Visual Design elements and principles describe fundamental ideas about the practice of good
visual design. As William Lidwell stated in Universal Principles
of 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.
Art elements
Design elements are the basic units of a painting, drawing, design or other visual piece and
include: Color
Color can play a large role in the elements of design with the color wheel being used
as a tool, and color theory providing a body of practical guidance to color mixing and
the visual impacts of specific color combination.
Uses Color can aid organization so develop a color
strategy and stay consistent with those colors. It can give emphasis to create a hierarchy
and the piece of art Attributes
Hue Values and tints and shades of colors that
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. Saturation gives a color brightness or dullness.
Shape A shape is defined as an 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. All objects are composed of shapes and all
other 'Elements of Design' are shapes in some way.
Categories Mechanical Shapes or Geometric Shapes are
the shapes that can be drawn using a ruler or compass. Mechanical shapes, whether simple
or complex, produce a feeling of control or order.
Organic Shapes are freehand drawn shapes that are complex and normally found in nature.
Organic shapes produce a natural feel. Texture
Meaning the way a surface feels or is perceived to feel. Texture can be added to attract or
repel interest to an element, depending on the pleasantness of the texture.
Types of texture Tactile texture is the actual three-dimension
feel of a surface that can be touched. Painter can use impasto to build peaks and create
texture. Visual texture is the illusion of the surfaces
peaks and valleys, like the tree pictured. Any texture shown in a photo is a visual texture,
meaning the paper is smooth no matter how rough the image perceives it to be.
Most textures have a natural touch but still seem to repeat a motif in some way. Regularly
repeating a motif will result in a texture appearing as a pattern.
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:
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 gradation 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.
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 distance objects.
Form Form may be described as any three-dimensional
object. Form can be measured, from top to bottom, side to side, and from back to front.
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 and natural.
Form may be created by the combining of two or more shapes. It may be enhanced by tone,
texture and color. It can be illustrated or constructed.
Principles of design 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. 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.
Methods Proximity: 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.
Types
Symmetry Asymmetrical 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.
Hierarchy 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. 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. Similarity and contrast
Planning a consistent and similar design is an important aspect of a designers 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. Similar environment
There are several ways to develop a similar environment:
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 stick with the format.
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 & while / 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 viewer’s eye takes through the artwork, often to focal areas.
Such movement can be directed along lines edges, shape and color within the artwork.
See also
Composition Interior design
Pattern language Elements of art
Principles of art Color theory
References
Kilmer, R., & Kilmer, W. O.. Designing Interiors. Orland, FL: Holt, Rinehart and Winston, Inc.
ISBN 978-0-03-032233-4. Nielson, K. J., & Taylor, D. A.. Interiors:
An Introduction. New York: McGraw-Hill Companies, Inc. ISBN 978-0-07-296520-9
Pile, J.F.. Interior Design. New York: Harry N. Abrams, Inc. ISBN 978-0-13-232103-7
External links Art, Design, and Visual Thinking