Elements Of Design PDF

ELEMENTS OF DESIGN CHARMINI B  Basic ingredient to create visual design Certain effect of physiological and psychological effect. Physical - It includes optical illusions, that create apparent physiological changes of height, weight or contour of the figure in colour or textural prop...

ELEMENTS OF DESIGN CHARMINI B  Basic ingredient to create visual design Certain effect of physiological and psychological effect. Physical - It includes optical illusions, that create apparent physiological changes of height, weight or contour of the figure in colour or textural properties Psychological – It influences feelings such as youthfulness, happiness etc.  Space Line Shape or Form Light Color Texture Pattern  CHARACTERISTICS Reinforcing – it is used to strengthen the existing figure quality Countering – it would minimise, camouflage or oppose existing Condition  The two dimensional or three dimensional area into which all other elements of design are placed. I)BECOMES SHAPE, FORM, AND PATTERN II) DETERMINES HOW ALL OTHER ELEMENTS RELATE  III) SURROUNDING UNENCLOSED SPACE SHOULD NOT BE CONSIDERED WHAT IS LEFT OVER BUT A PART OF THE OVERALL DESIGN  IV) SPACE IS ORGANIZED BY INTRODUCING LINES THAT SUBDIVIDE, REARRANGE, PUSH, PULL, AND OTHERWISE MANIPULATE  V) A LINE DRAWN AROUND SOME SPACE CREATES SHAPE AND A SHAPE IS SIMPLY ENCLOSED SPACE THUS, SPACE, LINE, AND SHAPE ARE INSEPARABLE  Inside space is a shape, figure, foreground, positive, internal space Outside space is ground, background, negative, external, interstitial (Interstitial space is between unconnected shapes) Empty space can be open, unbroken, plain, blank Filled space can be closed, broken SIZE The cues influencing perception of space are Size Overlapping Closeness Density Convexity and concavity Character of enclosing lines  SIZE Shape sizes that differ from each other and from the background sizes are more likely to be seem as solid and advancing When sizes of subdivisions are similar, the total seems flatter and smoother. OVERLAPPING  OVERLAPPING Overlapping of shapes shows that the complete shape is seen as being in front and a partial shape as behind makes shape seem to advance Shapes that are seen completely side by side seem flat and give the feel of depth  CLOSENESS OF SHAPES Shapes advance more if they are not touching, completely surrounded by space, isolated and floating free Shapes that are touching shows they are flat and on the same plane or surface  DENSITY OF SPATIAL DIVISION Textured, patterned or filled space is provided as solid shape and the unfilled one as hollow space or void or flat or receding. Filled space advances and enlarges, seems heavier and more solid and unfilled space seems to be lighter and recedes. Exceptions are ✓ Plain pocket in a patterned fabric than patterned pocket in plain fabric ✓ Eyelet embroidery CONVEX AND CONCAVITY  Convexity pushes out as a protrusion and concavity caves in as indentations. Areas enclosed by convex shapes can be identified as shapes rather than holes, but the areas enclosed by concave lines can be perceived as holes and easily as shapes.  CHARACTER OF ENCLOSING LINES Thick, solid and sharp lines make the enclosed shape makes the design advancing, enlarge, solid and dense Shapes enclosed by broken, thin, fuzzy or blurred line seems flatter, airy and receding  VISUAL EFFECTS OF SPACE IN CLOTHING PHYSICAL EFFECTS The spatial illusion influence apparent physical height, weight, size and proportions  VISUAL EFFECTS OF SPACE IN CLOTHING PSYCHOLOGICAL EFFECTS Division of space Grouping Spacing between shapes in the space Consistency  Unbroken space is dramatic, sophisticated, bold, serene, calm, confident, certain, open, simple, straightforward Somewhat (not extremely) unequally divided space is intriguing. Large broken space is closed-in, busy, complex, tight Small, broken space is dainty, delicate, feminine, intriguing. SHAPE  Shape refers to enclosed space or the outside dimensions or contour of an object. Shape cannot exists without space and line. Space – canvas for placement of shapes; Lines – defines the exterior limit of the shape  SILHOUETTES Silhouettes are outlines of ensembles It is made up of the line of the garment, form of the body wearing the garment and construction features that produce the desired visual effect The various clothing silhouettes are as follows, Wedge Natural Full volume Soft Rectangle Ball hourglass  WEDGE Traditional menswear silhouette The shoulder area is padded to emphasis the drop between a men’s shoulder and waist measurement. It is suitable women’s jacket and suits. Visually heightens and Improves figure irregularity by visually increasing shoulder width  NATURAL Constructed without padding or inner construction Follow the body’s natural contour Body. Eg : Hugging jeans, snug t-shirts  FULL VOLUME Conceals the body behind the large size of the garment Eg. Ski jackets  SOFT Typical silhouette in men’s casual wear Hides natural contour of the body Eg. Wider pants with softened pleats, fuller skirts  RECTANGLE No waist suppression same width at shoulder, waist and hemline. EG: Men’s sack coat, women’s coat dress  BELL Fitted top; full skirt Eg., Dior’s new look, ballerina costume  HOURGLASS Feminine silhouette emphasizing the bust and hips by highlighting a small waist  Womens wear silhouette changes rapidly, while menswear silhouettes tend to evolve more slowly It may conform to the body or may be exaggerated for emphasis It may be accomplished through garment design features such as padding, figure shaping etc. LINES  An extension of a point, elongated mark, connection between two points, the effect of the edge of an object. Ways designers employ lines in a composition to make a shape, contour, define a boundary Creates variety by using angular, broken, bent, thick or thin lines. Create rhythm with curved or straight lines, varied in length  Simulate texture Passive lines created between the division of one color from another or mass from space In perspective to create the illusion of depth Organized to express movement or motion Create focus through direction t of the edge of an Object. Lines are analyzed with various aspects: 1. Path 2. Thickness 3. Evenness 4. Continuity 5. Sharpness of the edge 6. Direction  PATH STRAIGHT RESTRAINED FULL CURVE JAGGED CURVE PHYSICAL EFFECT Emphasises body figure Emphasises body Emphasises angularity, concealing, curves, counters angularity counters rarely found in thiness and rotundity nature, slightly angularit emphasises body curves PSYCHOLOGICAL Stiff, direct, rigid, Soft, gentle, Dynamic, Jerky, busy, EFFECT precise, feminine, flowing, feminine, excited dignified, tense, subtle unrestrained, masculine unstable WAYS OF INTRODUCING Seams, darts, Seams, garment Seams, garment Decorative fabric garment edges, edges, hems, edges, scalloped pattern, linear pleats, hems, princess lines, edges and trim ribbons, trim, linear trims, pattern braid, stripes, gather, draping, geometrics, fabric patter  Looped Wavy Zigzag Physical Effect Emphasises roundness Emphasises roundness, Emphasises angularity, counters angularity counters roundness Psychological Effect Swirling, active, soft, Feminine, undulating, Sharp, busy, regular, feminine, busy, springy, soft, flowing, graceful, masculine, jerky, abrupt, unsure sensuous, flexible, intense, stiff uncertain Ways of Introducing Decorative fabric pattern, Seams, garment edges, garment edges, fabric linear trim fabric pattern, trim pattern, trim, rick rack  THICKNESS Thick Thin Physical Effect Advances, adds weight Minimises weight Psychological Effect Forceful, aggressive, assertive, Delicate, dainty, feminine, sure, masculine passive, gentle, calm, subtle Ways of Introducing Borders, trims, fabric pattern, Seams, edges, trims, fabric cuffs, belts ,Borders, trims, pattern, darts, construction fabric pattern, cuffs, belts details  EVENESS UNEVEN EVEN Physical Effect Accents bulges Evenness, physical steadiness Psychological Effect Wobbly, unsure, unsteady, Regular, smooth, secure, insecure, questioning sure, firm Ways of Introducing Fabric pattern, trim Seams, edges, pleats, pattern, trim  CONTINUITY Continuous, unbroken Broken Dotted Physical Effect Smooth, reinforces, May emphasize Spotty, varied smooth lines, emphasizes irregularities bumps and bulges Psychological Effect Consistent, definite, sure, Less certain, interrupted, Less certain, interrupted, flowing, firm, elegant, casual, sporty and playful playful, suggestive, smooth casual Ways of Introducing Seams, pleats, gathers, Interwoven, insertion, Sequins, pearls, beading, draping patterns, trims, trims, belts, top stitching, trims, fabric pattern stripes rows of buttons  EDGE/ SHARPNESS SHARP FUZZY Physical Effect Emphasizes area as Gently, increases area smooth or bumpy size, softens Psychological Effect Definite, precise, certain, Soft, uncertain, indefinite, assertive, incisive, sure, suggestive hard Ways of Introducing Seams, darts, edges, Fringe, fur, some braids fabric pattern, ribbon and and trims, fabric pattern, other trim, stripes feathers  VERTICAL DIRECTION HORIZONTAL DIAGONAL Physical Effect Heightens, Shortens, widens Dependence on narrows influence of surrounding lines Psychological Dignity, strength, Quietness, Drama, Effect stability, rigidity calmness, serenity. restlessness, instability, activity Ways of Any form Any form Any form Introducing  Pattern is an arrangement of lines, spaces or shapes with colour on or in a fabric It is an element that can be manipulate with its own visual effects Aspects of pattern Source Interpretation Arrangement  SOURCE Every pattern motif comes from one of four major sources Natural objects Man-made objects Imagination Symbolism  NATURAL OBJECTS Flowers, interesting shapes, proportions and colours Calm pleasant and psychological associations Other favourites from nature such as leaves, fern, ivy, animals, waves, snowflakes, seashells, wood grain, etc.  MANMADE OBJECTS Teapots, toys, wheels, buildings, maps, clock, bricks, keys and others  IMAGINATION Releases creativity from material object sources Ideas arises from a non-visual source or lines and shapes  SYMBOLISM It is a special type of imagination It could not be usually otherwise be seen such as an idea, political movement, religion, organisation or commercial firm For example, peace symbol, traffic signs, logos or national flag etc.  INTERPRETATION - REALISTIC It portrays natural and man-made objects since imagination is invisible and only visible objects can be seen Objects appears as they actually are  STYLISED OR CONVENTIONALISED INTERPRETATION It portrays natural and man- made objects that have been changed in colour, simplified, flattened, distored in shape, edged with lines or given other deviations from reality, but the objects they can still be recognised  ABSTRACT INTERPRETATION It visualise man’s imagination as free forms, hazy shadows, wispy trail or simply interesting shapes or lines  GEOMETRIC INTERPRETATION It is also a special kind of abstract that they stem from the imagination and portray no objects  ARRANGEMENT It may be arranged or distributed in some way on the fabric It can be any of the six arrangements –All over arrangements –Four way arrangements –Two-way arrangements –One-way arrangements –Border arrangements –Spaced arrangements  ALL OVER ARRANGEMENT It give the same effect from any angle: warp, weft, bias or any other Motifs may be closely or widely spaced A directional effect may be present in details, but barely apparent from the distance  FOUR WAY ARRANGEMENT It give the same effect with each 90 degree or quarter turn in both directions of warp and weft This includes polka dots in rows, checks, plaids etc. It is directional, even if it appears overall of the fabric  TWO WAY ARRANGEMENT It give the same effect with 180 degree or quarter turn in both directions of warp and weft  ONE WAY ARRANGEMENT It give the same effect at any one angle It includes trees, people, words, numbers etc  BORDER ARRANGEMENT It place main motif one or both selvedges  SPACED ARRANGEMENT It is usually self-contained compositions that has singular relationship to the space of the fabric Three variations may be: Accent to a place on the figure Follow the shape of the structural garment part Fill the length of the fabric  PHYSICAL EFFECTS Pattern accents and enlarges the body parts where used Extremes of pattern size emphasizes extremes of figure sizes. Extreme contrasts of color and line enlarges Pattern attracts attention away from the silhouette and so camouflage body contours  PSYCHOLOGICAL EFFECTS It combines the psychological effects of lines, direcions, size, shape and space. Closely spaced –crowded; Widely spaced –spotty Flattened motif –simplicity; Motif with depth –complexity Large motif –vigorous; Tiny motif –dainty  TEXTURE It is the visible and tangible structure of a surface or substance It has three aspects –Tactile qualities of a surface –Tactile qualities of a manipulated three dimensional substance –Visual qualities of a surface and substance  DETERMINANTS OF TEXTURE Fibre content Yarn structure Fabric structure Finishes  (I)FIBRE CONTENT It is the chemical substance from which yarn and fabrics are made Fibre Length Fabric resilience Shape Absorbency Chemical composition Heat conductivity Performance properties Shrinkage control Washability Resistance to insects Heat and fire resistance Resistance to acid , mildew , etc  Cotton, Wool, Linen , Silk, Natural fibres Ramie, Alphaca Rayon, Acetate , Nylon, Man made and Polyester, Acrylics, Fiber glass Synthetic fibres Silk and synthetics Long fibres Shiny, Cool to touch, Stronger fabrics Cotton, Wool , Cut synthetics  (II)YARN STRUCTURE – Filament yarn : smoother and more slippery than a fuzzy one of very short or staple fibres – Yarn twist : High twist yarns – pebbly surface and wrinkle resistance Low twist yarns – shiny texture from lustrous filament fibres — Twist direction — Number of ply or strands — Novelty yarns  (III) FABRIC STRUCTURE – Type of fabric structure Woven Knitted Non woven – Grain  (IV) FINISHES Chemical Finishes Mechanical finishes  SURFACE CHARACTERISTICS Surface contour :Smooth to rough Surface friction : Slippery to harsh Thermal character : Warm to cool  HAND Flexibility – rigid to supple Density – fine to coarse Compressibility – hard to soft Structure – open to Extensibility – nonstretch to compact stretchy Resilience – limp to resilient Thickness – thin to thick  LIGHT REACTION Luster – dull to shiny Opacity– transparent to opaque  PSYCHOLOGICAL EFFECTS Only the wearer feels the texture Soft, warm cotton flannel – suggests a comfortable nightwear for children Crisp and firm textures give businesslike Smooth, supple or silky fabrics give slinky and sensuous Firm and pliable active sportswear textures give security, durability and ease of motion Constricting textures – critical as the outside touch  AUDIBLE EFFECTS Rustle of taffeta and soft swish of satin seem elegant and sumptuous Crackle of leather seems sporty and earthly Clatter of wooden beads Jangle of metal bracelet or trim.  LIGHT Light is the electromagnetic energy making things visible, the radiant energy resulting from vibration of electrons Source of energy – stimulus visual perception or sensation – response  Light forms a tiny portion of the total electromagnetic or radiant energy spectrum Wavelength – distance between the highest point of one wave and highest point of the next Wavelength in the total radiant spectrum range from radio spectrum range from radio waves long to cosmic rays  PSYCHOLOGICAL EFFECTS LIGHTNESS It is stimulating and lifting in most of the cultures It suggests openness and clarity – It reveals and informs us about surroundings and allows us to see what we are doing Too much light is tiring Eg. Wall covered with white satin  PSYCHOLOGICAL EFFECTS DARKNESS It is gloom, mystery, seriousness, threat or fear in most of the cultures It suggests sophistication, experience and quietness Eg. Restaurant lights and theatre lobbies  PHYSICAL EFFECTS OF LIGHT Effects by Source: Sharp or diffuse – Light from a small and sharp source such as spotlights or pinpoint lights give bright highlights and sharp, dark shadows – It accents three dimensional contours and heightens drama – Light from diffused sources strikes more surfaces from more angles that minimises shadows and flattening contours and smoothing texture surfaces  Effects by Source: Angle and Amount -Angle of light determines the angle of reflection and how much it is absorbed or reflected Eg. Sharp light striking a fabric from a low or side angle will bounce off and more light striking a fabric from a high or perpendicular angle will be absorbed – Higher the level of illumination, more light will be reflected – if a fabric surface is shiny it will reflects more light, dull fabrics will absorb more light Effects by Form: Stationary or moving The light accents the three dimensional convexities and concavity that give character to both figure and garments Eg. It highlights and shadows made by draping, gathers, pleats or shirring Play of light on a moving figure creates changing highlights and shadows among shifting garment tensions, positions and folds  Light and Surface Texture – Textures can react to light in three ways Reflect Absorb Admit – It depends on Sharpness, diffusion, angle and amount emitted by a light source Surface qualities and thickness of the texture – Light reflected from a smooth or shiny fabrics such as satin, chintz or lame is sharp and bright – Light reflected from a rough or dull surface such as flannel, many knits, cotton or wool is more diffuse and even  COLOR Color envelops us with endless, subtle nuance, elating, depressing and soothing We respond to it physically, psychologically, consciously and unconsciously Color is basically two things: internal sensation external occurrence  Primary color: This is the main color of the page. It will occupy most of the area and set the tone for the design as a whole. Secondary color: This is the second color on the page, and it is usually there to "back up" the primary color. It is usually a color that is pretty close to the primary color.  Analog Colors : The analog colors are those colors which lie on either side of any given color. Often these are color schemes found in nature. A site that makes use of analogous colors usually feels harmonious. The secondary color, as described above, can often be an analogous color. Complementary Colors : The complementary colors are the colors which are directly opposite from one another on the color wheel. Complementary colors are contrasting and stand out against each other. Split Complementary Colors : Split complementary is a color and the analogous colors to its complement color.  Hue - Hue is somewhat synonymous to what we usually refer to as "colors". Red, green, blue, yellow, and orange are a few examples of different hues. The different hues have different wavelenghts in the spectrum.  Value: hue’s lightness and darkness (a color’s value changes when white or black is added) Intensity: quality of brightness and purity (high intensity= color is strong and bright; low intensity= color is faint and dull)  Tint and Shade - These are terms to describe how a color varies from its original hue. If white is added, the lighter version of the color is called a tint of the color. On the other hand, if black is added the, darker version of the color is called a shade of the color  EFFECTS OF PRINCIPLES APPLIED TO COLOUR Repetition of colour – Using color more than once helps unify patterned and plain areas and requires care as colors accent direction of repeats  Sequence of colour – Each color appears in a certain order of succession, keeps the same position in each repeat, and leads the eye in the direction of progression  Alternation of colour – Two colours changing back and forth in the same order lead the eye in the direction of the regular change  Transition of colour  Contrast of colour – Advancing and receding hues counter each other, light and dark values show powerful opposition and bright and dull intensities accent unlikeliness  Emphasis of colour Advancing qualities of hue, value and intensity highlight a location against receding qualities  PHYSICAL EFFECTS Simultaneous contrast After image Irradiation Visual mixtures  SIMULTANEOUS CONTRAST The actual difference in touching colours seem exaggerated while being viewed The dominating color usually covers a larger area and influences colors of smaller areas The background frames “push” the central color, making smaller identical colors appear different Garment colours usually “push” skin and hair colours, making the wearer look lighter, darker, brighter, duller or like a particular hue  HUE A hue gives the effect of its complement to a very dulled colour or neutral – Grey on green – Grey on pink Clothing examples are, – Light blue-green or blue enriches skin oranges – Red give a greenish tinge to the hair – Green will give more rosy  Touching complements intensify each other – Red energises the green and vice versa rather than being alone  Effect of contrasting hues seem nearly complementary – Bluish red on bluegreen – red- orange complement – Red orange on yellow green – red violet complement  Effect of closely related hues push each other apart Blue green makes the yellow green – more yellow Yellow green pushes the blue green towards blue  Identical hues may look different – Yellow green on red – red towards red violet – Blue green on red – red towards red orange  VALUE Effects of differing values push each other apart, increasing apparent differences; Lighter values make darker ones appear even darker and darker values lighten lighter ones  Extreme value contrasts overwhelm hue perceptions; close values accent hue differences  INTENSITY Bright intensity makes a dull one seem duller; dull intensity further brightens brighter one  Complements intensify each other  It occur after extended exposure not during it, unless we view it for a long time Colour after images are negative; we see the opposite quality of the stimulus Bright colours ususally give pale after images and pale, medium value dull intensities give weak after images  HUE A hue stimulates the after image of its complement against white Bright green jacket makes its white trim look pinkish Purple skirt make the white blouse look yellowish  An afterimage hue mixes visually with any surface hue, giving a colour that is the combination of the two Orange after image of a blue top brightens the skin and hair tone but the blue after image of the bright orange is dulling  With extended viewing, a complementary after image dulls the stimulus hue As the eye tiers, the complementary after image develops an overlay Prolonged viewing of a bright garment will dull the colour. To control the effect , break up the bright colours in print or confine to small areas  VALUE An extreme value creates the after image of its opposite White after image of a black skirt could further lighten the white clothes Black after image of a white skirt could blacken the black  VALUE Negative value after images mix with other surface colours Dark after images of white garments darken and dull skin, hair and other clothings To control the illusion, control the size of extreme value areas or modify the values  INTENSITY Negative value after images may dull a colour Black or white after images could dull the skin or hair or another clothing colour  INTENSITY Complementary hue after images dull the hue being viewed and brighten its complement Bright blue sweater brightens the skin, but may dull the blue sweater itself  IRRADIATION Light value advance and enlarge; dark values recede and reduce  ACTION Warm, light and bright colours – more stimulating Cool, dark and dull colours – more relaxing GENDER Warm hues, light values and soft intensities– feminine Cool hues, dark values and bright intensities – masculine