The document discusses key principles of two-dimensional design including unity, variety, balance, scale, proportion, rhythm, and emphasis. It defines each principle and provides examples of how they can be applied when combining visual elements into a harmonious whole. Unity involves using techniques like grouping, containment, repetition, and closure to create a cohesive design. Variety introduces a sense of differences. Balance creates a feeling of equilibrium through symmetrical, approximate, radial, or asymmetrical arrangements. Scale and proportion examine size relationships within and between design elements. Rhythm produces a sense of movement through repetition. Emphasis draws special attention through isolation, placement, or contrast.
Design, a language in its own right gave voice to those who could not speak eloquently. It provided a medium that could paint a picture in a way that even best literary works could not do. But what is there that helped building up this language? What is the basic structure that created such a profound medium where anybody has a chance showcase his own stories? This presentation tries to breakdown that structure for people who care enough to learn about it. With this presentation, I try to lay down the two main aspects of design, i.e., “Elements and Principles” of design. These aspects are quite necessary in order to learn about how to visualise every single attribute of design. These aspects provide an insight into the working of a design. One might be into any kind of design language, but the basic structure remains the same. therefore, it becomes quite important to learn about this structure in the first place.
A starter guide to Color Theory in design. We will cover ideals like the Color Wheel (Primary, Secondary, Tertiary), Compliments, Triads, Split Compliments, Analogous, Shades, Tints, Monochromatic, Warm & Cool, and of course take a quick look at the differences between RGB and CMYK Color Modes.
Design, a language in its own right gave voice to those who could not speak eloquently. It provided a medium that could paint a picture in a way that even best literary works could not do. But what is there that helped building up this language? What is the basic structure that created such a profound medium where anybody has a chance showcase his own stories? This presentation tries to breakdown that structure for people who care enough to learn about it. With this presentation, I try to lay down the two main aspects of design, i.e., “Elements and Principles” of design. These aspects are quite necessary in order to learn about how to visualise every single attribute of design. These aspects provide an insight into the working of a design. One might be into any kind of design language, but the basic structure remains the same. therefore, it becomes quite important to learn about this structure in the first place.
A starter guide to Color Theory in design. We will cover ideals like the Color Wheel (Primary, Secondary, Tertiary), Compliments, Triads, Split Compliments, Analogous, Shades, Tints, Monochromatic, Warm & Cool, and of course take a quick look at the differences between RGB and CMYK Color Modes.
Newspaper Make - Up
Describing about newspaper layout.
Information on Front Page of a newspaper
Defining the important page of a newspaper-The Editorial Page
User Interface Design
User Centred Design and principles, Iterative Design, User research, Building Personas, Design studio method, Prototyping basics and tools, Paper prototyping, Usability testing
The way people see a web page or digital design strongly affects its utility and the meaning that they take away. Gestalt principles tell people how to perceive visual objects, what they mean, and how they relate to one another within the user's experience. Design with these principles in mind to meet users' needs and leave a positive impression.
Graphic Design Elements and Principles - Tips and inspirationShahria Hossain
Graphic Design Elements and Principles - Tips and inspiration.In this Slide i tried to share some tips and inspiraion and some major discuss about Graphic Design principles and elements.I hope you enjoy it all.
Elements and Principles of Design (Updated)Ravi Bhadauria
Here's a complete presentation on elements and principles of design that every designer must know. So, have a look at this presentation till the end. To learn more go for our official website - https://www.admecindia.com.
Principles of Design Lecture for DSU GDES 241 Graphic Design 1.
The principles of design:
Balance
Unity, Harmony
Rhythm, Movement
Pattern
Proportion, Scale
Emphasis
Application of Basic Design in Architectural ProjectsYogeshIJTSRD
Organization is the essence of any design and doing nothing is also a form of design. When it is an applied design, it is hazardous to design by neglect and default. Design sometimes suffers from a dilemma about its identity. It is not solely either an art or a science but is a combination of both. Applied design is not like physics or biology or writing or painting, but it involves these areas and more. Design tends towards a generalized approach, collecting specifics from diverse areas as needed. Design is a combination of art, science, technology and intuition. Design does contain sound proven principals and criteria for judging its success. These criteria centre on the relationship between human needs and human environmental possible. The measure of the success of a particular applied design is how well it meets the needs of the people experiencing it. Dr. Mukesh Kumar Lalji | Dr. Sheetal Sharma "Application of Basic Design in Architectural Projects" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-5 | Issue-5 , August 2021, URL: https://www.ijtsrd.com/papers/ijtsrd43782.pdf Paper URL: https://www.ijtsrd.com/engineering/architecture-and-planning/43782/application-of-basic-design-in-architectural-projects/dr-mukesh-kumar-lalji
Similar to Unity, Balance, Proportion, Scale, Rhythm & Emphasis - Chapter 3 (20)
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2. Chapter Three:
Principles of Two-Dimensional Design
Composition or Design: Combination of multiple
parts into a harmonious whole using Elements &
Principles of Design.
Cornerstones of visual communication: Unity and
Variety
UNITY: Oneness, or wholeness, in a design that
occurs when all parts work together to create a
cohesive whole.
VARIETY: Sense of differences. 2
4. Patterns and Grids
Pattern: visual elements systematically repeated over an
extended area.
Grid: a series of intersecting lines.
4
Suggested visual:
Figure 3.18.
5. Balance
Balance: a sense of equilibrium among
compositional units.
Weight and Gravity: the inclination of shapes to float
or sink; the relative importance of an element.
5
Suggested visual:
Figure 3.22.
6. 1. Symmetrical: mirrored imagery on either side of a
central axis.
2. Approximate: similar imagery on either side of a
central axis.
6
Balance
Suggested visual:
Figure 3.25.
7. Balance
3. Radial: images are mirrored both vertically and
horizontally.
4. Asymmetrical: imagery is not mirrored.
7
Suggested visual:
Figure 3.32.
8. Scale and Proportion
Scale: size relationship between two separate
objects (often our own human size).
Proportion: comparative, or relative, relationship
between the parts to a whole within one image.
8
Suggested visuals:
Figures 3.36, 3.38, & 3.39.
9. Rhythm
Rhythm: sense of movement created by repetition of
multiple units in a deliberate pattern.
9
Suggested visuals:
Figures 3.40, 3.41.
10. Emphasis
Emphasis: special attention given to some aspect of
a composition (focal point).
• Isolation (anomaly)
• Placement
• Contrast
10
Suggested visual:
Figure 3.51.
Editor's Notes
The outer edge (format) of a composition defines the design.
Principles of Design are how the elements of Line, Shape, Texture, Value, and Color are organized. The principles include unity, variety, balance, scale, proportion, rhythm, and emphasis.
Artists must do a delicate balancing act between Unity and Variety. Unity can create stability and calmness. Excessive unity can be monotonous. Variety can create visual & conceptual interest. Excessive variety can create chaos.
Opposing forces (contrast) creates opposition (static/dynamic) with size, shape, color, value, or texture. A ratio of 80/20 is especially effective.
Note: Instructors may wish to duplicate this slide for a more thorough study of these terms, using the figures suggested below. Gestalt theory contends that visual information is understood holistically before it is examined separately. We will look at six essential aspects of the application of Gestalt:
Grouping: We generally group visual units by location, orientation, shape, and color. Ask students to determine why we see two distinct groups in 3.4A (location). Orientation creates unity in 3.4B. In 3.4C we mentally organize groups by shape.
Containment: The format creates unity and determines positive and negative space (vertical, horizontal, circular, etc.). There are three containment elements in figure 3.7. The corporate logos are contained by the face, which is contained by the curtains, and finally by the rectangular format.Repetition: occurs when we use the same element or effect over and over (refer students to figures 3.1 & 3.9).
Proximity: distance between visual elements. Unity and compositional energy increases with close proximity (abutting, transparency, mutual tension, etc.). Refer students to 3.11.
Continuity: Creates a fluid connection among compositional parts (eye direction & focal points). Refer students to figures 3.12, 3.13.
Closure: implication completed in the mind can be more powerful than specification (see figure 3.14).
Combining Gestalt principles: Figure 3.15 combines closure, containment, and proximity.
Both patterns and grids can be used to create containment, increase continuity, strengthen proximity, and encourage closure. As a result, patterns and grids tend to increase compositional unity.
Grids commonly utilize vertical and horizontal lines, and are helpful with disparate elements.
The compositional forces that most influence visual weight are size, value, type of shape, texture, location, and orientation. The context strongly affects each of these forces. Visual weight refers to the inclination of shapes to float or sink based on their solidity (solid shapes generally weigh more than open shapes); their compositional location (shapes that appear to extend in the upper right tend to rise, and vice versa); and orientation (static & dynamic). Shapes that extend affect weight also. The second use of weight refers to the relative importance of an element within a design. The moon in Adams’ photograph has the most visual weight, and is a focal point.
Each type of balance has its advantages, depending on the idea you want to express. Symmetrical design can communicate calm and stability. Approximate symmetry tends to pull the viewer in, attempting to discern the differences in a seemingly symmetrical design.
Radial balance tends to pull or push the viewer toward the center of the composition. A spiral can increase energy and add movement.
Depending on the degree of asymmetry, a design can be stable, dynamic, or nearly chaotic, and create the greatest visual interest. Balance shifts each time an element is added, subtracted, or altered. Dependent on size, location, weight, value, and texture relationships.
There are even cases in which a degree of imbalance is necessary, particularly when combined with dramatic or tense concepts.
Both of these concepts strongly affect compositional balance and emotional impact. Exaggeration can draw the viewer’s attention. Understatement creates a sense of mystery, while overstatement creates emphasis.
Rhythm can be created by alternating elements of pause and emphasis or a sequential flow pattern. It can be created through repetition of any element of design.
Visual elements in a composition must work together as a team. Selected elements dominate or stand out, while others are subordinate or supportive. A focal point is a compositional device used to create emphasis.
Isolation: Any anomaly or break from the norm tends to stand out.
Separation and connection: A separation or anomaly gives emphasis; a clear pattern creates a connection.
Placement: The compositional center is especially potent. Centricity draws us in and eccentricity forces us outward. Location: the relative distance from the center; can be directed through eye movement or pointers.
Contrast: Created when two or more forces (elements of design) operate in opposition. Examples include static/dynamic, small/large, solid/texture, curvilinear/rectlinear. A balance of 80/20 is especially effective. In your compositions, consider a contrast in scale, shape, or color for example.