ELEMENTS OF
DESIGN
Elements of Design
The building blocks of design.
Line
A line is defined as a mark with length
and direction, created by a point that
moves across a surface. A line can vary
in length, width, direction, curvature,
and color. Line can be two-dimensional
(a pencil line on paper), or implied
three-dimensional.
Lines
• Lines can be straight
or curved.
• How are lines used in
the composition on
this slide?
Lines
• Lines can indicate
motion or direction.
• How are lines used in
the composition on
this slide?
Shape
A flat figure, shape is created when actual or
implied lines meet to surround a space. A
change in color or shading can define a shape.
Shapes can be divided into several types:
geometric (square, triangle, circle) and
organic (irregular in outline).
Shapes
• Shapes are enclosed
objects that can be
created by line or
created by color and
value changes that
define their edges.
Size
This refers to variations in the
proportions of objects, lines or
shapes. There is a variation of
sizes in objects either
real or imagined.
Space
Space is the empty or open area between,
around, above, below, or within objects.
Space
• Shapes and forms are made by the
space around and within them.
• Space is often called three-dimensional
or two- dimensional.
• Positive space is filled by a shape or
form. Negative space surrounds a shape
or form.
Color
Color is the perceived character
of a surface according to the
wavelength of light reflected
from it.
Color has three
dimensions:
• HUE (another word for color,
indicated by its name such as red or
yellow)
• VALUE (its lightness or darkness),
• INTENSITY (its brightness or
dullness).
Color definitions
•
•
•
•
•
Hue is another word for color.
Chroma is the intensity or purity of color.
Tint is a color mixed with white.
Tone is a color mixed with gray.
Shade is a color mixed with black.
Color and contrast
• Using color can enhance or detract
from a composition.
www.lighthouse.org/color_contrast.htm
• Color wheels help determine which
colors are in greatest contrast.
• Use Kuler from Adobe Labs to try
out new color schemes:
http://kuler.adobe.com/
Color Wheel
Color wheels
• Analogous colors are a palette of
compatible color combinations that
blend well together. They are
neighbors on the color wheel. They
tend to live harmoniously because
they are relatives to each other.
• Complementary colors are opposite
each other on the color wheel. They
contrast, enhance and intensify each
other. Therefore, complementary
colors need to be used with caution.
Color in design
• Use color to label or show hierarchy.
• Use color to represent or imitate reality.
• Use color to unify, separate, or
emphasize.
• Use color to decorate.
• Use color consistently.
Color
• Color theory encompasses a multitude of
definitions, concepts and design applications.
• All the information would fill several
encyclopedias. As an introduction, here are a few
basic concepts.
Primary Colors
Red, Yellow & Blue
• A color circle, based on red, yellow and blue, is
traditional in the field of art. Sir Isaac Newton
developed the first circular diagram of colors in 1666.
• Since then scientists and artists have studied and
designed numerous variations of this concept.
• Differences of opinion about the validity of one
format over another continue to provoke debate.
• In reality, any color circle or color wheel which
presents a logically arranged sequence of pure hues
has merit.
Primary Colors
Red, Yellow & Blue
In traditional color theory, these are the 3
pigment colors that can not be mixed or formed
by any combination of other colors. All other
colors are derived from these 3 hues
Secondary Colors
GREEN
ORANGE
PURPLE
These are the colors formed by
mixing the primary colors.
TERTIARY COLORS
blue-green
red-purple,
Analogous colors
Analogous colors are any three colors which are side
by side on a 12 part color wheel, such as yellow-green,
yellow, and yellow-orange.
Usually one of the three colors predominates.
Complementary Colors
Complementary colors are any two colors which are directly opposite each
other, such as red and green and red-purple and yellow-green.
In the illustration above, there are several variations of yellow-green in the
leaves and several variations of red-purple in the orchid.
These opposing colors create maximum contrast and maximum stability.
Nature Color
Nature provides a perfect departure point for color
harmony. In the illustration above, red yellow and green
create a harmonious design, regardless of whether this
combination fits into a technical formula for color
harmony.
Color Context
How color behaves in relation to other colors and
shapes is a complex area of color theory.
Compare the contrast effects of different color
backgrounds for the same red square.
Red appears more brilliant against a black background and somewhat duller
against the white background. In contrast with orange, the red appears
lifeless; in contrast with blue-green, it exhibits brilliance.
Notice that the red square appears larger on black than on other background
colors.
Different readings of the same color
If your computer has sufficient color stability and gamma correction
(link to Color Blind Computers) you will see that the small purple
rectangle on the left appears to have a red-purple tinge when compared
to the small purple rectangle on the right. They are both the same color
as seen in the illustration below. This demonstrates how three colors
can be perceived as four colors.
Different readings of the same color
Observing the effects colors have on each other is
the starting point for understanding the relativity of
color. The relationship of values, saturations and the
warmth or coolness of respective hues can cause
noticeable differences in our perception of color.
Color
Color Theory and Color Schemes
Color: The result of light
reflecting off of a surface.
Color Theory:
A body of
practical guidance
to color mixing
and the visual
impacts of
specific color
combinations.
(wikipedia.org)
According to
color theory,
certain color
combinations
work better
than others.
Using color
schemes can
help with the
over all success
of a
composition.
Color
Schemes:
An arrangement
or pattern of
colors or
colored objects
conceived of as
forming an
integrated
whole.
(dictionary.com)
Color Schemes:
• Primary: Red, Blue, Yellow
• Secondary: Orange, Purple, Green
• Tertiary/Intermediate colors: The colors in
between a primary and secondary color.
• Complimentary: Colors across from each other
on the color wheel; green/red, orange/blue,
and purple/yellow
• Analogous: Colors that are next to each other
on the color wheel; red, orange, yellow.
• Monochromatic: One color, plus value (black
and white)
Primary: Red, Blue,
Yellow
Secondary: Orange, Green, Purple
Complimentary Colors:
Colors across from each
other on the color wheel.
Red and Green
Orange and Blue
Yellow and Violet
Orange and Blue…
Red and
Green.
Spilt-Complimentary Colors:
Triad of colors consisting of a
compliment, plus the two
tertiary/intermediate colors on each
side of it’s compliment.
An example of splitcomplimentary…
Analogous
Colors: Colors
next to each
other on the
color wheel.
Red, orange, and
yellow.
Green, Blue, Purple.
Examples of analogous
compositions…
Monochromatic:
Consisting of one color, plus its tints
and shades (color + black and white =
monochromatic)
Examples of monochromatic
compositions…
Okay, so you know about color, but
there are a few other things you
need to know.
• Shape: Organic and Geometric
• Balance: Asymmetrical
• Space: Positive and Negative
Shape:
An area enclosed
by line.
There are two types of
shape:
Organic
Geometric
Organic
Shape:
Characteristic of, pertaining to, or derived from
living organisms (dictionary.com)
Organic shapes have curvy,
natural lines.
Geometric
Shape:
Arrangement of objects in simple
rectilinear or curvilinear form.
(dictionary.com)
Geometric shapes are
characterized by straight, rigid
lines.
Balance:
Equal distribution of weight
(dictionary.com)
There are three types of
balance:
• Symmetrical
• Asymmetrical
• Radial
Asymmetrical Balance:
Not identical on both sides of a
central line; lacking symmetry
Both sides of the composition are
not the same, but the shapes
visually balance each other.
Positive and Negative Space:
Positive Space:
The object; the
area the object
occupies.
Negative Space:
The area around
the object.
When creating a composition, the
negative space and positive space
should be about equal.
Try to
avoid
having
too much
negative
space.
Conclusion: Terms you
should know:
• Color
• Color
theory/schemes
• Primary
• Secondary
• Complimentary
• Splitcomplimentary
• Analogous
• Monochromatic
•
•
•
•
•
Shape
Organic
Geometric
Balance
Asymmetrical
Balance
• Positive Space
• Negative Space
Texture
Texture is the way a surface feels (actual
texture) or how it may look (implied texture).
Textures are described by word such as rough,
silky, or pebbly.
Texture
• Texture is the surface look of an object
created by varying dark and light areas.
– Roughness
– Smoothness
– Depth
Value
Value is how dark or how light
something looks. We achieve value
changes in color by adding black or
white to the color. Chiaroscuro
uses value in drawing by
dramatically contrasting lights and
darks in a composition.
UNITY
Unity: The correct
balance of composition
or color that produces a
harmonious effect.
Unity
• What is the focus of
the message?
Principles of Design
The principles use the elements of
design to create a composition.
Elements of Design
The building blocks of design.
Balance
Balance is the act of
comparing or estimating
two things, one against
the other, and the
contrast between:
Balance
• Balance is a feeling of visual equality
in shape, form, value, color, etc.
Balance can be symmetrical or evenly
balanced or asymmetrical and unevenly balanced. Objects, values,
colors, textures, shapes, forms, etc.,
can be used in creating a balance in a
composition.
Balance
–
–
–
–
Empty space (white space) and filled space
Text and images
Color and no colors and different colors
Textures against flat colors
Balance in composition
• There are three different types of
balance when using color, shape, and
position:
– Symmetry
– Asymmetry
– Radial symmetry
Examples of radial
balance
Balance
• What is it and how is it achieved on a flat
surface? To answer this question, we must
first think of a three dimensional work of
art.
• If the pieces were not physically balanced
or anchored, they would fall over.
bALANCE
• For images created on a flat surface such
as a canvas the same principle of balance
applies.
• However, instead of having actual or
physical balance, the artist needs to
create an illusion of balance, referred
to as visual balance.
Balance
• In visual balance, each area of the painting
suggests a certain visual weight, a certain
degree of lightness or heaviness.
• For example, light colors appear lighter in
weight than dark colors.
• Brilliant colors visually weigh more than
neutral colors in the same areas.
Balance
• Warm colors, such as yellow tend to
expand an area in size, whereas cool
colors like blue tend to contract an
area.
• And transparent areas seem to
visually weigh less than opaque areas.
Balance
• Balancing the components of a painting can
best be illustrated by weighing scales or a
child's playground see-saw.
• Visually the scale can be pictured as an
apparatus for weighing or a see-saw which
has a beam poised on a central pivot or
fulcrum.
Balance
• In using this scale or see-saw, balance is
not achieved through an actual physical
weighing process, but through visual
judgment on the part of the observer.
• In this respect, visual balance refers to a
"felt" optical equilibrium between all parts
of the painting.
To balance a composition is to distribute its parts in such a way that
the viewer is satisfied that the piece is not about to pull itself over.
When components are balanced left and right of a central axis they are
balanced horizontally. When they are balanced above and below they are
said to be balanced vertically. And when components are distributed
around the center point, or spring out from a central line, this is referred
to as radial balance.
There are two forms of visual balance. These are symmetrical balance, also
known as symmetry or formal balance, and asymmetrical balance, also
known as asymmetry or informal balance.
Symmetrical balance
• Symmetrical balance is when the
weight is equally distributed on both
sides of the central axis.
• Symmetry is the simplest and most
obvious type of balance. It creates a
secure, safe feeling and a sense of
solidity.
• Symmetrical balance can be achieved
in two ways.
• One way is by "pure symmetry," and
Symmetrical balance
• In pure symmetry identical parts are
equally distributed on either side of the
central axis in mirror-like repetition.
• A good example of pure symmetry is the
human face. It is the same on both the
right side and the left side of the nose.
• Pure symmetry has its place in certain art
works, however, because of its identical
repetition, pure symmetry for a
composition can easily become too
monotonous and uninteresting to look at.
Symmetrical balance
• Approximate symmetry on the other
hand has greater appeal and interest
for the viewer.
• The two sides of a composition are
varied and are more interesting to
view.
• Even though they are varied
somewhat, they are still similar
enough to make their repetitious
relationship symmetrically balanced.
•
Symmetrical or formal
balance
You can usually
identify at least one of
three lines of symmetry.
– Horizontal
– Vertical
– Diagonal
Symmetrical balance
Examples of symmetrical
balance
Examples of
asymmetrical balance
Asymmetrical Balance
• The use of asymmetry in design
allows for more freedom of
creativity, because there are
unlimited arrangements that may be
devised using asymmetrical balance.
Asymmetrical Balance
• The way to use asymmetry is by
balancing two or more unequal
components on either side of the
fulcrum by varying their size, value
or distance from the center.
Asymmetrical Balance
• Asymmetrical balance is when both sides
of the central axis are not identical, yet
appear to leave the same visual weight.
• It is a "felt" equilibrium or balance
between the parts of a composition rather
than actual.
• If the artist can feel, judge or
estimate the various elements and
visual weight, this should allow
him/her to balance them as a whole.
• As a result, a more interesting
composition will occur in the work.
Examples of The Effective
Use Of Balance
This flower resting a
tea cup on the left is
a good example of
radial balance. The
pedals radiate out
from a central point.
On this side radial
balance is created
by the flowers
which spring out of
the center of the
vase.
Horizontal Balance
Vertical Balance
Do you see the vertical
balance suggested in the
painting on the left? Look
at where the foreground
ends and you will quickly
see how it is balanced by
the building in the
background
This painting on the right is a little
more obvious in it's vertical balance.
Notice how the three objects in the
top part of the painting balance the
apparent heaviness of the one object
(the plate of pancakes) in the lower
part of the painting.
Contrast
Contrast is the juxtaposition of
opposing elements
Contrast
“The difference in brightness between the
light and dark areas of a picture, such as
a photograph or video image ”
“The
use of opposing elements, such as
colors, forms, or lines, in proximity to
produce an intensified effect in a work
of art “
Example of Nature
Contrast
Contrast
• Contrast in art and design occurs
when two related elements are
different.
• The greater the difference the
greater the contrast. Contrast adds
variety to the total design and
creates unity.
• It is what draws the viewer's eye
into the painting and helps to guide
the viewer around the art piece.
Contrast
• Contrast in art also adds visual interest. Most
designs require a certain amount of contrast. Too
much similarity of the components in any design
becomes monotonous.
• In other words the use of too little contrast can
cause a design to be bland and uninteresting.
• On the other hand too much contract can be
confusing. Just the right amount of contrast
engages the viewer's participation in comparing
various components of the work.
Contrast
• For instance, the viewer will compare
light and dark areas of a painting,
wide lines and thin lines, light-weight
forms and heavy forms, filled spaces
and unfilled spaces, etc.
• The key to working with contrast is
to make sure the differences are
obvious. The most common ways of
creating contrast are by creating
differences in:
Contrast
• The key to working with contrast is to
make sure the differences are obvious.
The most common ways of creating
contrast are by creating differences in:
• size
• value
• color
• type
• texture• shape
• alignment
• direction
• movement
Contrast
In the painting on the
left is another example
of contrast between
light and darkness.
Contrast in the painting on
the right is much more
subtle. Contrast this
painting is in texture.
Notice the hard texture on
the fence as contrasted
with the softness of the
butterflies and the kittens.
Also a contrast exists
between the soil and the
foliage.
Contrast
The contrast in the illustration to the left is
quite obvious. Notice the contrast of the
light background (wall) with dark
foreground (table cloth) and the contrast
of the dark shadows on the tea pot and
cup against the wall and with the lights of
the same objects against a dark window.
There is also a contrast of thin and
thick lines in the napkin, straight and
curved lines, and don't miss the dark
steam as contrasted with the light
clouds off in the distance
On the right a contrast exists
between the lights and darks.
Also notice the contrast of the
roundness of the objects in
the foreground against the
flatness of the background.
Emphasis
Emphasis is used to make certain parts of their
artwork stand out and grab your attention. The
center of interest or focal point is the place a
work draws your eye to first.
Emphasis
• Emphasis: To
express with
particular stress or
force.
• What message is
stressed here?
Emphasis
• Emphasis is the stressing of a particular
area of focus rather than the
presentation of a maze of details of equal
importance. When a composition has no
emphasis nothing stands out. However the
effective use of emphasis calls attention
to important areas of the painting. By
placing emphasis on certain areas of the
composition, an artist creates elements of
interest which causes the eye to return to
again and again.
Emphasis
• One way of achieving emphasis is by
creating center of interest, a.k.a. a focal
point.
• A focal point is an area where the eye
tends to center. It is the focus of the
viewer's attention.
• A focal point is created by making one
area of element of the painting dominant,
or most important visually with all other
areas contributing but subordinate.
• is canceled out.
Emphasis
• The focal point may be the largest,
brightest, darkest, or most complex
part of the whole, or it may get
special attention because it stands
out for some other reason.
• No more than one component should
vie for primary attention. Where
several components get equal billing,
emphasis
Emphasis
• The second way to create emphasis is
by contrasting the primary element
with its subordinates, or emphasis
can be created by a sudden change in
direction, size, shape, texture, color,
tone or line.
Emphasis
• No matter what element is chosen
for emphasis it should never demand
all the attention.
• Emphasis is necessary, but a good
composition is one in which all the
elements work together for a
unifying effect.
In this painting it is easy to
see how the artist used light to
emphasize the chef. He
stands out as the main focal
point of the entire the painting.
The artist created
emphasis in this painting
through the use of color.
By painting the cowboy's
shirt red he was able to
create a center of
interest.
Proportion
Proportion describes the
size, location or amount of
one thing compared to
another.
Proportion
• Proportion in art is the comparative
harmonious relationship between two
or more elements in a composition
with respect to size, color, quantity,
degree, setting, etc.; i.e. ratio.
• A relationship is created when two or
more elements are put together in a
painting.
Proportion
• This relationship is said to be
harmonious when a correct or
desirable relationship exists between
the elements.
• This refers to the correct sizing and
distribution of an element or object
which creates good proportion.
• Good proportion adds harmony and
symmetry or balance among the parts
of a design as a whole.
Proportion
• When the principle of proportion is
applied to a work of art it is usually
in the relationship of size.
• That is, the size of one element of
the composition as compared to the
size of another related element.
Proportion
• In the instance of a relationship of
size a comparison is made between
the:
– height, width and depth of one element
to that of another
– size of one area to the size of another
area
– size of one element to the size of
another element
– amount of space between two or more
Proportion
• Proportion is usually not even noticed
until something is out of proportion.
When the relative size of two
elements being compared seems
wrong or out of balance it is said to
be "out of proportion".
• For example if a person has a head
larger than their entire body, then
we would say that they were out of
proportion.
Good Proportion
• There are several ways for achieving good
proportion:
• Place together elements which are similar in
character or have some feature in common.
• Create major and minor areas in the design, as
equal parts can quickly become monotonous and
boring. However, the differences in size must not
be so great as to make the parts appear unrelated
and therefore, out of harmony with each other.
Good Proportion
• Arrangement of space should be in such a way
that the eye does not perceive a standard
mathematical relationship. Dividing up the
composition in halves, quarters and thirds should
be avoided. A subtle relationship creates a more
dynamic design.
• Create harmony in the art work. Harmony is an
agreement between the shapes that stresses the
similarities of all parts. In other words, the shape
of one part should "fit" the shape of the adjoining
elements. Shapes should "fit" properly in their
positions and spaces.
In the two paintings above
proportion emphasizes the
distance of the ship and the
vastness of the ball room.
There is a real sense of proportion in
each of the two paintings above.
Without the effective use of the
principle of proportion you would not
experience the majesty of the mountain
cliffs in the painting on the left or the
towering height of the trees in the
painting on the right.
Pattern
Pattern is created by repeating
an element (line, shape or color)
over and over again.
Gradation
Gradation of size and direction produce linear
perspective. Gradation of color from warm to
cool and tone from dark to light produce
aerial perspective. Gradation can add interest
and movement to a shape. A gradation from
dark to light will cause the eye to move along
a shape.
Graphic design
principles
Graphic design principles are ways in which
elements are used together.
Movement
Balance
Emphasis
Unity
MOVEMENT
Movement is the use of lines, color, and
repetition to create the illusion of
motion.
Movement
• Curved forms or lines
• Repetition of geometric forms
• Fuzzy lines or outlines
Alignment
“Nothing should be placed on the page
arbitrarily. Every item should have a visual
connection with something else on the page.”
Alignment
• No element
has any
connection to
the others.
 Elements aligned
Alignment
Here’s a pretty standard layout, centered.
Alignment
But look how much crisper it looks with alignment, plus some thought about proximity.
Alignment
• Trapped
white
space
pushes
elements
apart
Does the text go with the cartoon, or are they independent chunks of
information? The ragged right type seems to separate the elements.
Alignment
• “Find a
strong line
and use
it.” Flush
right type
makes use
of image’s
border.
Change the alignment, and it becomes obvious that they go together. Note the strong lines Robin
Williams uses in this example to get alignment. Flush right type, strong vertical line on the cartoon.
Alignment
• “Find a
strong line
and use
it.” Flush
right type
makes use
of image’s
border.
Change the alignment, and it becomes obvious that they go together. Note the strong lines Robin
Williams uses in this example to get alignment. Flush right type, strong vertical line on the cartoon.
Repetition
Repeat some aspect of the design
throughout the entire piece.”
Repetition
• When you get
to the end of
the
information,
does your eye
just wander
off the card?
Here we go with the band again. Not a bad card, right? But note the question here: Now look at the
change ...
Repetition
• Repeated bold
type
encourages
reader to
“bounce”
between the
two dominant
typefaces
Boldfacing that number, so it pairs with the headline, really makes it jump, and it hold your eye on
the information.
Proximity
“Proximity, or closeness,
implies a relationship.”
Proximity
Key idea:
“Group related items
together”
Proximity
Solution:
• Contents are
grouped
• Contrast is
added with
headlines/rules
Proximity
Problem:
Reader’s eye
must bounce all
around card to
obtain information
Proximity
Solution:
Group
together
related
elements
Proximity
Problems:
• The two items in top left are in close
•
proximity but not related
Gaps separate related items
Proximity
Solution:
•
•
•
•
Regroup information
Change to caps/lowercase
Use squared edges
Let image break out of box
Proximity
Problem:
• Everything is
close to
everything else
Scale
Dimensional element's defined by
other elements of design-size
relative to other art, its
surroundings, or in relation to
human size.
Scale
•
• Unusual or even unexpected scale can
certainly be used as a attention grabber.
• Another consideration for size and scale is
to look at the elements within the creation
itself.
• .
Scale
• Scale can attract in different
ways. It can be use to draw
attention to the unexpected or
exaggerated - this is often the case
in advertising.
• Changing the natural scale is
certainly not unusual. It is
frequently used in religious painting
• A scale modelScale
is a physical model, a
representation or copy of an object
that is larger or smaller than the actual
size of the object, which seeks to
maintain the relative proportions (the
scale factor) of the physical size of the
original object.
Scale
Scale
Scale
Scale
Very often the scale model is smaller than the original and used as a guide
to making the object in full size. Scale models are built or collected for many
reasons.
Variety
A way of accomplishing this is to
establish an approach which involves
theme and variations-repeating the same
image, but in different sizes, colors,
values and shapes.
Variety
By varying the components of a visual design, the artist creates interest
and avoids monotony.
Harmony
Examples of the effective
use of Harmony
It is easy to observe
harmony in action in
nature. Notice how the
individual wedges "fit"
the orange in the
painting above.
In the coat of
arms above we
observe how the
different elements
"fit" together
perfectly inside
each other to
create harmony.
Realistic, Stylized,
Abstract
The less a work of art resembles
something in the physical world,
the more stylized it is.
Realistic, Stylized,
Abstract
One of the fundamental properties of
visual art is the degree to which it is
realistic or stylized (abstract).
realism
◄—————————————————-------------►
A very realistic statue.
A significantly stylized
statue; note the rigid
facial expression, stiff
posture, and patterned
hair texture.
stylization
An extremely stylized
sculpture
One of the fundamental properties of visual art is the degree to which it is
realistic or stylized (abstract). The less a work of art resembles something in
the physical world, the more stylized it is.
realism
◄—————————————————-------------►
A very realistic
painting
A significantly
stylized painting;
note the
simplified/distorted
shapes and colors.
stylization
A completely
stylized painting
Art that resembles nothing in the physical world is called abstract, while art that
portrays something recognizable (however distorted) is called representational.
One can also distinguish narrative art (which tells a story) and decorative art
(which doesn't). A decorative work can be abstract or representational. A story
(in the usual sense), however, can only be told through representational art.
Abstract art is
inherently decorative
This representational
art is decorative: the
octopus is not doing
anything, it is simply
"there".
This
representational art
is narrative: the
figures are involved
in an action/story.
Rule of Thirds
The Rule of Thirds is based on the fact
that the human eye is naturally drawn to a
point about two-thirds up a page. Crop your
photo so that the main subjects are
located around one of the intersection
points rather than in the center of the
image:
More on Rules
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rules of composition
the rule of thirds
golden section/rectangle.
harmony
balance
discord
drama.
Rule of Thirds
• Your landscapes will be optimally pleasing to the
eye if you apply the Rule of Thirds when you place
your horizon line.
• If the area of interest is land or water, the
horizon line will usually be two-thirds up from the
bottom.
• Alternately, if the sky is the area of emphasis,
the horizon line may be one-third up from the
bottom, leaving the sky to take up the top twothirds of the picture:
Rule of Thirds
• It has been found that certain points in a
picture's composition automatically
attract the viewer's attention.
• Similarly, many natural or man-made
objects and scenes with certain
proportions (whether by chance or by
design) automatically please us.
Golden Section rule
• Leonardo da Vinci investigated the
principle that underlies our notions of
beauty and harmony and called it the
Golden Section.
• Long before Leonardo, however,
Babylonian, Egyptian, and ancient Greek
masters also applied the Golden Section
proportion in architecture and art.
Golden Section rule
• To get a clearer sense of these special "Golden"
composition points, imagine a picture divided into
nine unequal parts with four lines.
• Each line is drawn so that the width of the
resulting small part of the image relates to that
of the big part exactly as the width of the whole
image relates to the width of the big part.
• Points where the lines intersect are the "golden"
points of the picture:
Diagonal rule
• One side of the picture is divided into two, and
then each half is divided into three parts.
• The adjacent side is divided so that the lines
connecting the resulting points form a diagonal
frame.
• According to the Diagonal Rule, important
elements of the picture should be placed along
these diagonals:
Linear elements, such as roads,
waterways, and fences placed diagonally,
are generally perceived as more dynamic
than horizontally placed ones:
Composition
The combining of distinct elements
to form a whole
Don’t Be a Wimp (in your
designs)
Use Color
Place information in frames and boxes
(remove the lines)
Hierarchy, Hierarchy, Hierarchy
Use Clip Art to add to your materials
Make it FUN for you and your reader!
Contrast, Repetition,
Alignment, and Proximity
Solution:
 Contrast
 Alignment
 Repetition
 Proximity
Here is an ad with all four principles being applied. How are they being used here?
Summary
• The basis of good graphic design is
use of design elements and their
thoughtful application in the form of
design principles.
• Clearly identify what you are trying
to accomplish — use design to convey
your message.
• Brainstorm alternatives.