Principles of Design

What is design?

A design is more than a

decorative pattern.
Principles of Design
 It is a structure that has a well conceived plan
behind it.

 A design is arrangement of elements based

on some principles known as principle of
design.
Principles of Design
A design message aims at transferring
meaning one mind to another mind. From the
Designer point of view the message that
needs to be communicated has two levels of
meaning.
1-Primary Meaning- direct message of a word,
sign or images
2-Secondary meaning- What is conveyed or
suggested by the overall design.
The principles of design suggest effective and
pleasing way to arrange text and graphics on
page.
The ability to position the elements in a design
logically and regular their size, shape and
tone effectively depends on an understanding
of diversified design vocabulary.
Designers use the vocabulary of point, line,
shape, and tone along with the syntax of
proportion, balance, rhythm, harmony,
contrast and unity to communicate with the
target audience.
Vocabulary of Design
 Design is a language. We respond to design
emotionally. Being a language, a design has
vocabulary through which designer
communicates his or her intended message.
Vocabulary used by designers includes:
1. Point 2. Line
3. Shape 4. Tone
5. Texture
1. Point
a. In geometry, the term ‘point’ refers to an
element that has position but no extension.

b. In design it refers to an element that can be

seen clearly either as structure or an action
in a visual design.
c. Visual progression starts with a point,
whether we are viewing or making design.

d. A point in design is something that is

visually simple and, as we proceed it starts
gaining complexity.

e. A point can be tangible and real, or

intangible and imaginary.
f. Though termed as the simplest unit of visual
communication, the dot carries a great deal of
significance in the world of visual literacy.

g. The words you are now reading, for instance,

are merely patterns of dots; the graphic images
you see surrounding these words are also dots;
pretty much the entire computer screen you see
before you contains no more than just a bunch of
well-organized, attractively colored, dubiously
detailed dots.
Types of Point

Point

Geometrical Centre Optical Centre Real / Structural Point

1. Geometric Centre
 The mid point of the
space is called the
geometric centre.

 The exact central point

of the space.
Geometric Centre

 The point at which the

two diagonals from the
two corners of the
space intersect.
2. Imaginary Point
a. Is one that can be felt but
not seen.

b. Optical centre is an
example of imaginary
point. When we look at a
blank space we do not see
the entire space at a Optical Centre
glance. The eye normally
hits a spot known as the Geometric Centre
optical centre of the
space. Hence optical
centre can be defined as
an imaginary point slightly
above the geometrical
centre of the space.
c. To be specific if we divide
the space horizontally into
five equal parts and
vertically into two equal
parts, the optical centre is
the point located at the
intersection of the Optical Centre
horizontal and vertical
division, which is two units
from the top and three
units from the bottom of
the space.
d. In conventional cover
design, main elements
usually the title of the
book is placed at the
optical centre.
e. Margins are an
important element of The principles of design suggest
page design. The four effective and pleasing ways to
arrange text and graphics on the
margins are never page as well as the arrangement
of individual elements within
equal. The bottom illustration, logos, and the overall
design of a document. Generally,
margin occupies more all the principles of design apply
to any piece you may create.
space so that the How you apply those principles
determines how effective your
centre of the design is apply each of these
principles of design.
typographic elements
is placed slightly
above the middle of
the page.
f. If we frame a
photograph to decorate
our room, the white
margin at the bottom will
be wider as compared to
other three.
g. In order to locate the
optical centre rather
than using the scale one
should depend on one’s
visual judgement.
3. Real or Structural Point
a. It is a position in space
which holds a strong T
T he principles of
design suggest
effective and
attraction for the eye. pleasing ways to
arrange text and
graphics on the
page as well as the
b. The initial letter of a arrangement of
individual
printed page, a
contrasting element in Activity
design and an action Activity
part of a visual are
examples of real point.

Contrasting
Element
2. Line
a. When we extend a point we get line. Lines
too may be real or imaginary.

b. Real or structural lines are visible in every

element of design including space. The
edges of elements are nothing but lines. A
group of letters can form a line. A white
space around the text block of a book may
be considered as structural line.
c. An imaginary line can Chapter 1
Chapter
be felt when two or 1
more elements are in Theory and
alignment. No lines Horizontal
Concept of
Photography
are visible between
Central
the elements, but one
can feel one element
is held to another by Chapter 1
imaginary line. Theory and
Concept of
Photography

It can be
defined as
Vertical
d. The line as visual is more complicated than
the point. We see lines in almost every
element we encounter.

e. Lines can be smooth or curved, heavy or

light, smooth or rough, continuous or
broken, real or imaginary. Each line can
create a mood and meaning in a design.
f. Lines are used forcefully, casually or
mechanically to create mood or express
character or personality. This is so because
they are abstractions of objects and figures
that create the mood and the personality.

g. As designers, we need to understand the

complexities of optical illusion and how it
affects our design.
h. A horizontal line is easier to see than a vertical one.
It also appears longer than an equivalent vertical
line and is heavier too. This is so because the
natural movement of eye is horizontal. To
neutralize this we can increase the length of the
vertical length slightly and make it bit heavier.

i. Lines or stripes running in single direction tend to

lengthen that direction. This is why a short woman
wearing a sari with vertical stripes looks a little
taller than she really is.
j. A horizontal line creates a strong sense of
equilibrium in a composition. In contrast, diagonal
lines create visual stress and attract the eye. This
stress creates a point of heightened interest in a
composition and often can be used to imply
movement artists use this implied motion when they
wish to convey energy or action in their works.

k. On the other hand, a technical illustrator would

probably prefer to use only horizontal or vertical
lines to emphasize stability and strength. Also, the
line, depending on its boldness, sharpness, and
looseness, can express a wide variety of emotions.
3. Shape
a. An area enclosed by line is usually
perceived as a whole entity or shape.

b. We tend to impose three basic shapes on

what we see- square, circle and triangle.
There are innumerable variations and
combinations of these shapes.
c. Each shape has <
<
certain weight which
can not be measured
by any instrument. It =
is an optical weight
that can be felt
emotionally.
=

d. Bigger, darker-toned
and ragged edged
shapes carry more >

weight than lighter-

toned smooth edged
shape. <
e. Each shape has weight, called optical
weight which can be felt emotionally and
can not be measured. Bigger darker tone
image carry more weight than lighter tone,
smaller, smooth edged shapes.

f. Shape also suggest mood or meaning e.g.

circle- peace, protection; square- dull shape
(uniform size) symbol of earth because it is
stable; triangle- safety, tension.
g. Shapes have proportional relationship in
terms of size. Take two shapes of same
size- one filled with various elements will
look smaller than one sparingly filled.
h. Bigger shapes look
further bigger when
surrounded by smaller
shapes and vice-
versa.
i. A shape can be made
to stand out from rest
by strong colours,
value, contrast,
texture.
4. Direction

a. When we look at an image our eye travels

around the frame exploring the contents.
Direction will play key role in our understanding
the meaning of this image. The amount and type
of motion created by various shapes and lines
can convey different emotional states and the
direction of that motion will contribute the
intensity of the emotional response.
 For example in Edward
Munch’s painting, The
Scream, the viewer not
only responds to the
grotesque and strong
shapes and lines, but
also the numerous
directions in which
those lines move.
 There is not a strong sense of movement in one
direction so that the end result is chaos. Direction,
perhaps more than any other point, demands an
understanding of the other nine points in order to be
fully understood. It may also be said that direction is
simultaneously inherent in and an extension of at
least line, shape, scale, dimension, and motion, in
that each of these other points exhibits and makes
possible the phenomenon of direction. Direction is
primarily inherent in shapes, as a fundamental
component of a shapes existence. The direction of a
shape can be vertical, diagonal, or curved.
 Diagonals are the most dynamic directions, for they
can suggest a strong feeling of imbalance and
motion. A left to right incline is associated with an
ordinary graph, lower left indicating inferiority, upper
right indicating superiority or dominance. This
diagonal is commonly used in visual communication
because it is so accessible to a viewer. On the other
hand, a left to right decline will feel less stable to the
viewer because it is perceived as “downhill”. This is
also a very suggestive visual manipulation.
 Curved direction also has an element of instability in
it, but unlike diagonals, it also has the ability to be
reassuring and safe. The amount of reassurance we
derive from the curved direction is dependent on
how curved the direction is; a curve that makes a full
circle is much more encompassing than a curve that
is shallow. A circle is a virtual visual trap. Once the
eye has picked up the curve of a circle, it will
inevitably become trapped within the path of the
circle and importance will be placed on anything
inside.
5. Texture

 If someone were asked to define texture, they

might reply, “the feel of an object’s surface.”
This is an example of the way in which we
often assume texture is something which
must be physically felt in order to understand
it. Texture is something which we feel when
we interact with our surroundings. But, our
understanding of texture is not limited to
touch. Texture can be “felt” with our eyes
also.
 If one picks up a peach, one may say that it feels,
“soft.” Likewise, if one looks at a picture of peach,
one might say that it looks, “soft.” This is because
our sense of touch cooperates with our eyes to give
us a better understanding of our surroundings. Just
as the fingers can sense that a rock may have a
rough and coarse surface, the eyes can also pick up
the small variations in texture before even being
touched. This has great significance in the world of
visual arts and literacy. If the element of texture is
more understood, then a more “hands-on” approach
can be given when observing the intense visual
world which we live in today
6. Tone
 Relative darkness and lightness of surface
quality which can be felt by our eyes
 Degree of darkness or lightness of colour
helps us to perceive an object in 3D form on
2D surface- values of colour hue.
 Tone and texture influence the weight of
shape.
 Syntax
 Syntax is the orderly presentation of the
visual elements form of a design
Proportion
The first thing the viewer will notice is the
shape of the design. The most pleasing
shape is a rectangle. The shape of the
printed communication depends on the
paper size available in the market. Standard
paper size are rectangular.
Designer divide the shape into rectangular
grids and vertical and horizontal guidelines
for making layouts.
MONOTONOUS

PLEASING
SUBTILE
 SIZE AND
TONE OF THE
SHAPE

PROPORTION
When we put two or more elements together,
we make a composition. We place them in
some order on a space. These composition
forces are measured by proportion. Proportion
develops a relationship of size and strength
between one element and other elements of
the design as a whole.
Balance
 Design elements should be put together not
only in proportion but also in balance.
 In a design, balance should be from left to
right and not from top to bottom, although we
may wish to have a top or bottom-heavy
design some times.
Balance
 There are three kinds of balance
1-Formal or symmetrical
2-Informal or asymmetrical
3-Radial
Formal Balance
In a formal design space is divided equally from
left to right and elements of equal weight are
placed equidistant from the central line.
Informal Balance
In most layout work, balance is achieved
informally. Elements of similar but not precisely
the same weight are placed in relationship to
one another
Radial Balance
Radial balance is symmetrical balance.
However different from other symmetrical
balance because elements are arrange with in
a radius.
Rhythm
Rhythm is a repeated pattern of sleeping,
eating, dressing up and so on our daily lives.
Nature also follows as rhythm like flowers
bloom, crops ripen, river flows etc. Rhythm is
produced by the regular repetition of similar
lines, shapes and tones or colours. The
reader’s eye spots the rhythm and moves
smoothly over the page.
STEPS

AXIS
COLUMN
Harmony
The design elements of a page should be
harmonious. Harmony with shape, colour and
text.

ORANGE

RED ORANGE

RED
Contrast
Contrast can be achieved by making one of the
items bigger in size or by tilting one of the
uniforms of shape.
Unity
The most important of these are grouping
together individual display units that have
common interest and are of equal importance,
and evaluating the design importance of the
collective group as a unit
Basic approach
Grid and Guidelines- Allow us to allocate the
visual element in unity

Elements of design- Photographs, drawing,

paintings, headlines, text block, shapes, logos
each one has different qualities in terms of size
Basic approach
Simplicity- we use the elements for simplicity

Attraction - Ask the question Does the design

attract attention?

Movement-We need to take care of the

movement of the reader's eye on the design
Basic approach
Comprehensibility-Harmonious type style,
necessary content, appropriate colour scheme,
and subtle placement of elements make the
design comprehensible.

Readability-Comprehension and readability

should be our final approach to the design. Our
design should give the flavour of the key
communication message.