BASIC DESIGN

ELEMENT &
PRINCIPLE
BASIC DESIGN
ELEMENT &
PRINCIPLE
 Alignme
nt

Hierarch
y

Colo Proximi
ty
ur
Lin Contrast

e
Shap Balance

Basic Design Element & Principle

In your opinion…
Why do you need to learn the
element and principle of design?
■ Sometime your friends seek for your opinion about any piece of your design. It can be
powerpoint…brochure, artwork, logo, magazines and etc.
– I like the design…because…?
– The design is not OK…but I don’t know…what’s wrong with it
■ We usually assess any design based on its appeal.
■ Therefore it is…important to know these principles.
■ Ever wonder how your lecturer evaluate your assignment?
■ But most importantly for you to create your design efficiently and effectively
■ Efficient = cost and time saving
■ Effective = good impact to audience
■ Important tools for designer
 Colo
ur
Lin
e
Shap
e
ELEMENTS OF DESIGN
All designs have certain basics elements or building blocks chosen to convey
the message
LINES
Element of design
Line
• Strokes that show motion and connect two points. May be vertical,
horizontal or diagonal, curved, straight, zigzag, or show emotion.

• Line is often referred to as “the most basic element of design”. Yet

this simple element functions in complex ways. Used effectively,
line expresses a variety of verbal and visual concepts. Line works
either by itself or in conjunction with other lines to communicate
messages and impact audience.

• A line is a series of marks, or points. The closeness of these points

causes them to “lose their individual identity and form a new
identity“. The direction, weight, and character of line convey
many different states and emotions.
Line shows direction
■ Vertical lines suggest strength and power. An example on line
direction is this grouping of tall buildings, or a single tall building -
lines going upwards, visually pulling your eye up:
Horizontal lines
■ Symbolize tranquility and rest.
■ According to jirousek, this state reflects objects parallel to the earth
that are “at rest in relation to gravity." Examples of horizontal lines are
those in ocean waves or in jirousek’s image of a horizontal building:
Diagonal lines
■ Diagonal lines convey a feeling of action or direction
Line shows weight
■ The weight of a line conveys meaning as well. Thinner lines suggest
weakness, while thicker lines convey power. The following example
shows differences in strength, from weakest to strongest:
Line shows emotion
■ Line is a powerful tool for revealing feelings. At University Laboratory
High School in Urbana, Illinois, teacher Karen Hellyer encourages
students to illustrate recent emotions that they have experienced
through line

Frustrat
Tired Content
ed
Lines

Thin lines They appear easy to break or knock over. They suggest frailty
and convey an elegant quality. They are delicate and give off
an ephemeral air.

Thick lines on the other hand appear difficult to break. They suggest
strength and give emphasis to nearby elements. Thick lines are
bold and make a statement.
Horizontal lines are parallel to the horizon (hence the name). They look like
they’re lying down, at rest, asleep. They suggest calm and
quiet, a relaxed comfort.
Horizontal lines can’t fall over. They accentuate width. They’re
stable and secure. The convey an absence of conflict, a restful
peace. Horizontal lines by their connection to the horizon are
associated with earth bound things and idea.
Vertical lines are perpendicular to the horizon. They are filled with potential
energy that could be released if they were to fall over. Vertical
lines are strong and rigid. They can suggest stability, especially
when thicker. Vertical lines accentuate height and convey a
lack of movement, which is usually seen as horizontal.
They stretch from the earth to the heavens and are often
Lines

Diagonal lines are unbalanced. They are filled with restless and uncontrolled
energy. They can appear to be either rising or falling and
convey action and motion. Their kinetic energy and apparent
movement create tension and excitement. Diagonal lines are
more dramatic than either horizontal or vertical lines.
Diagonal lines can also appear solid and unmoving if they are
holding something up or at rest against a vertical line or plane.
Curved lines are softer than straight lines. They sweep and turn gracefully
between end points. They are less definite and predictable
than straight lines. They bend, they change direction. Curved
lines express fluid movement. They can be calm or dynamic
depending on how much they curve. The less active the curve
the calmer the feeling.

Zig Zag lines are a combination of diagonal lines that connect at points.
They take on the dynamic and high energy characteristics of
diagonal lines. They create excitement and intense movement.
They convey confusion and nervousness as they change
direction quickly and frequently. They can imply danger and
destruction as they break down.
 Varying line widths and
distances create a random
Static. Orderly. Conservative. pattern. Dynamic. Chaotic.
Disorderly.

In this example the

progression moves in from
Uniform horizontal black lines
either side giving the illusion
are widely, but evenly spaced.
of roundness. Dynamic.
Static. Stable. Orderly.
Orderly progression.
Dimension.
While the uniform size and
spacing of the lines in the
Uneven spacing of
upper examples are static,
otherwise uniform lines
make the lines into curves
creates the impression of
and you get movement
movement. Dynamic.
although it is a controlled
Orderly progression.
movement. Dynamic.
Orderly flow.
SHAPES
Element of design
Shape
Area enclosed when both sides of a line meet.

Geometric Freeform and Abstract Shapes

Examples:

http://www.vanseodesign.com/web-design/visual-grammar-shapes/
Shape

Everything has a shape but the basic shapes of circles, squares, and
triangles can be very effective in logo design, in part because of their
simplicity. These shapes have certain sub-conscious meanings as well.

■ The circle is protective or infinite.

■ The square denotes stability, equality, and honesty.
■ The triangle suggests tension or conflict or action.
Meaning of Shapes: Circles
■ Represent the eternal whole and in every culture are an archetypical
form representing the sun, the earth, the moon, the universe and
other celestial objects.
■ Circle have no beginning or end and they suggest well-roundedness
and completeness.
■ Their completeness suggests the infinite, unity and harmony.
■ Circular shapes also suggest tenderness, love, friendship, care,
support, protection, affection and compassion.
Meaning of Shapes: Squares and
rectangles
■ Are familiar and trusted shapes that suggest honesty.
■ The right angles they possess represent order, mathematics,
rationality and formality.
■ They are the most common geometric shapes encountered and
everything text we read is set in rectangles or squares.
■ They suggest conformity, peacefulness, solidity, security, and
equality.
Meaning of Shapes: Spirals
■ Are expression of creativity.
■ They are often found in the natural growth pattern of many organisms
and suggest the process of growth and evolution.
■ Spirals convey ideas of fertility, birth, death, expansion, and
transformation.
■ Clockwise spirals represent projection of an intention and
■ Counter clockwise spirals the fulfilment of an intention.
COLOUR
Element of design
What is colour?
Colour is the part of light that is reflected by the object we see.
Color

Hue. May be complimentary, analogous, primary, secondary, tertiary, or

part of a color wheel.
Colour = Hue
Warm colors
Warm colors are red, orange, and yellow; they seem to advance or
appear more prominent in images.
Cool colors
green, blue, and violet; they appear to recede in images
 Analogous
Colors
The colors in adjacent positions
on the color wheel are
harmonious.
 Analogous
Colors
The colors in adjacent positions
on the color wheel are
harmonious.
Complementary Colors
The colors opposite each other on the
color wheel are contrasting colors.
Color Tints

A tint describes a color that is mixed with

white.
Color Shades

A shade describes a color that is mixed

with black..
Value

Lightness or darkness of a color; it depends on the amount

of white or black added.
Monochrome
The use of a single hue; only the value of the hue changes.
 CMYK
Stands for cyan, magenta, yellow, and key (black). Based on
the subtractive color model. Used primarily in the printing
industry.
hy use CMYK in printing instead pf RGB?
RED
■ dynamic
■ vital
■ romantic
■ commanding
■ alert
■ rebellious
■ joyful
■ visible
■ hot
■ fun
ORANGE
■ helpful
■ burning
■ cozy
■ abundance
■ warning
■ festive
■ active
■ excited
■ communicative
■ inspiring
YELLOW
■ creative
■ young
■ visible
■ bright
■ cheerful
■ curious
■ playful
■ nutritious
GREEN
■ patient
■ natural
■ adventure
■ relaxed
■ freshness
■ cleanliness
■ safe
■ sharing
BLUE
■ technical
■ deep
■ free
■ educated
■ protective
■ lonely
■ peaceful
■ cold
■ authoritative
Can you name any food in
blue colour?
■ Blue berry
■ Nasi kerabu
PURPLE
■ intelligent
■ artistic
■ luxurious
■ royal
■ fantastic
■ fragrant
■ feminine
■ melancholic
■ solemn
■ aloof
PINK
■ caring
■ tenderness
■ self-worth
■ love
■ acceptance
■ feminine
■ innocence
■ delicateness
■ calming
Interesting fact about pink
■ Pink is used to calm violent prisoners in jails (Baker –Miller Pink)
■ Even if a person tries to be angry or aggressive in the presence of
pink, he can’t – the heart muscles can’t race fast enough
BLACK
■ authority
■ power
■ strength
■ evil
■ Intelligence
■ Stylish
■ timeless
About black…
Popular in fashion because it makes people appear
thinner
 PRINCIPLE OF DESIGN
Design guidelines used to organize or arrange the structural
elements of design
 Proximit
y

Alignme
nt
Principl
e of
design
Hierarch
Balance
y

Contrast
BALANCE
Principle of design
Balance

■ Balance in design is similar to balance in physics. A large shape

close to the center can be balanced by a small shape close to the
edge.
■ Balance provides stability and structure to a design.
■ It’s the weight distributed in the design by the placement of your
elements.
■ Balance is one of the important points the success of a design.
■ Everyone loves the convenience (not lame) to what they see.
Balance in graphic design can be achieved by adjusting the visual
weight of each element, both in terms of scale, color, contrast, etc.
Is the design
balanced ?
 Type of
Balance

Asymmetri
Symmetric cal
al
Symmetrical balance
■ Symmetrical balance occurs when the visual weight of design
elements evenly divided in terms of horizontal, vertical, or
radial.
■ This style relies on a balance of two similar elements from two
different sides.
■ Conditions in the symmetrical equilibrium is a general style
that is often used to achieve a balance in design.
■ Although it is easy to implement, symmetrical balance is
difficult to evoke emotion from the Visual readers because it
was impressed too "planned".
■ Symmetrical balance is also commonly referred to as formal
balance.
■ This style relies on a balance of two similar elements from two
different sides.
Asymmetrical balance

■ occurs when the visual weight of design elements are not evenly
distributed in the central axis of the page.
■ This style relies on visual games such as scale, contrast, color to
achieve a balance.
■ We often see a design with the big picture offset by the small but
visible text balanced because of the visual games.
Asymmetrical balance
Asymmetrical balance
Balance: Value

■ Occurs when a small area

with bright/high value
colors is combined with a
large area with a dark/low
value color
Balance: Value

■ A man and a dog that has a

high value (solid black)
with a broad area that has
a lower value (gray).
Balance: Shape

■ Created through field of

complex composition with
a flat field.
■ Complex/more detailed
field will appear in balance
with the flat area in the
opposite side.
Balance: Position
■ Balance in position is
another example of the
kind of balance
Asymmetries, where a
large object on one side
balanced by putting the
smaller objects on the
other side.
PROXIMITY
Principle of design
Defining proximity…

■ The principle of proximity is simply the process of ensuring related

design elements are placed together.
■ Any unrelated items, should be spaced apart.
■ Close proximity indicates that items are connected or have a
relationship to each other and become one visual unit which helps to
organise or give structure to a layout.
Proximity
Principles Of Design
Proximity
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Proximity
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Proximity
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Proximity
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Proximity
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Proximity
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ALIGNMENT
Principle of design
Alignment
Principles Of Design

■ Allows us to create order and organization.

■ Aligning elements allows them to create a visual connection with each
other.
Alignment
Principles Of Design
Alignment
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Alignment
Principles Of Design
Alignment
Principles Of Design
CONTRAST
Principle of design
Defining contrast…
Principles Of Design

■ Contrast is the juxtaposition of opposing elements (opposite colors on

the color wheel, or value light / dark, or direction - horizontal /
vertical).
■ Contrast allows us to emphasize or highlight key elements in your
design.
Contrast
Principles Of Design

Simply contrast tells the viewer where to look first

Contrast in value
Principles Of Design
Contrast in size
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Contrast in value
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Contrast in weight
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Contrast in placement
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Advantage of using contrast
Principles Of Design

■ Without contrast, a designed piece may appear static, uninteresting,

and hard for the reader to access because it is not immediately clear
what to look at first
HIERARCHY
Principle of design
How Does Hierarchy Work?
Principles Of Design

1. The principle behind how to develop a hierarchy is pretty straight forward.

2. First, a designer must decide what is the most important element within the design
and make this the most prominent.
3. This is called creating a focal point (where the readers eye goes first) or in terms of
hierarchy, a primary message.
4. From there, a designer must decide what is the second most important element,
which will become the secondary message;
5. then the third most important element, which will become the tertiary element; and
so on until all the elements of the design have a considered level within the hierarchy.
6. The main message to understand is that careful consideration is needed to ensure all
elements of a design are purposely placed within a structure. It’s not just about
making things look pretty!
How to Determine Hierarchy

1. I like to start with determining what is the primary message, or focal point. Consider, the topic of the
design and think about what element is the most important. Which element, is most likely to grab
the attention of the reader and “tell a story” about the topic. This may be a line of text, graphic or
picture.
2. Next, think about the secondary and tertiary message. Which elements are the second and third
most important? Now consider these two with the primary message. Do these three elements give a
good overall “picture” of the topic? If a reader were only to see these three elements would they
know what the design is about?
3. Now think about the other elements and where they should fit within the hierarchy. What else is
important and needs to be emphasised. For example, if you were designing an advert and the goal
was to get readers to visit a website, the web address is a very important element. It may not be
included in the primary, secondary or tertiary message but needs to be clearly identified.
4. As you move down through the hierarchy (past the tertiary message) it’s fine to have multiple
elements sitting at the same level. However, do not have competing elements for the primary,
secondary and tertiary message.
Hierarchy
Principles Of Design
Hierarchy A good hierarchy is
Principles Of Design clearly evident in this
recipe spread.

A large photo of the

dish is used as the focal
point and the secondary
message is the second
largest shape on the
page which is the recipe
name.

Colour and size has

then been used to
organise the remaining
content in a clear,
concise and well
structured manner.
Final Words

Good design just doesn’t happen. It requires careful planning and an

intended approach. Determining a hierarchy is one of the most single
important factors that needs to be considered before beginning the
layout of a design.
References

■ http://
www.slideshare.net/mzeeshanarshad/javeria-psychology-of-colors
■ https://605.wikispaces.com/color
■ http://www.vanseodesign.com/web-design/visual-grammar-shapes/
■ http://nwrain.net/~tersiisky/design/space.html
■ http://www.edgee.net/the-principles-of-graphic-design-how-to-use-
contrast-effectively/
ALHAMDULILLAH
Thank you