Maitland Graves' principle of
aesthetic order. Masters thesis, Concordia University, 1972.
s. Graves, Maitland, E. The art of color and design. 2d ed. New York, N.Y.:
McGraw-Hill, 1951.
u. ^ a b c d e f g h i j k l m n o p q r s t u E., Malloy, Kaoime (2014-09-26). The
art of theatrical design : elements of visual composition, methods, and

practice. New York. ISBN 9781138021501. OCLC 882620042.
v. "basic color theory". color matters. Retrieved 1 March 2019.
w. ^ a b Jasper, Adam (2014-05-04). "Colour Theory". Architectural
Theory Review. 19 (2): 119–123. doi:10.1080/13264826.2014.991017.
ISSN 1326-4826.
x. ^ a b c d e f g h Visual Color Design, 16th International Conference
Information on Visualisation (IV 2012) : Montpellier, France, 11-13 July
2012 (PDF). IEEE Computer Society. Los Alamitos, Calif.: IEEE
Computer Society. 2012. ISBN 9781467322607. OCLC 823906734.
ny. ^ a b c d e f g h i j White, Alex (2011). The Elements of Graphic Design.
New York, NY: Allworth Press. pp. 81–105. ISBN 978-1-58115-762-8.
nn. ^ a b c d e "(PDF) The Architectural Colour Design Process: An
Evaluation of Sequential Media via Semantic Ratings". ResearchGate.
Retrieved 2018-11-12.
no. Luo, Ming Ronnier (2006-06-01). "Applying colour science in colour
design". Optics & Laser Technology. 38 (4–6): 392–398.
doi:10.1016/j.optlastec.2005.06.025. ISSN 0030-3992.
nq. ^ a b c Tantanatewin, Warakul; Inkarojrit, Vorapat (2016-06-01). "Effects
of color and lighting on retail impression and identity". Journal of
Environmental Psychology. 46: 197–205.
doi:10.1016/j.jenvp.2016.04.015. ISSN 0272-4944.
nr. Cindy Kovalik, Ph.D. and Peggy King, M.Ed. "Visual Literacy". Retrieved
2010-03-27.
ns. ^ a b c d e f g h i Saw, James. "Design Notes". Palomar College.
Retrieved 3 April 2012.
References
Kilmer, R., & Kilmer, W. O. (1992). Designing Interiors. Orland, FL: Holt,
Rinehart and Winston, Inc. ISBN 978-0-03-032233-4.

Nielson, K. J., & Taylor, D. A. (2002). Interiors: An Introduction. New
York: McGraw-Hill Companies, Inc. ISBN 978-0-07-296520-9
Pile, J.F. (1995; fourth edition, 2007). Interior Design. New York: Harry
N. Abrams, Inc. ISBN 978-0-13-232103-7
Sully, Anthony (2012). Interior Design: Theory and Process. London:
Bloomsbury. ISBN 978-1-4081-5202-7.
External links
Art, Design, and Visual Thinking. An online, interactive textbook by
Charlotte Jirousek at Cornell University.
The 6 Principles of Design
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t
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Visual design elements

Line
Shape
Texture
Value
Elements of 2D
Color
Space
Movement
Line
Form
Texture
Elements of 3D Light
Color
Space

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Visual design elements and principles - Wikipedia 19/7/13, 12)56 PM

Visual design elements and

This article is written like a personal reflection, personal essay, or

This article possibly contains original research. Please improve it by verifying

Visual design elements and principles describe fundamental ideas about

"The best designers sometimes disregard the principles of design. When

— Lidwell, William; Kritina Holden; Jill Butler (2010). Universal Principles

of Design (2nd ed.). Rockport Publishers.

Color is the result of light reflecting back from an

Hue, saturation, and brightness are the three

Hue[10] Elements of art and design

Saturation gives a color brightness or

Values, tints and shades of colors are created by adding black to a

Color theory in visual design

Color harmony, often referred to as a "measure of aesthetics",[11] studies

When a designer harmonizes colours, the relationships among a set of

Color harmony is achieved in a variety of ways, some of which consist of

Color contrasts are studied with a pair of colours, as opposed to color

Johannes Itten presented seven kinds of color contrasts: contrast of light

colors look pleasing beside one another.[11]

A satisfactory design product is often accompanied by a successful color

Use of color in visual design

Color is used to create harmony, balance, and visual comfort in a

Color holds meaning and can be symbolic. In certain cultures, different

Line is an element of art defined by a point

A Point is basically the beginning of “something” in “nothing”. It forces the

Main article: Shape and form (visual arts)

For example, a square that is drawn on a piece of paper is considered a

Geometric shapes or mechanical shapes are shapes that can be drawn

Main article: Texture (visual arts)

Texture refers to the physical and visual qualities

Uses of texture in design

Texture can be used to attract or repel

Texture can be created through collage. This is when artists assemble

Visual texture, also referred to as "implied texture", is not detectable by our

In painting, different paints are used to achieve different types of textures.

frequently used in fashion design or textile design, where motifs are

decorative structural elements such as windows, columns, or pediments,

Overlap is the effect where objects appear to be on top of each other.

In visual design, form is described as the way an artist arranges elements in

According to Alex White, author of The Elements of Graphic Design, to

Perspective: sense of distance between elements.

It is a state of equalized tension and equilibrium, which may not always be

Types of balance in visual design

used to show drama.[10]

Dominance is created by contrasting size, positioning, color, style, or

Similarity and contrast

Planning a consistent and similar design is an important aspect of a

There are several ways to develop a similar environment:[10]

Build a unique internal organization structure.

art of theatrical design : elements of visual composition, methods, and

Rinehart and Winston, Inc. ISBN 978-0-03-032233-4.

Visual design elements

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