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Screen Shot 2020-05-17 at 5.17.01 pm Design Principles In essences, design principles are used to organize or position the structural elements of design. These principles are the fundamental concepts that will assist you to communicate the key theme of your composition. As such they can be applied to each element of your design or to your composition as a whole. It is necessary to develop a visual awareness to identify how these principles are used in the composition of every day design. Developing a visual awareness will give you the skills necessary to critically analyze and constructively criticize the design work you engage with and provide a method of solving graphic problems. Depending on where you conduct your research, you will find other elements and principles to include in this list, some of which are explained below. Balance Balance is the concept of visual equilibrium. It is the combination of opposing elements in a composition that results in visual stability. Most successful compositions achieve balance using symmetry or asymmetry. Symmetry refers to the organisation of elements in which a balanced visual hierarchy is achieved through the alignment of graphics along a horizontal or vertical axis. This means that your design can be reflected precisely over a central axis like a mirrored image. In contrast, design elements that display an unbalanced visual weighting and are made up of elements differing in size, colour and shape are organized and positioned against one another to create asymmetry. (Graphic Design: Australian Style Manual, page 103) Visual Hierarchy Visual Hierarchy arranges elements to create focal points by positioning their priority within a design as a whole. To do this you will need to ask yourself what the key elements of your design are, which graphics communicate your concept most strongly? Study your design concept and take note of what attracts your eye first, where do you look next and how does your eye move around the visual elements of your design? Is a relationship implied in the ordering, grouping and placements of your graphical elements? Which graphics support your concept and how could you illustrate them to create a visual structure from most to least important? Scale Scale gives the designer the opportunity to create visual hierarchy. Scale is used to create the contrasting relationship of size between elements in a composition. Along with scale you can consider using colour to give your design visual weight. Visual weight refers to the relative size and scale of the various elements in a design. This gives meaning to the relationship between objects, or parts, of a whole. Gayatri Joshi Unity Unity is the underlying principle that sums up all of the principles and elements of design. Unity refers to the combination of all elements successfully working together to achieve a sense of harmony in your design. This can be achieved through the consistent use of graphic elements. Using repetition or patterns is one of the most basic factors in creating a strong sense of unity. (Graphic Design: Australian Style Manual, page 103) Harmony Harmony in visual design means all parts of the visual image relate to and complement each other. Harmony in painting is the visually satisfying effect of combining similar, related elements. eg.adjacent colours on the colour wheel, similar shapes etc. Dynamics Dynamics is the arrangement of visual elements in a composition to suggest the illusion of movement or direction. The effective use of dynamics in a design can add an emotive characteristic to your design making it appear restful and calming or active and energetic. Dynamics can exist in four basic forms: Rhythmic: A steady rhythm that creates predictability and order in a composition. Arrhythmic: Follows an unstructured rhythm to add visual interest to a composition. Random: Without a structured approach or a defined order that creates spontaneity in a composition. Directional: The use of graphic elements used in such as way that implies a visual connection to lead the eyes to move in a particular direction. Creating a dynamic composition involves the use of patterns or the repetition of graphic elements and movement to be effective in its execution. The suggestion of motion by the use of repeated structures creates dynamics. (Graphic Design: Australian Style Manual, page 172 and 181) Emphasis Emphasis refers to the focal point or center of interest of a composition. This is an area that is visually dominant and eye-catching that a designer has emphasized through the clever placement of graphic elements. Used effectively in combination with the principle of visual hierarchy 'emphasis' can assist to establish a primary focus and an alternative secondary emphases in another area of the composition. Emphasis is created using the principle of contrast. (Graphic Design: Australian Style Manual, page 103 and 245) Gayatri Joshi Gayatri Joshi Gayatri Joshi Contrast Emphasis can be achieved by use of repetition to highlight and draw attention to a repetitive element. When used with 'repetition' the emphasis is usually a break in the basic structure or visual rhythm of a pattern that causes your eye to pause or focus on a particular element. This then becomes contrast. In this instance, contrast achieves emphasis by accentuating an area to visually separate one element from another. Contrast in color, texture, scale, or shape attracts attention to a definite area, which may consist of strategically positioned graphics to call attention to a single element of your design. An effective use of contrast enables you to add interest to your design by highlighting specific graphic elements. This will result in a more visually striking composition. To achieve this 'contrast' is employed as a means of creating a visual hierarchy among different graphic elements. It can be applied to graphic elements, as light, dark, warm, cool, large, small; etc. Contrast is most effective when it is strong or quite obvious. The focal point of a design is usually a result of contrast where the eyes will naturally be drawn. Contrast can be used to direct the focus of a composition. When used as a device to emphasize or highlight design elements it is important to remember that an ineffective use of contrast may result in confusion. (Graphic Design: Australian Style Manual, page 103 and 246) Dominance Dominance gives a painting interest, counteracting confusion and monotony. Dominance can be applied to one or more of the elements to give emphasis. Dominance can also be called visual hierarchy or emphasis. Dominance can be used to create contrast. Proximity The basic theory of proximity is concerned with the arrangement or categorization of elements that relate to one another. When a number of graphic elements are close in proximity a relationship is implied. If elements are logically positioned they connect to form a structure to your design, this is also known as Visual Hierarchy. This provides a viewer with a Gayatri Joshi visual clue as to the concept you are communicating rather than being confronted with a scattering of unrelated graphical elements. (Graphic Design: Australian Style Manual, page 245 and 258) Repetition Repetitive elements throughout a design piece can be used to enhance and clarify information. Repetition adds visual interest to your design, and helps to identify elements that belong together. It can be considered a way of adding consistency to your design. The consistent repetition of graphic elements works to create visual unity. These elements can be as simple as colour, spatial relationships, a shape, a texture or a typeface. Sometimes repetitive elements are not identical in appearance but are in fact so similar that their connection is clear. Gradation Gradation of size and direction produce linear 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. Gradation of colour from warm to cool, and tone from dark to light, produce aerial perspective. References http://www.swinburne.edu.au/design/tutorials/design/design/# http://www.johnlovett.com/test.htm Definitions of these terms are available in your textbook: Barnum, A, Haddock, S, Hicks, A and Oppen, F (2012) Graphic Design: The Australian Style Manual, McGraw-Hill, Sydney - DU MELB - 741.60994 Bar/Gda (Pages 99 – 103). Gayatri Joshi Gayatri Joshi Gestalt Laws There is another way to look at design is to consider how perception works and how the mind reads an image rather than looking at how the elements sit on the page. Studies of perception and interpretation are commonly known in Gestalt theories. The fundamental principle of gestalt perception is the law of prägnanz (German for pithiness) which says that we tend to order our experience in a manner that is regular, orderly, symmetric, and simple. Gestalt psychologists attempt to discover refinements of the law of prägnanz, and this involves writing down ‘laws’ which hypothetically allow us to predict the interpretation of sensation. These are often referred to as "gestalt laws". These include: Law of Closure — The mind may experience elements it does not perceive through sensation, in order to complete a regular figure (that is, to increase regularity). Law of Similarity — The law of similarity captures the idea that elements will be grouped perceptually if they are similar to each other. Things that are alike are perceived to be more related than things that are disparate. This similarity might depend on relationships of form, colour, size or brightness. Law of Proximity —The law of proximity explains that within a collection of objects, we tend to see objects closer to each other as forming a group. In other words, elements closer to one another are inferred as being more related than those that are set apart. Spatial or temporal proximity of elements may induce the mind to perceive a collective or totality. The collection of objects do not need to be similar in appearance. Law of Symmetry (Figure ground relationships)— Symmetrical images are perceived collectively, even in spite of distance and are evenly balanced. Symmetry can occur horizontally, vertically or diagonally. Law of Continuity/Continuation — The mind continues visual, auditory, and kinetic patterns. In other words, and in design, the eye follows the path