importance of principles of design
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Importance of principles of design
The principles of design are made up of various mixes
of the elements of design all put together in one design,
making our design look better.
principles of design become very important for artists.
They are the devices that we need to use and will
unknowingly use, since they make our design look
nicer and become more visually appealing to people
who are looking at our work. That is why the principlesare important, too make our artwork look visuallyappealing, catch people’s eyes and get good reviews.
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Elements of design
• Line
• Shape
• Size
• Direction
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Elements of design
• Texture
• Value
• Space
• Text
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Elements of design
LINE – The linear marks made with a pen or
brush or the edge created when two shapes
meet.
SHAPE – A shape is a self contained defined
area of geometric (squares and circles), or
organic (free formed shapes or naturalshapes). A positive shape automatically creates
a negative shape.
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Elements of design
DIRECTION – All lines have direction –
Horizontal, Vertical or Oblique. Horizontal
suggests calmness, stability and tranquillity.
Vertical gives a feeling of balance, formality andalertness. Oblique suggests movement and
action.
SIZE – Size is simply the relationship of the
area occupied by one shape to that of another.
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Elements of design
TEXTURE – Texture is the surface quality of a
shape – rough, smooth, soft hard glossy etc.
COLOUR – Colour is light reflected off
objects. Color has three main characteristics:
hue or its name (red, green, blue, etc.), value
(how light or dark it is), and intensity (how
bright or dull it is).
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Principles of design
• Balance
• Gradation
• Propotion
• Rhythm
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Principles of design
• Unity of proximity
• Repetition
• Contrast
• Emphasis
• Alignment
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Principles of design
BALANCE – Balance in design is similar tobalance in physics. A large shape close to thecenter can be balanced by a small shape close
to the edge. Balance provides stability andstructure to a design
PROXIMITY – Proximity creates relationship
between elements. It provides a focal point.Proximity doesn’t mean that elements have tobe placed together, it means they should bevisually connected in someway.
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Principles of design
ALIGNMENT – Allows us to create order and
organisation. Aligning elements allows them to
create a visual connection with each other.
REPETITION – Repetition strengthens a
design by tying together individual elements. It
helps to create association and consistency.
Repetition can create rhythm (a feeling of
organized movement).
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Principles of design
CONTRAST – Contrast is the juxtaposition of opposingelements (opposite colours on the colour wheel, orvalue light / dark, or direction – horizontal / vertical).
Contrast allows us to emphasize or highlight keyelements in your design.
Proportion- refers to the relative size and scale of the
various elements in a design. The issue isthe relationship between objects, or parts, of a whole.This means that it is necessary to discuss proportion interms of the context or standard used to determineproportions.
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Principles of design
Rhythm- can be described as timed movement
through space; an easy, connected path along
which the eye follows a regular arrangement of
motifs. The presence of rhythm creates
predictability and order in a composition. Visual
rhythm may be best understood by relating it to
rhythm in sound..
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Principles of design
Emphasis- is also referred to as point of focus,
or interruption. It marks the locations in a
composition which most strongly draw the
viewers attention. Usually there is a primary, or
main, point of emphasis, with perhaps
secondary emphases in other parts of the
composition.
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Principles of design
Gradation employs a series of motifs patterned
to relate to one another through a regular
progression of steps. This may be a gradationof shape or color. Some shape gradations may
in fact create a sequence of events, not unlike
a series of images in a comic strip.
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Gestalt Theory
Gestalt psychologists have come up with lists
to summarize basic principles of visual
perception, which have become invaluabletools for design
This theory also helps the designer influence
the viewer by controlling how the design isviewed.
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The Key Ideas Behind Gestalt
Theory•EMERGENCE (THE WHOLE IS IDENTIFIEDBEFORE THE PARTS)
•REIFICATION (OUR MIND FILLS IN THE GAPS)
•MULTI-STABILITY (THE MIND SEEKS TO AVOIDUNCERTAINTY)
•INVARIANCE (WE’RE GOOD AT RECOGNIZING
SIMILARITIES AND DIFFERENCES)
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EMERGENCE (THE WHOLE IS
IDENTIFIED BEFORE THE PARTS)
Emergence is the process of forming
complex patterns from simple rules.
When attempting to identify an
object, we first seek to identify itsoutline. We then match this outline
pattern against shapes and objectswe already know to find a match.
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REIFICATION (OUR MIND FILLS IN
THE GAPS)
Reification is an aspect of perceptionin which the object as perceived
contains more spatial information
than what is actually present. As we
attempt to match what we see to thefamiliar patterns we have stored in
memory, there isn’t always an exact
match.
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MULTI-STABILITY (THE MIND
SEEKS TO AVOID
UNCERTAINTY)
Multi-stability is the tendency of
ambiguous perceptual experiences
to move unstably back and forth
between alternative interpretations.Some objects can be perceived in
more than one way.
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INVARIANCE (WE’RE GOOD AT
RECOGNIZING SIMILARITIES AND
DIFFERENCES)
Invariance is a property of perception
in which simple objects are
recognized independent of their
rotation, translation and scale. Sincewe often encounter objects from
different perspectives, we’ve
developed an ability to recognize
them despite their differentappearance.
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Gestalt Principles
• Law of simplicity
• Closure
• Symmetry and order
• Figure/Ground
• Uniform connectedness
• Common regions
• Proximity
• Continuation
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Gestalt Principles
• Common fate
• Parallelism
• Similarity
• Focal point
• Past experiences
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Proximity
The principle of proximity or
contiguity states that things
which are closer together
will be seen as belongingtogether .
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Similarity
Similarity means there is a
tendency to see groups whichhave the same characteristics so
in this example, there are three
groups of black squares and three
groups of white squares arrangedin lines.
The principle of similarity states
that things which share visual
characteristics such as shape,size, color, texture, value or
orientation will be seen as
belonging together.
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Common Fate
Suppose both principles ofproximity and similarity are in
place - then a movement takes
place - the dots begin to move
down the page.They appear to change
grouping
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Good Continuation
The principle ofcontinuity predicts the
preference for
continuous figures. We
perceive the figure astwo crossed lines
instead of 4 lines
meeting at the center.
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Closure
Related to principle of goodcontinuation, there is
a tendency to close simple
figures, independent of
continuity or similarity. Thisresults in a effect of filling in
missing information or
organising information
which is present to make awhole
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Area and Symmetry
The principle of area statesthat the smaller of two
overlapping figures is
perceived as figure while
the larger is regarded asground.
The principle of the
symmetrical figure is that it
is seen as a closed figure.
Symmetrical contours thus
define a figure and isolate it
from its ground
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FIGURE/GROUND
The figure/ground principleis based upon the
relationship between an
object and the surrounding
space. Figure/ground isalso referred to as positive
and negative space, the
positive being the object
and the negative referringto the space around it.
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SIMPLICITY
The law of simplicity
indicates that our mind
perceives everything in its
simplest form. The image
below, for example, when
studied in depth is madeup of individual
components that have no
meaning when viewed
separately, yet our mindautomatically perceives
them in combination to
spell out the word ‘logo’.
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Parallelism
Elements with the same or
very similar slopes are
associated as a single group.
When designing, we often
change the inclination of our
texts to match surroundingarrows or curves because it
makes the entire figure look
more visually compact. In this
poster created to advertisethe font Futura, different text
areas are grouped using the
principle of parallelism.
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Continuity
Elements are visuallyassociated if they are aligned
with each other. Lines are
perceived as a single figure
insofar as they’re continuous.The smoother their segments
are, the more we see them as
a unified shape.
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Common Region
When we find severalelements that are part of a
single region, we associate
them as a single group.
Consider a design for a badgewhere there is a combination
of text, objects and a banner.
All three of those elements are
perceived as belonging to theunified badge.
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Element Connectedness
We perceive elements as beingunited if they are connected by
other elements. An easy way to
think about this principle in
action is an infographic orflowchart where arrows help
connect one figure (or text
block) to the next.
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PAST EXPERIENCES
“Elements tend to be
perceived according to an
observer’s past
experience.”
Past experience is perhaps
the weakest gestaltprinciple. In conjunction
with any of the other
principles, the other
principle will dominate overthe past experience
principle.
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FOCAL POINTS
“Elements with a point ofinterest, emphasis or
difference will capture andhold the viewer’sattention.”
This principle suggests
that our attention will bedrawn toward contrast,toward the element that isunlike the others in some
way. In the image below,your eye should be drawnto the square. It’s adifferent shape and color
from the other elements
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Figure-Ground Relationship
Figure ground is a visual relationship
between foreground and background.
This is important to the perception ofimages, as the edges form the imagethat we see.
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Three Distinct Types
• Simple Figure Ground
• Figure Ground Reversal
• Figure Ground Ambiguity
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Simple Figure Ground
A simple figure ground is thecomposition (or diagram) ofwhat is perceived. A figureground can be anything with amain focus, but a diagrammatic
figure ground simplifiesperception. In architecture, thesite plan is often simplified toshow the relationships
otherwise not perceived, suchas the building's mass incomparison to itssurroundings.
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Figure Ground Reversal
Figure ground reversal is theinversion of background and
foreground. This is often used in
logo designs and can
often ground an image. In a simplefigure ground the borders are
perceived as limitless, whereas
the figure ground reversal bounds
the image.
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Figure Ground Ambiguity
Figure ground ambiguity is thevisual illusion with two alternate
viewpoints. This is similar to
figure ground reversal, but the
alternate image creates atotally different perception. In
this version of figure ground, a
pair of objects share a similar
edge.
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Space as a Design Element
Space can be used to both separate and connectelements in a design. Wider spaces separate elementsfrom each other and narrower spaces connect elementsto reveal relationships between them. Overlapping
elements maximizes their relationship.By controlling and shaping space in our designs, wecreate rhythm, direction, and motion. We create design flow through our use of space.
Whitespace does three main things in a design.• Creates groupings of elements
• Creates emphasis and hierarchy
• Improves legibility
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Space can be used to convey a variety of
meanings, some of which include
• Quality – wealth, luxury
• Solitude – abandonment, loneliness
• Cleanliness – bleached, washed
• Purity – unsullied, unadulterated
• Spirituality – sacredness, connection to something
greater
• Openness – distance, infinity• Calmness – placidity, inaction
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How to Use Space in Design
Space in web design can be divided into to types.
Micro whitespace – is the space within elements,such as the margins surrounding text and the leading
between lines of text or the spaces between the
individual characters.
Macro whitespace – is the space between major
elements in your design. These spaces tend to be
larger and are usually immediately apparent
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Micro Whitespace
Micro whitespace is concerned with spaces between
smaller elements. It’s space between list items and
space between an image and its caption. It also
includes the space between elements inside a larger
element.
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Macro Whitespace
Boxes (borders and backgrounds) are often used to
enclose and connect some elements while separating
them from other elements or groups of elements.
Boxes can be overkill.
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Connecting and separating elements
through contrast and similarity
• Size
• Shape
• Color• Value
• Texture
• Position
• Orientation
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CONTRAST AND GESTALT
Figure-ground
One of the first things we do when viewing acomposition is to determine what’s the figure andwhat’s the background. This relationship helps to setcontext for everything else in the composition. Figureand ground need to contrast with each other or elsethe viewer will have difficulty determining which iswhich.
Focal points
These are elements of attraction and interest.They’re designed to look different from theirimmediate surroundings. The contrast is what helpsthem stand out and draw attention. The element thatstands out the most in the composition is thedominant element. Elements that stand out in acomposition but to a lesser degree are focal points.
.
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SIMILARITY AND GESTALT
•closure
different elements that may be part of a similar whole
•symmetry and order
mirrored elements that appear to belong together
•uniform connectedness
similarity through visually connecting elements
•common regions
similar items enclosed together
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SIMILARITY AND GESTALT
•proximity
similarity through enclosures in space
•continuation
similarity through rhythms in space
•common fate
similarity through movement
•parallelism
similarity through orientation
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Visual Weight
Physical weight is a measure of the force that gravity
exerts on an object, but two-dimensional objects (such
as elements on a web page) don’t have mass and,
therefore, don’t have any physical weight. Visual
weight is a measure of the force that an element exerts
to attract the eye. Two-dimensional objects can attract
attention. The more an element attracts the eye, the
greater its visual weight.
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HOW DO YOU MEASURE VISUAL
WEIGHT?
Develop an eye and then trust it. The areas of a
composition that attract our eye are those that have
greater visual weight. Learn to trust our eye.
Let’s start with the primitive features that I mentioned in the
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Let s start with the primitive features that I mentioned in thelast post: size, color, value, position, texture, shape andorientation.
Size Large elements have more visual weight than small elements.
Color Warm colors advance into the foreground and tend to weighmore than cool colors, which recede into the background. Red
is considered the heaviest color and yellow the lightest.
Value Dark elements have more visual weight than light elements.
Position Elements located higher in the composition are perceived toweigh more than elements located lower in the composition.The further from the center or dominant area of a composition,the greater the visual weight an element will carry
Texture
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Texture
Textured elements appear heavier than non-textured
objects. Texture makes an element appear three-
dimensional, which gives the appearance of mass andphysical weight.
Shape
Objects with a regular shape appear heavier than objectswith an irregular shape. The irregularity gives the
impression that mass has been removed from a regular
shape.
Orientation
Vertical objects appear heavier than horizontal objects.
Diagonal elements carry the most weight.
WE don’t have to limit yourself to the primitive features above
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WE don t have to limit yourself to the primitive features above.we can use additional characteristics to control visual weight.
Density
Packing more elements into a given space increases the visualweight of the space. The viewer will perceive a larger or darkercombined element as opposed to several smaller and lighterelements.
Local white space White space appears to have no visual weight because it’sseen as empty. Any object placed within that space will seemheavier because of the space around it.
Intrinsic interest Some things are more interesting than others. The morecomplex or intricate an element, the more interest it will drawand the more it will attract the eye.
Depth
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Depth
A larger depth of field gives an element in focus increased
visual weight, likely due to the contrast between the focus
and unfocused areas.
Saturation
Saturated colors appear heavier than desaturated colors.
Perceived physical weight
We know that a house weighs more than a shoe. An
image of a house will weigh more visually than an image
of a shoe, because we expect the house to weigh more.
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VISUAL WEIGHT AND GESTALT
Figure-ground
Visual weights can be used to separate the two bygiving the figure more weight than the background.
Proximity
The space between elements leads to differentamounts of local white space and differentdensities of the objects within the space.
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VISUAL WEIGHT AND GESTALT
Similarity and contrast
We can use visual weight to signal either. Contrast will leadto greater visual weight in the contrasting element. Elements
with similar visual weight will naturally exhibit similarity.
Focal point
Points of attraction in a composition are focal points, and
they carry more visual weight than other elements.
Past experience
The viewer’s experience will contribute to how much intrinsicinterest they think an element holds.
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Visual Direction
If visual weight is about attracting the eye to a
particular location, then visual direction is about
leading the eye to the next location. Visualdirection is the perceived direction of visual
forces. Think of it as the direction you would
expect an element to move if it were in motion.
Although fewer characteristics are at our disposal than
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Although fewer characteristics are at our disposal thanwith weight.
Shape of element
An element’s shape might create an axis through it and
this axis can suggest a direction. The prime axis is
typically seen as running parallel to an element’s visualdirection.
Location of elements
Visual weight is a force that can appear to attract or repel
a neighboring element. This force will move in a direction
that connects both elements.
Subject matter of element
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Subject matter of element
An arrow, a pointing finger, or the gaze of the eye all
suggest looking in a certain direction.
Movement
An element could literally move through our design, andits movement will have a direction.
Structural skeleton
Every composition has a structural skeleton, with forces
that naturally run along and through different axes. This
probably needs a little more explanation.
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VISUAL DIRECTION AND GESTALT
Uniform connectedness
The lines connecting elements have direction. An
eye gaze creates an imaginary line between theeye and whatever the eye is gazing at.
Continuation
This principle relates to elements arranged along aline or curve, as though they are moving in thedirection of the line or curve.
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VISUAL DIRECTION AND GESTALT
Common fate
Elements seen as having a common fate are those
that move or appear to move in the same direction.
Parallelism
In order for elements to be seen as parallel, their
internal axes (the same ones that impart direction)
must be established.
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Presented By:
Shruti Gupta
W b M t
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