The document discusses the key elements and principles of design including point, line, shape, form, space, color, light, texture, balance, scale, rhythm, emphasis, unity, and harmony. It explains that elements are the basic building blocks used in design and principles govern how elements are combined and arranged. When elements and principles are properly used together, they can be used to create visually pleasing compositions and unique designed spaces.

1. ELEMENTS AND PRINCIPLES OF
DESIGN
BY: ASHMINE KAUR

2. WHAT THEY ARE?
ELEMENTS
• Point
• Line
• Shape
• Form
• Space
• Colour
• Light and Value
• Texture
PRINCIPLES
• Balance
• Scale and Proportion
• Rhythm
• Emphasis/ Focus
• Unity and Harmony

3. IMPORTANCE IS ELEMENTS AND PRINCIPLES OF DESIGN
• They make interiors unique.
• They help in solving design problems.
• With proper use, they help in showcasing client preferences in a space.
• Elements and principles are the basic design vocabulary.
• Designers use them to develop, analyse and assess the good design.
• Elements are the building blocks of design and principles govern designers’
decisions and behaviours. For a well designed space, they need to be combined.
• A unique space is formed by combining different elements and principles.

4. DESIGN ELEMENTS AND PRINCIPLES
• Are not applied accurately like maths and science.
• Designers struggle to classify and describe them.
• Since they are versatile, they can have various interpretations.
• Everybody needs proper usage and communication in the discussion and
evaluation of designs.
• Elements and principles of design convey designers decisions.

5. HOW ARE THEY ARE USED TO CREATE A GOOD COMPOSITION?
An image which captures our attention and is pleasing to us always has a good
composition. A good composition includes many of the elements of design working with
the principles of design. For example, colour is an element and balance, a principle, is the
arrangement of colour so that one side or section of a work of a art doesn’t look heavier
or stronger than the other and is in visual balance. Also, movement, a principle, uses
colour, line and shape to direct the viewer’s eye from one part of a design to another.
Unity, a principle, is the result of all the elements and principles working together.

6. ELEMENTS OF DESIGN
• Everything in our environment contains design elements. They are organized
according to design principles by the designer.
• Various combinations of elements create two and three dimensional designs.
• Design applications in projects is improved. They are framework for work and
communicate a wide range of concepts. They are design’s components and building
blocks.
• Design components are line, shape, colour, value and texture. When properly
combined, they provide a great visual message. Understanding them is crucial for
creating efficient, clear and engaging designs.
• When used correctly, they provide basic and minimalist design.

7. POINT
• Point is the first and simplest element of design. Point serves as the focus of
something visual and therefore draws attention. Even if there is only one point, or
one mark, on a blank page our brains will make it mean something. In fact, the
visual world is so complex that the mind has developed strategies for copying with
the confusion. The mind tried to find the simplest solution to a problem. One of the
ways it does this is to form groups of items that have certain characteristics in
common. Our brains seems some kind of relationship or order, even if only to use it
as a point of orientation in relation to the outline of the page. If there are two points
on a page, immediately the eye will make a connection and “see” a line. If there are
three points, it is unavoidable to interpret them as a triangle; the brain supplies the
connections. This compulsion to connect parts is described as grouping

8. LINE
• Define a subject’s form of shape on a flat, 2D surface.
• Lines can be thick of thin, smooth or jagged, rigid and mechanical or organic and hand
drawn.
• Lines create furnishings and architecture of a room.
• Lines sets form and shape.
• Line is responsible for harmony, contrast and unity in design.
• Line can be used to show movement and guides the eye throughout a room.
• Lines can be used to show mood.
• Line can be used to convey a sense of strength, serenity, gracefulness or action.
• Combining lines and placing them in a design in certain ways can create specific effects and

10. LINE
• Different types of lines have different effects on design.
• Characteristics of lines include: Width- thick, thin, tapering, uneven Length- long,
short, continuous, broken Direction- horizontal, vertical, diagonal, curving,
perpendicular, oblique, parallel, radial, zigzag Focus- sharp, blurry, fuzzy, choppy
• The difference in line quality have created works with very different impact. How you
use line is very important while creating some artwork.
1. Vertical lines lead the eye up, adding height formality growth spirituality grandeur
strength to a design. Can be seen in: Tall furniture Columns Pillars Striped
wallpaper Long narrow draperies.

12. LINE
2. Horizontal lines lead the eye to the left or right, suggesting informality calm peace
gentleness gravity restfulness. Can be seen in: Long, low roofs and furniture such as
sofas and chests
3. Diagonal lines suggest action, activity, movement excitement creates a sense of
speed. Can be seen in: Staircases, Cathedral ceilings, Gable Roofs
4. Curved lines many curved lines create a busy look represent freedom, natural flow,
appearance of softness, a soothing feeling. Can be seen in: Doorway arches, Ruffled
curtains, Curved furniture, Rounded accessories, Staircases
5. Directional/ jagged lines Can be perceived as forceful, chaotic, sharp, threatening
6. Thin lines Can be experienced by Unstable, weak
7. Thick lines Can be experienced by Rigid, Dependent, Dominating

13. Curved line
Horizontal line

14. SHAPE
When the beginning and end points of any line meet, a shape is created. You can see
shapes in nature and within interior spaces. Shapes
• are two dimensional
• are angular and sharp or curved and rounded
• become a pattern when repeated
There are several categories of shapes. Geometric shapes suggest order and regularity.
They include circles, triangles, rectangles and squares.

16. SHAPE
• Circles: symbolizing infinity, unity, continuity, safety, and protection. They attract
attention. Their use in design is less common.
• Triangles: symbolizing stability, action and masculinity, triangles give the feeling of
dynamic energy.
• Rectangles and Squares: symbolizing solidity, order, formality, security and equality,
rectangle shapes are more pleasing to the eye than square ones. Most spaces are
rectangular and therefore, most construction materials support the shape. Squares
are stable, serene and represent the pure and rational. Repetitive use of square
shapes is pleasing to the eye.

18. SHAPE
Organic shapes based on nature, are pleasing and suggest constancy, comfort, and
spontaneity. More curved than angular, they are interestingly irregular in their design.
Two organic or natural types of shapes include amoeba- like curves that are
meandering and irregular, and spirals that symbolize creativity, expansion, and
transformation.

19. FORM
• Form is the outlined edges of a 3D object.
• It has length, width and depth (or height) as well as volume and mass.
• Can be measured, from top to bottom (height), side to side (width) and from back
to front (depth).
• Form is also defined by light and dark.
• It can be defined by the presence of shadows on surfaces or faces of an object.
• There are two types of form geometric (man-made made) and natural (organic
form).
• Form maybe created by the combining of two or more shapes.
• It may be enhanced by tone, texture and colour.

21. FORM
• It can be illustrated or constructed.
• It has volume and mass.
1. Organic – natural, living form
2. Inorganic geometric – man-made, non-living forms
3. Open-forms – forms that can be looked into. Closed- forms, self contained
4. Geometric Shape – circle, square, rectangle, triangle, pentagon, octagon, other
polygons
5. Geometric Form – sphere, cube, pyramid, cone, cylinder
6. Free-Form – any non-geometric shape: irregular, amorphic.

22. SPACE
• Space, in 2D design, is essentially flat. It has height and width, but no depth.
• There are certain visual cues, that can create the illusion of space in the mind of
viewer. By using those cues, artists and designers can create image that are
interpreted as three dimensional.
• Space is the area provided for a particular purpose.
• It may have two dimensions (length and width) such as a floor or it may have three
dimensions (length, width and height), such as a room or dwelling. It refers to the
area that a shape or form occupies.
• When space changes gradually, it is more pleasing than when it changes abruptly.
• Space can be defined as positive or negative. Positive space is the filled space, the
object(s) or elements(s) in the design. Negative space is the empty space, or the open
space between design elements or objects, such as a background.

23. A good example of negative space
A good example of positive space

24. COLOUR
• Colour is the key element of interior design.
• It is used to create aesthetically pleasing combinations and also works on a
psychological level.
• Each colour has three characteristics: hue, value and intensity.
• It emphasis to create a hierarchy and the piece of art.
• Colour Saturation gives a colour brightness or dullness, Colour mayconnote
emotion (excitement, rage, peace) and simulate brain activity (action, relaxation,
concentration). Light is additive – working towards white.
• Paint or pigment is subtractive – working towards black. Mixing red, blue and yellow
can create any pigment colour.
• Tints are made when white is added to a pure hue to make light values.

26. COLOUR
• A Shade is when black is added to a pure hue to make dark values.
• Hue is the name of a colour. Red, green and blue-violet are examples of hues. A
colour may be lightened, darkened or dulled, but the hue will remain the same.
• Tint (colour+white) is high value colour, whereas shade (colour+black) is low value
colour.
• Primary colours are hues from which all other colours can be made: red, yellow,
blue.
• Secondary colours are made from mixing equal parts of the Primary colours:
orange, green, violet.
• Tertiary colours are those colours between Primary and Secondary colours: red-

28. COLOUR
• Complementary colours are those colours that are opposite to each other on the
colour wheel: red-green, orange-blue, yellow-violet.
• Analogous colours are colours that are adjacent (side by side) to each other on the
colour wheel.
• Monochromatic colours are variations in value of one colour by adding either white
to make things or black to make shades.
• Intensity refers to the brightness or dullness of a colour of hue. Adding some of its
compliment can lower the intensity of a hue. The compliment of a hue is the colour
directly opposite it on a standard colour wheel.
• Examples of high intensity colours include hot pink and fire-engine red.
• Low intensity colours include rust and smoky blue.

30. COLOUR
• A colour is Transparent if the viewer can see clearly through it.
• A colour is translucent if it admits light but the image is diffused and can not be
seen clearly.
• A colour is opaque if it can’t be seen through.
• Colour have degrees of transparency descriptors: brilliant, medium, dull.
• Value is the lightness or darkness of a hue.
• The value of a hue can be made lighter by adding white. This produces a tint.
• A hue can be made darker by adding black. This produces a shade.

32. LIGHT AND VALUE
Light and value are thought to be separate elements. They can be perceived as one since
they are interconnected. Artificial and natural light are commonly ignored and trivialized.
Like color, light is a very powerful design element. Its quantity, quality, and color
influence people’s behavior and capacity to function.
People see the light in:
• The most spectacular sunrises and sunsets
• The bare bulb in a rustic ceiling in its most basic form
• Lighting has the power to transform a space completely
• A combination of light and shade creates a pleasant and appealing setting.

34. LIGHT AND VALUE
Advantages of great lighting:
• It adds depth and height,
• Creates cosy spots, and
• It highlights prominent features.
• The right combination of light and color gives a fresh perspective of life.
Professionals combine elements to create the ideal lighting. They create a seamless
blend of aesthetic and practicality in a room.

35. Value Scale

36. LIGHT AND VALUE
Value
• The tone is another name for the value. It's the object's lightness and darkness, as
well as its color.
• White has a lighter value, whereas black has a darker value. It produces contrast by
varying the brightness and darkness.
• When black and white colures are employed, a high-value contrast is achieved
example: using light furniture against a dark background. Contrast is reduced when
darker values like grey are used. If the colors are similar in value, things will not
stand out.
• A key character or feature is highlighted by contrast. It creates the design's focal
point or centre of attention.

38. TEXTURE
• Texture is usually referred to as the surface of the wall that is created to give a
perfect finish.
• The way it feels when you move your hands over the wall defines the quality of the
work done by designer.
• Those smooth, glossy or coarse textures in all your objects, walls, curtains and fabrics
lend a subtle sense of certain depth in a design.
• If it’s your furniture or accessories or walls, textures have the ability to add that level
of interest and minute detailing that makes it a visual treat to the eye.
Textures can be classified into two types:

40. TEXTURE
Actual textures also known as the tactile textures are the textures that you can
touch and feel by hand. They are available in 3D space and can be experienced by
means of touch and sight. Designer has to ensure that there is enough materials and
components that have the actual textures. These actual textures are easy to create as it
involves the use of physical material.
Visual texture on the other hand, is more about creating a visual illusion of texture in
the 3D space. Nowadays there are many wallpaper techniques that makes the walls
and other interiors look like they are textured. However, in reality they are not. It is all a
game of perceptions. A skilled designer will be able to recognize lack of texture and
will make sure to carefully place each object with respect to other, adding perfect
contract and finish to the design.

43. PRINCIPLES OF DESIGN
• Designers use design elements to achieve the principles of design. They are the
standard rules that must be followed. They help in achieving compelling and
structured design.
• Shape and convey the design in an efficient and structured way. When properly
applied, these principles help to revolutionize designs. They improve in terms of
appearance, performance and cohesion.
• Not all designs follow the guidelines. They defy and mix norms while still achieving
appealing and intriguing designs.
• A designer should stick to the rules.
• They should know rules and how to create a compile in design.

44. BALANCE
Balance is the equilibrium of elements in a space. Two major categories of balance
include
• physical balance- an actual weight of an object which depends on gravity and
equilibrium
• visual balance- an illusion that relates to perceived relative weights of objects in
space
In interiors, designers create visual weight or an illusion of balance. Rather than
physically balancing furniture and objects, designers create balance through a visual
judgment. Every object in a space has a degree of lightness or heaviness. For example,
light colours appear lighter in visual weight than dark colours. Similarly, transparent
objects appear lighter than opaque objects.

45. BALANCE
Visual balance is a quality in a room that gives a feeling of equilibrium, stability or
steadiness. It is a distribution of visual weight that results in a comfortable
atmosphere. If balance is not achieved, a sense of imbalance and discomfort results
and causes the occupant to leave the room. There are three types of balance. They
include
• symmetrical
• asymmetrical
• radial

47. BALANCE
Symmetrical balance is the arrangement of objects on both sides of a centre point or
line that results in a mirror image. In nature, the human body reflects symmetrical
balance on the vertical axis. In a reflected mountain scene in a nearby lake, we can see
symmetrical balance on a horizontal axis. In architecture, we can find it in stately
historical buildings such as state capitol buildings. In interiors, formal spaces such as
living rooms, historic parlour and places of worship utilize symmetrical balance.
Designers use symmetrical balance to emphasize a focus point such as a view outside
a window. People perceive symmetrical interiors as predicable, stable, dignified and
calm. For that reason, commercial interiors such as courtrooms, museums, hotel
lobbies and large residences as private palaces use symmetrical balance. We can also
see symmetrical balance in formal historic interiors. We can achieve symmetrical
balance by: 1 aligning a formal dining table with the same number of matching chairs
across table, 2 placing parallel matching loveseat in front of a hotel lobby fireplace, 3
using identical side chairs on either side of a foyer table

49. BALANCE
Asymmetrical balance occurs when objects on both sides of the central visual axis are
dissimilar yet appear to have identical visual weight. In nature we see this type of balance
walking in a forest, in a flower garden or in large rock formations. We can see
asymmetrical balance in majority of spaces. Asymmetrical interiors incorporate dissimilar
furnishings and objects on either side of the centre point that provide balance in visual
weight. Use of asymmetrical balance in contemporary interiors provides more spacious
appearance. People perceive asymmetrical interiors as more informal, flexible, creative
exciting and vigorous. It is a subtle balance that requires more thought and imagination
than asymmetrical balance, and is more interesting to view over longer period of time.
Use of asymmetrical balance in contemporary interiors provides a more spacious
appearance. Interior furniture arrangements, the arrangement of wall art over a sofa or
the placement of objects on a fireplace mantel may use asymmetrical balance.

51. BALANCE
Radial balance occurs when all elements radiate out from one centre point in a
circular fashion similar to spokes on a wheel. The petals of a daisy or the ripples that
appear after throwing a rock into water are examples from nature. In interiors, radial
balance is visible in a ceiling detail, in chairs circling a round table, and in curved
stairwells. In commercial interiors, radial balance often appears in hotel or office
lobbies, rosette windows in places of worship, and central areas of shopping malls
around a water fountain.

53. SCALE AND PROPORTION
• Scale and Proportion in design are important. It is a very important part of principles
of design.
What is Scale?
Scale refers to one object’s size concerning another. Specifically, the concept of scale is
used when one object’s size is known for certain. Scale is divided in three categories:
human scale, monumental scale and miniature scale. Few examples are:
• the standard wall heights
• height of a table and chair
• how many meters a bathroom or shower should be so as not feeling too cramped.

55. SCALE AND PROPORTION
What is the proportion?
Proportion refers to the general size relationship between two different objects. When
designers refers to proportion, they are trying to describe the way objects relate to
each other in a room. Colour, Space and Style shows how to get proportions right
every time. General size of objects can change the entire look and feel of a room.
Example: coffee table needs to be two-thirds as long as the couch it is used with.

57. RHYTHM
The principle of rhythm is a creative, repetitive blend of movement and visual form in
conscious, regular arrangement. It often attracts attention and always develops visual
unity that enhances beauty within a space. In design, achievement of rhythm often
occurs by using repetitive elements of design such as colour, light, shape and line or
structural forms such as exposed ceiling beams, columns or windows. We can easily
attain rhythm as colour trails through adjoining spaces, in repeated shapes of furniture
or forms repetitively used is accessories. Of the simplest forms of repetition is use of
colour throughout a space in furnishings, pillows and accessories. In commercial
spaces, designers also create rhythm with simple pattern using ceiling grids, coloured
floor tiles or suspended light fixtures over conference table.

59. RHYTHM
Rhythm is divided in five categories:
1. Repetition
2. Progression
3. Alternation
4. Contrast
5. Movement
• Repetition: As the simplest type of rhythm, it controls the eye movement by
repeating a single element again and again. Typically, the elements are in similar size
and length.

61. RHYTHM
• Progression: Also known as gradation, progression is gradual increase or decrease in
size of a design element, typically as an identical form, colour or shape but in
different scale. For example, a designer may create this effect on a sofa table with a
series of vases in a succession of increasing or decreasing sizes or as a series of small
to large stacked boxes. We can also observe progression when using one colour,
from dark to light, in a room.
• Alternation: This type of rhythm uses a repeated pair of contrasting elements such
as dash and dot of Morse code. We can see it in such design elements as a parquet
floor or checkerboard floor. Alternation moves a viewer’s eye around the room and
adds variety and interest. Alternating warm (red, orange) and cool colours (blue,
green) around the room also creates rhythm.

63. RHYTHM
• Contrast: Putting elements of the design directly opposite the other will create
contrast. It causes the eyes to move back and forth between the two design
elements. Create it with opposing sides of the colour wheel or we can also mix and
match materials. Metal and wood would be a great example.
• Movement: Movement refers to the path that the viewer’s eye takes. Lines, edges,
shapes and colours can be used to create movement. When a variation of the
element is employed repeatedly, a rhythmic movement is formed. Curved and
diagonal lines, as compared to straight lines, provide movement. The movement
doesn’t need to be noisy and chaotic.

65. EMPHASIS/FOCUS
The terms emphasis and focus point are used interchangeable in design. A human eye
instinctively search for a space to relax. This is the emphasis or focus point of a room.
When elements work together, a focus point or emphasis unites a space. If a focus
point does not exist in a room, it will appear uninteresting and bland. Multiple focus
points in a room might cause viewers to become confused and conflicted. There are
three types of techniques to establish focus point or emphasis of interior space:
• Dominant
• Subdominant
• subordinate

67. EMPHASIS/FOCUS
• Dominant: A breathtaking view, a massive fireplace, or architectural feature such as
a large, built-in bookshelf can achieve this high level of dramatic emphasis.
• Subdominant: This supports the dominant emphasis and is of secondary
importance. For example, designers use the subdominant level when centering large
prices of furniture on the fireplace.
• Subordinate: This level supports the subdominant level and has the least visual
weight. Accessories that sit on tables, fireplace mantels, small furnishings or
bookshelves are examples of this level.

68. UNITY AND HARMONY
What is Unity?
The overall cohesiveness of a composition that’s been created with the elements of
design. It is considered the most important principle. Unity comes from repeating
things over and over because then it’s all within the same subject.
What is Harmony?
Uses the elements of design to emphasize the similar parts of different elements. Like
things of same colour, things of same texture. It creates togetherness through
difference of objects.
Unity/Harmony is must used to create unity in a unique way.

70. UNITY AND HARMONY
If we have too much unity then it makes your entire design feel very flat it make it feel
one- dimensional. If it doesn’t have any interest to it right. So, variety is needed for
visual interest to make people look at your design and look interesting.
Unity and Harmony with Colour and Value: So colour and value unity and harmony
deals with palettes and colour schemes. Unity can be achieved with one colour, but
harmony is created with good colour scheme. Harmony is used to create variety.
Unity and Harmony with Texture: Similarly/same textures used within a design to
create a sense of unity. Can be as simple as the texture of a canvas. Can be with
physical material that can create a unity through texture, can have implied texture or
physical texture.

71. UNITY AND HARMONY
Unity and Harmony with Shape and Form: Similar use of shapes and forms to create a
sense of unity. Tends to be popular because of how obvious it is. Use of the same shapes
and forms over and over can become boring/ repetitive. Use of rounded or sharp edges
or creating similarities within different forms creates harmony.
Unity and Harmony with Line: It can be with implied line or actual line. When an actual
line is usually similar line weight or similar style.