This document discusses the key principles and elements of design, including how design purposefully manipulates viewers through visual cues and psychology. It outlines various gestalt principles like proximity, similarity, closure and continuity that influence how we perceive designs. The basic design elements of line, shape, color, texture and other elements are also examined. Overall, the document provides an in-depth overview of design fundamentals and how visual communication works on a psychological level.

1. Design is 100%
about clearly leading the audience
toward a well-articulated,
predetermined conclusion.

2. How does Design Work?
Design purposefully manipulates the
guest through his/her:
•Visual Intelligence
•Gestalt Psychology
•Signs, Appropriation of Meanings
•Indexical
•Symbolic
•Iconic
•Expectations
•Past experience
•Emotions
•Fear
•Calm/Comfort/Security
•Desire
•Sense of Adventure/Excitement/Bliss
•Connectedness to others

3. What are the Basic
Elements of Design?

4. Design Elements

5. Design Elements
Line

6. Design Elements
Line
Shape/Space

7. Design Elements
Line
Shape/Space
Size/Scale

8. Design Elements
Line
Shape/Space
Size/Scale
Color/Value

9. Design Elements
Line
Shape/Space
Size/Scale
Color/Value
Texture/Pattern

10. Line
Lines can:
•add interest
•suggest a mood
•divide space
•direct the viewer’s eye
•separate content
•direct the flow of content
•create emphasis in an area
Lines can be drawn or implied. An
implied line may be created by the
repetition of objects in a sequence, an
object that is thin and long (horizontal or
vertical), an object that creates a sort of
linear perspective or arrow, an object
that seems to be moving across the
page, a person’s gaze, etc..
Lines can also be decorative elements
(then called rules).
Lines vary in WEIGHT

11. Implied Line (or Direction)

12. Implied Line (or Direction)

13. Implied Line (or Direction)

14. Implied Line (or Direction)

15. Implied Line (or Direction)

16. Line can be unexpected and stylized

18. • A horizontal line or arrangement usually
produces a feeling of rest and relaxation
or suggests stability.
• A vertical line brings to mind strength
and action.
• A diagonal line suggests movement.
• A curved line may suggest
gracefulness or fluidity.
Line is also implied in the
arrangement of objects on a page

19. Shape
• Shapes can be
geometric or free-
form (organic).
• Design is basically
the planned
arrangement of
shapes on a
2-dimensional
surface.

20. +Space
& Figure/Ground
• Shapes can be
FIGURE (positive
space filled with
images)
• Shapes can also be
GROUND (negative
space created by
“emptiness”)
• In graphic design
positive shapes are
also created by text.
Large letterforms are
geometric and
complex in shape,
but body text is seen
as “gray rectangles.”
Ground
F
i
g
u
r
e
Ambiguous Figure/Ground

22. Scale (Size)
Size is used to convey
importance, attract
attention, create contrast,
and imply perspective or
dimension.
Size only takes on
meaning with
“scale” –size of an
object in relation to
the frame and to
the other objects.

23. Color/value

24. Texture
• Offers realism
• Produces
kinesthetic
pleasure
• Adds visual interest
• Suggests depth &
3-dimensionality
While texture is created of repeated elements that appear
3-dimensional, pattern is typically made of reapated elements that
are 2-dimensional. Pattern is associated with printed fabrics,
wallpaper, and the decorative arts

25. The artist selects, isolates, andThe artist selects, isolates, and
manipulates these elementsmanipulates these elements
for visual coherence.for visual coherence.
If all parts are working together,If all parts are working together,
the whole seems to be more than thethe whole seems to be more than the
sum of its parts.sum of its parts.
This is called theThis is called the gestaltgestalt..

26. Gestalt psychology
founded in 1910 by Max Wertheimer,
and his students Kurt Koffka and Wolfgang Köhler
Introduced the notion that visual data is read in predetermined ways
by the human brain
the brain spontaneously orders and simplifies sense data into
structured, holistic patterns

27. Gestalt
in German gestalt means form/shape
“a unified physical, psychological, or
symbolic configuration
having properties that can not be derived
merely from its parts.”
(American Heritage Dictionary)
organizational essence of the world
holistic pattern seeking
a “digestible” whole

29. Gestalt theory
images are perceived as a pattern or a whole rather
than a sum of the distinctive parts
context plays a key role in perception
changing the relative size, for instance, changes the perceived
importance of these elements to each other

30. laws of visual organization
the parts of an image can be perceived as
distinct components, but the whole is greater
than—and different from—the sum of its
parts....
a collection of individual visual elements
communicate a gestalt which is a message
held together by design, while separately the
elements may be meaningless

31. we tend to impose meaning and structure on what we see
And make patterns out of chaos

32. So what is a Gestalt?
A gestalt is a unified whole.

33. Gestalts are Constructed from
Nature and Nurture
Architecture and our rectangular world has had a
dramatic Influence on our Interpretation of Lines, as
have the patterns repeated in nature.

34. We organize pieces into
patterns,
construct wholes out of
parts,
and find meaning
where there was none
before...

35. What is the gestalt of seeing?
Our visual process is influenced by characteristics of
perceived objects, such as:
• Contrast (of value/dark to light)
• Intensity (color/weight, expressiveness of line)
• Figure-ground separation (depth/dimension)
• Proximity/Grouping (clustering)
• Size
• Motion (& implied motion)
• Repetition (similarity) or Novelty (difference)
• Closure
• Balance
• Emphasis
• Alignment

36. Contrast

37. Contrast
Contrasting
values
provide
definition,
tension, and
dynamism.

38. Contrast
- insufficient
contrast, focal
point lost

39. Contrast
- better
contrast, focal
point gained
- head
- logo
- phone

40. White space
- isolating an
element
focuses
attention on it

41. Intensity
In general, areas that are light in value, brightly colored, or highly
detailed draw the viewer’s attention more than areas that are dark,
dull, or less complex; they therefore carry visual intensity and
create a “focal point.”

42. Figure/Ground Separation
the simplest and most stable interpretations are favored.
an object [form] is differentiated from its
surroundings [context, background] by
positive/negative space juxtaposition
the object must peel of its context to see
it as a separate form
if object can not be seen as an organized
structure, it can not be separated from its
context

43. Figure/Ground
Attributes such as sharpness, contrast and
contour can affect the perceived
figure/ground relationship.

44. Figure/Ground Separation
smallness
Smaller areas tend to be seen as figures against
a larger background

45. Escher: Figure-Ground
Equivocation

46. Negative space tricks use more
parts of the brain

47. Purposeful Equivocation of
Negative Space

48. Vast
Negative
Space
A lack of negative space usually feels
uncomfortable -as it does when our personal
space is invaded or cramped...

50. Proximity
principle of proximity states that by
grouping related items together,
they become one visual unit

51. Proximity by grouping items we
create a “whole” and
create unity

52. Proximity
features which are close together are associated.

53. ClusteringClustering
• Isolated figures have
more dominance than
those in clusters.

54. Focal point: area where the viewer’s
eye is compellingly drawn.
Techniques for drawing attention:
~ Placing a figure off by itself
~ Creating contrast around the figure

55. Proxemic PatternsProxemic Patterns
• Intimate
• Personal
• Social
• Public

56. SizeScale provides contrast.
Typically larger items have predominance in a design, but if all the
objects are large, the one small one will have dominance through the
concept of novelty.
(plus
“babies”
appeal to
our desire
to nurture
the weak)

57. MotionOur brains search for some
stimulus in the environment to
serve as the assumed reference
point for stability.
Motion provides contrast to the
stability and demands our natural
attention.
Motion gets attention.
In 2D design, motion is
represented by imagery or may be
implied through line. Implied
motion in 2D work is sometimes
called Direction.
Motion may also be suggested by
a blurred item among many in
focus.

58. Suggesting Movement…
• Movement in the 2D plane is implied by eye pathMovement in the 2D plane is implied by eye path
• Activity attracts and holds attention.Activity attracts and holds attention.

59. We respond to designs that mirror the
repetitive growth patterns of nature.
Sometimes the understructure of a work of art
is planned to repeat a certain shape
subtly.
Artists do this subconsciously or intuitively,
but to those interested in analyzing a
work of art, these devices become
evident.

60. Repetition
of shape

61. Repetition
of image

62. Repetition
of pattern

63. Repetition
of color

64. Similarity
features which look similar are associated

65. Repetition of similar or varying
elements in a design tends to set up
a visual rhythm. Rhythm creates a
harmony that adds to unity.

66. Rhythm
a sense of
visual
movement
created by
repetition of
similar elements

67. Paradoxically, a 2nd way of suggesting
unity is to vary elements, as slight
variations repeating a central theme
or strong contrasts--a very rough-
textured area contrasted with a
very smooth-textured area, a very dark
area contrasted with very light, convex
shapes fitted into concave.
Opposites seem to complete each other.
Or novelty

68. Or novelty

69. Closure
interpretations which produce 'closed' rather than
'open’ figures are favored.
this principle of closure cuts across
the principle of proximity
natural tendency to close gaps and complete unfinished forms

70. Do you feel the quiet desire for the cube to be complete and neat?

71. Closure is most effective with
recognizable shapes & images.

72. Closure as Continuance
We tend to connect similar phenomena,
psychologically constructing a timeline
through them as a sequence...

73. Continuance
(related to closure & implied movement)

74. Continuance

75. Continuance...

76. Continuance... Is that circle
approaching us?

77. Continuance... Is that circle
approaching us?

78. Continuance... Is that circle
approaching us?

79. Continuance... Is that circle
approaching us?

80. Continuance... Is that circle
approaching us?

81. Continuance... Is that circle
approaching us?

82. Continuance... Is that circle
approaching us?

84. Common Fate

85. Common Fate
Strong Common Fate
Weak Common Fate
Different Colors and Shape
Patternized Spacing

86. Artists help viewers see a design as a unified whole by
balancing it visually.
Balance arranges all the elements and many of the
predominant gestalt attention getters.
In addition to shape position and size, remember,
visual weight is affected by color, value, and detail.

87. Balance
the relative balance within a composition can affect attention

88. Balance
Our judgment of balance is based largely on mechanical laws. A
composition must appear to be stable; that is, a large component such
as a tower must not be situated so far from what we take as a center of
gravity as to appear capable of tipping the remainder of the structure.

89. CompositionComposition
• Top-heavy
composition: makes
us uneasy
• Bottom-heavy
composition: is more
expected and
commonplace,
offers feeling of
stability.

90. Symmetry
- suggests,
calm, order,
stability

91. Asymmetry
- suggests,
movement,
tension

92. Some image-makers convey intentSome image-makers convey intent
without using all traditional principles of design.without using all traditional principles of design.
Some intentionally violate the principles ofSome intentionally violate the principles of
harmony to create a sense of discord.harmony to create a sense of discord.
..

93. Sometimes artists intentionally unbalance a
design to create a disorienting effect.
Preferences for symmetry or asymmetry in
art change with the times. Also, much
artistic balancing is done intuitively rather
than intellectually.

94. Emphasis = focal point
- where the eye is drawn
- intentional (“by design”) focusing of
viewer attention to a single point in the
composition
- created by predominance of main
objects, well-paced negative/positive
space, and effective eye path
- simplifies message/meaning

95. 6 Rules of Focal Emphasis
•Objects in the upper left quadrant of a frameObjects in the upper left quadrant of a frame
have focal prominence.have focal prominence.
•Large objects get noticed.Large objects get noticed.
•Bright objects are more visible than dark on screen.Bright objects are more visible than dark on screen.
•Bright colors are more predominant than dull ones.Bright colors are more predominant than dull ones.
•White space next to the focal drawsWhite space next to the focal draws
the eye to the object.the eye to the object.
•Unusual shapes, camera angles, andUnusual shapes, camera angles, and
diagonal lines get noticed.diagonal lines get noticed.

96. Alignment
proximity and
similarity of
shape unify
design

97. Alignment
aligning like
edges together
strengthens
unity-helps
brain create
pattern

98. Alignment
Items are grouped--but disconnected

99. Alignment
Items now aligned--better sense of connection/unity

100. Alignment
principle of alignment states that
1) nothing should be placed on a
page arbitrarily

101. Alignment
principle of alignment states that
1) nothing should be placed on a
page arbitrarily
2) every item should have a visual
connection with something else on
the page

102. Other Elements of
Effective Design
• sophistication- Is the design contemporary, trendy, elegant,
polished, classic?
• visual intrigue – Does it surprise? Do we see something we
haven’t seen before?
• entertainment – Do the images tell a story? Does the composition
portray energy and drama?
• suspense – Does the image hook the audience with what it
conceals and promises to reveal?
• theme – Does it draw on metaphors, myths, and analogies to the
familiar?

103. A final principle to consider in
organizing a shot is economy:
eliminating elements that might distract
attention from the essence of what the
director needs to communicate.
VS.

105. Framing the SubjectFraming the Subject
• Headroom: space between
the top of a subject’s head
and the upper edge of the
camera frame
• Noseroom or look space:
Space between the subject
and the side of the camera
frame toward which she is
looking
• Leadroom: Space between
the subject and the side of
the camera frame toward
which she is moving