Elements of Design (PDF)

**What Are the Elements of Design?** **The elements of design are the fundamental aspects of any visual design which include shape, color, space, form, line, value, and texture. Graphic designers use the elements of design to create an image that can convey a certain mood, draw the eye in a certain...

**What Are the Elements of Design?** **The elements of design are the fundamental aspects of any visual design which include shape, color, space, form, line, value, and texture. Graphic designers use the elements of design to create an image that can convey a certain mood, draw the eye in a certain direction, or evoke a number of feelings. While the elements of design form the basics of any image, designers also lean on the principles of design, which are a set of practices of working with the elements of design that make a composition look pleasing to the eye.** 1. **1. Color: Color helps establish a mood for your composition. When light waves strike an object and reflect back to the optic nerve in a human's eyes, the sensation they perceive is called color. Artists and designers use color to depict and describe the subject. [Color](https://www.masterclass.com/articles/color-in-art-explained) is used by designers to portray mood, light, depth, and point of view. Designers use the [color wheel](https://www.masterclass.com/articles/color-theory-basics-understanding-the-color-wheel) and the tenets of color theory---a set of guidelines for mixing, combining, and manipulating colors---to create color schemes.** 2. **2. Line: Line refers to the way that two points in space are connected. Whether they're horizontal lines, diagonal lines, or vertical lines, lines can help direct the eye toward a certain point in your composition. You can also create texture by incorporating different types of lines such as curved or patterned lines instead of just straight lines.** 3. **3. Value: In design, [value](https://www.masterclass.com/articles/value-in-art-explained) refers to the lightness or darkness of a color. The values of a color are often visualized in a gradient, which displays a series of variations on one hue, arranged from the lightest to the darkest. Artists can use the various values of color to create the illusion of mass and volume in their work.** 4. **4. Space: Making proper use of [space](https://www.masterclass.com/articles/space-in-art-explained) can help others view your design as you intended. White space or negative space is the space between or around the focal point of an image. Positive space is the space that your subject matter takes up in your composition. The spacing of your design is important because a layout that's too crowded can overwhelm the viewer's eye.** 5. **5. Shape: In its most basic form, a [shape](https://www.masterclass.com/articles/shape-in-art-explained) is a two-dimensional area that is surrounded by an outline. Graphic artists can use other elements including line, color, value, and shadow to give a shape the appearance of a three-dimensional shape. There are three types of shapes: organic shapes which occur naturally in the world, geometric shapes which are angular and mathematically consistent, and abstract shapes that represent things in nature but aren't perfectly representative.** 6. **6. Form: Form pertains to the way that a shape or physical configuration occupies space. Instead of creating [form](https://www.masterclass.com/articles/form-in-art-explained) through three-dimensional physical shape, designers create the appearance of form on a flat surface by using light, shadow, the appearance of an object's contours, negative space, and the surrounding objects around the subject matter.** 7. **7. Texture: Texture is one of the elements of design that is used to represent how an object appears or feels. Tactile [texture](https://www.masterclass.com/articles/texture-in-art-explained) is a physical sense of touch, whether it's rough, smooth, or ribbed. Visual texture, on the other hand, refers to the imagined feel of the illustrated texture, which can create more visual interest and a heightened sensory experience.** **What Are the Differences Between the Elements and Principles of Design?** **The elements of design refer to the basic building blocks of any composition. The principles of design refer to how the elements are used, like the symmetrical and asymmetrical balance, pattern, emphasis, movement, and proportion. The principles of design are a set of cardinal rules and techniques for composing the various elements of design.** **Line** A line in a composition or document is anything that connects one point to another in 2D space. Lines can be actual or implied. Implied lines are the creation of the human mind when points or objects align in a certain way that the brain sees a pattern or object. An example would be the way we recognize the Big Dipper from a random pattern of stars. illustration of a line Example of an actual line  Example of an implied line illustration of a bee  **Lines can create:** - Direction - Momentum - Texture - Connection/Relationships - Division or Sections - Energy **Shape** Shapes are any 2D area that has an edge. Shapes can be considered "objects" within a composition or document. A body of text, an image, a bullet point, all of these things create visual shapes in a composition. Even the space between objects, the negative space, can seem to create a shape. Shapes should work in a unified way with the content and support deeper understanding of the intended message. illustration of square  illustration of an organic bean-like shape Organic Shape  Geometric Shape(s) **Types of shapes include:** - Organic - Geometric - Abstract - Static - Dynamic abstract illustration of a cat Abstract Shape(s)  Static Shape(s) illustration of a wavy shape Dynamic Shape   **Form** Forms are the 3D extrusion of a 2D shape. An example is a square becoming a cube. 2D shapes can also be manipulated to give the illusion of having 3D attributes. Often, this is achieved by using value shifts on the shape to suggest mass and volume, and/or by using value shifts around the shape to suggest light and shadow. An example of this can be seen when using the common "drop shadow" effect found in many apps.  illustration of a thought bubble with a drop shadow   illustration of a feathery ball floating in space **The illusion of a 3D form on a 2D surface can provide:** - Variety - Interest - Direction - Hierarchy **Value** Value is the darkness or the lightness of an object in a composition or document. Any change in the lightness or darkness of an object creates a value shift. This shift can also occur in color since any hue can be manipulated to be darker or lighter. An example of this would be how pink is a lighter version or red or how a "stormy blue" is a darker shade of sky blue. Value can play a key role in the saturation level of a hue, but one should not be confused with the other.  illustration of a color value chart  illustration of ribbon **Use of value can assist in creating:** - Light & Dark Contrast - Mass & Volume - Contrast & Comparison - Readability - The Illusion of Form **Color** Color is often the most challenging of the design elements. It takes practice to use color efficiently. It's hard to suppress the urge to use every possible color and in any possible combination when we open up our color options, and if not managed this can quickly lead to a visual mess. Like herbs and spices, some color combinations work well together and some not so much. Using established color harmonies can greatly improve the visual unity of the message. Using color strategically not only improves the chance of the learner connecting to the content but also understanding the intent.  illustration of WSU\'s colors  illustration of a blue sky **Color can be used to produce:** - Mood - Tone - Hierarchy - Energy Level - Sense of Time - Conceptual Relationships **Texture** Texture can be either tactile texture or visual texture. Tactile texture is the variation in the characteristics of a surface which you can experience from touch. Visual texture is the appearance of a tactile surface on a 2D plan. This can be achieved by use of pattern. An example of texture being used is how this PowerPoint is using WSU's Wheat pattern in the background. Texture can soften a background, while still providing visual interest, or energize a background.  illustration of a webpage with dotted pattern  illustration of a texture made with paint **Texture can create:** - A Sensory Experience - Interest - A Visual Relief Element - Meaning - Relationships **Space** Space is also known as "White Space" and "Negative Space". Negative space doesn't imply something unfavorable, but rather defines the space that surrounds an object. The space the object occupies is then the "positive space". Space is one of the most important design elements, I believe, for establishing and maintaining clear understanding of a concept within a 2D environment.  illustration of empty space between two profiles  illustration of the WSU wheat motif Space is important for establishing: - Hierarchy - Legibility & Readability - Focus - Direction - Tempo - Pause & Reflection More notes on **Elements of Art and Design** - [LINE](https://guides.lib.berkeley.edu/design#s-lib-ctab-21113072-0) - [SHAPE](https://guides.lib.berkeley.edu/design#s-lib-ctab-21113072-1) - [FORM](https://guides.lib.berkeley.edu/design#s-lib-ctab-21113072-2) - [COLOR](https://guides.lib.berkeley.edu/design#s-lib-ctab-21113072-3) - [VALUE](https://guides.lib.berkeley.edu/design#s-lib-ctab-21113072-4) - [SPACE](https://guides.lib.berkeley.edu/design#s-lib-ctab-21113072-5) - [TEXTURE](https://guides.lib.berkeley.edu/design#s-lib-ctab-21113072-6) **Line is a straight or curved mark that connects two points or is the path of a moving point. Lines vary in weight (thickness or thinness), direction, and length. Lines can also be implied.**  **Line** is the dominant element that makes up this print. Each line is similar in weight and most of the lines are straight which conveys an orderly feeling. Short, curved lines create the puffs of steam billowing into the air. The **implied lines** in the image travel from the eyes of the two figures in the foreground toward the train. These invisible lines indicate that the train is the subject of this illustration. **A shape is a two-dimensional enclosed area limited to height and width which can be geometric (hard edge) or organic (soft edge)** This is an example of **geometric shape **and how shapes can be used together to create other shapes. Behind the seven red circles jutting out from the flat plane are four diamonds that touch at each end. Each diamond is created from four triangles. Together these triangles and diamonds create a star-like polygon out of the **patterned** background. The floral pattern in the background is made up of **organic shapes**. These type of shapes are irregular, free-form, and often found in nature. **Form is a three-dimensional shape that exhibits height, width, and depth. It can be geometric or organic.**  The architectural elements of this chapel are made up of straight lines and triangular shapes thus creating a **geometric form**.  Soft curves and rounded features on this Iranian vessel of a ram contribute to its **organic form**. Although symmetrical, its **form** does not exhibit perfect, uniform measurements.  **Color is the perception of light reflected from the surface of a shape or form. Color has three main characteristics:** - Hue: Red, green, yellow, blue, etc. --- each of these is a hue. - Value: How light or dark the color is. - Intensity: How bright or dull the color is.  **Colors can also be described as warm or cool depending on which end of the color spectrum they fall on.** **Red, blue, and yellow are the foundation of the color wheel. Their true color pigments cannot be created by mixing any other combination of colors. All other colors in the wheel are derived from these three hues. **  **Secondary colors are created by mixing equal parts of two Primary colors together:** - Blue + Yellow = Green - Red + Yellow = Orange - Blue + Red = Violet **Tertiary colors are created by mixing equal parts of a Primary and Secondary colors together:** - Yellow (primary) + Green (secondary) = Yellow-Green - Blue (primary) + Green (secondary) = Blue-Green - Blue (primary) + Violet (secondary) = Blue-Violet - Red (primary) + Violet (secondary) = Red-Violet - Red (primary) + Orange (secondary) = Red-Orange - Yellow (primary) + Orange (secondary) = Yellow-Orange  **Complementary colors enhance each other. They are opposite colors and are located directly across from each other on the color wheel. These color combinations offer high contrast.** **Analogous color schemes are comprised of three neighboring colors on the wheel. These combinations achieve a harmonious look and feel.** **Value** is the degree of lightness or darkness in a color. **Contrast** of value separates objects in space. **Gradation** of value suggests mass and contour.  In this magnified image of pollen the range of **values** from white to black and all of the grays in between not only separates each grain from one another but also indicates how close or far away in space they are. For example, the pollen grains closest to the surface show a higher **contrast** with prominent white highlights and the recessed grains show less contrast and are more uniform. **Gradation **of value can be seen most clearly on the spherical, spiky grains. Focusing on the largest and brightest pollen grain on the lower right side of the image we can see that the center of the sphere is a light gray and gets whiter toward the edges making it contrast heavily with the black background and indicating is mass and contour.   **Space is the distances and areas around, between, and within components of a design. There are two kinds of space:** - **Negative space**: space that is not filled or occupied. - **Positive space**: space that is occupied by a shape or form. The cranes painted on this Japanese screen make up the **positive space** while the flat, gold background is the **negative space**. ​The abundance of space in this piece creates a sense of stillness and serenity.   **Space** can also create a visual illusion. In this image, **negative** and **positive space** are interchangeable depending on what part of the image your eye focuses on. By concentrating on the white shape will notice a cup against a black background. On the other hand, if you focus on the black shapes you will see two faces in profile looking at one another in front of a white background. **Texture is the surface quality of an object that we can sense through touch. Texture can be tactile or visual.** The fiber used to create this hat is an example of **tactile texture.** If one were to pick up the hat, or wear it, the texture would be felt through touch. Because fiber is a ubiquitous material in our lives we can deduce what an object like this may feel like or be utilized for by just seeing an image of it.   ​The painting techniques used in this still life creates a realistic, three-dimensional depiction of the objects displayed on a two-dimensional surface. **Visual texture** is most apparent in the smoothness of the glass, the fluffiness of the bread, and the crisp white linen draped over the table. While these objects cannot be picked up the viewer can still understand the textures the paint is mimicking.  **Principles of Art and Design** - [BALANCE](https://guides.lib.berkeley.edu/design#s-lib-ctab-21140117-0) - [EMPHASIS](https://guides.lib.berkeley.edu/design#s-lib-ctab-21140117-1) - [MOVEMENT](https://guides.lib.berkeley.edu/design#s-lib-ctab-21140117-2) - [PATTERN & REPETITION](https://guides.lib.berkeley.edu/design#s-lib-ctab-21140117-3) - [RHYTHM](https://guides.lib.berkeley.edu/design#s-lib-ctab-21140117-4) - [PROPORTION](https://guides.lib.berkeley.edu/design#s-lib-ctab-21140117-5) - [VARIETY](https://guides.lib.berkeley.edu/design#s-lib-ctab-21140117-6) - [UNITY](https://guides.lib.berkeley.edu/design#s-lib-ctab-21140117-7) **Balance is the distribution of objects, colors, texture, and space. There are three types of balance: symmetrical, asymmetrical, and radial.** - **Symmetrical balance**: the elements used on one side of the design are similar to those on the other side. In this photograph of the Taj Mahal the **symmetrical balance** is found in the architecture itself, the garden design, and the reflecting pool. The composition of the photo also contributes to the overall symmetry. The fountain heads that line the center of the reflecting pool serve to bisect the entire photo wherein each side mirrors the other. - **Asymmetrical balance**: the sides are different but still look balanced.  This painting demonstrates **asymmetrical balance** through the composition of the cow and the dog in the foreground. The cow takes up two-thirds of the painting while the dog, which is markedly smaller, takes up one-third. Simultaneously, the background reciprocates the asymmetry in the foreground. The wooden shed mirrors the cow while the two cows mirror the dog creating an X-shape which fills the space and balances the composition.\  - **Radial balance**: the elements are arranged around a central point and may be similar. This male Indian peacock splays it\'s train into a fan-like formation which fills the entirety of the frame. Focusing on the bird\'s body as the center point it\'s plumage is an example of **radial symmetry**. We can also see repetition of this type of symmetry in the eyespots along each feather as well as the white lines of light that shine through from behind the bird. **Emphasis is the part of the design that catches the viewer's attention. Emphasis is created by contrasting an element with other elements. The area could be different in size, color, texture, shape, etc.**  ​This photo of a European robin demonstrates **emphasis** though the contrast of subject and background. The bird is sharply in focus revealing it\'s morphological traits whereas the background is blurred into soft patches of color which allows the viewer to focus solely on the bird. The complementary colors in the image also serve to emphasize the bird. Namely, the juxtaposition of the robin\'s orange breast with the blue patch in the upper left corner and the robin\'s leg which has a hint of red to it that contrasts with the green tones in the background. **Movement is the path the viewer's eye takes through the work of art or design. Movement can guide the viewer to focal areas or create the look or feeling of action.**   Although the figures in this photograph are static the positioning of their bodies creates a meandering line moving toward the background. This sinuous line is repeated and continued by the clotheslines strung between the buildings. When you couple the **movement** of this implied line with the fact that these men are bandits, the **movement** of the line compliments the qualities of a bandit: snaky and cunning.      In this infographic **movement **is found in the directional cues that guide your eye around the image. The dotted lines and arrows serve to direct the viewer through the process of how mercury makes its way from volcanoes, coal plants, and mines into and up the food chain. The graphic ends with advice for safe consumption of different kinds of seafood based on the mercury levels they contain.  **Pattern is the repeating of an element all over the work of art. Repetition works with pattern to make the work of art seem active.** There are several repeating elements in this image that create a **pattern**. First, there are the curvilinear **lines**. Aside from creating a sense of **movement** they also create the boundaries of elongated organic **shapes**. Next, there is the **repetition **of colors ranging from green, to blue, to grey, white, and reddish-brown. Lastly, there are the organic **forms** of tress scattered throughout. All of these elements work together to convey an active, undulating landscape. **Rhythm occurs when one or more elements of a design are used repeatedly to create a feeling of organized movement, or a visual tempo.**  In this collage the artist creates **rhythm** through the **repetition** of **shape **and **pattern**. Beginning with the red checkered floor the viewer\'s eye is drawn from the niches in front room into the subsequent middle and back rooms. Squares and rectangles are repeated throughout the composition. The spatial inconsistencies between the shapes and askew positioning creates tension while also guiding the eye throughout the piece.  **Proportion is the relative size and scale of the various elements within a design.** Beginning with the two figures on the left we can see that their size relative to the buildings, rocks, and palm tree is realistic. Likewise, the size of the architectural structures and tree compared the the mountain range on the horizon line is naturalistic. The true **proportion** of all these elements that make up the scene creates a stable and believable scene.   Alternatively, **proportion** can be used to **emphasize** a certain element or concept by making the graphic or text larger than the other elements in the design. In this poster the words \"art,\" \"free,\" and \"enroll now\" are enlarged which works to catch the viewers eye and communicate the core message of the poster directly and succinctly.  **Variety is the use of several elements of design to hold the viewer's attention and to guide the viewer's eye through and around the image.** This diagram depicting the size of dinosaurs uses **variety **to convey the information clearly and concisely. First, there are two different types of **shapes**: the dinosaur and the human. This gives the viewer a reference for scale. **Color** is used as a key to separate the dinosaurs from one another and the differences in **proportion **make their lengths and heights easier to read. Lastly, **line** is used as a tool to show the size differences and contain the information. **Unity is the feeling of harmony between all parts of the design which creates a sense of completeness. ** **​** **Unity** in this infographic is achieved through the **repetition** of **colors**, **shape**, and the **proportion** of text. The color scheme uses **complimentary colors** blue and orange to create high contrast and guide your eye throughout the composition. The rectangles that contain each block of information also creates a stable structure that unites the information. The legibility of the text is derived from choosing uniform fonts and keeping the **proportions **the same throughout.