Elements and Principles of

Design
Elements of design
Design elements are the basic
units of a visual image.
Color
Color is seen either by the way light reflects off a surface, or in
colored light sources.
Red colors seem to come forward while blue seems to recede
into the distance
Color and particularly contrasting color is also used to draw the
attention to a particular part of the image.
There are primary colors, secondary colors, and tertiary colors.
Complementary colors are colors that are opposite to each
other on the color wheel. Complementary colors are used to
create contrast.
nalogous colors are colors that are found side by side on the
color wheel. These can be used to create color harmony.
!onochromatic colors are tints and shades of one color.
"arm colors are a group of colors that consist of reds, yellows,
and oranges.
Cool colors are group of colors that consist of purples, greens,
and blues.
Color - basic color theory
"e respond to color on many
levels. Color can be used
simply to describe an ob#ect. $t
can also be used emotionally
%blue for sadness, red for
angry&, symbolically
%associated with a flag's color,
sports team& and
psychologically.
The painting by Phyllis
(ramson %left& has intense,
complimentary colors that
e)uate to strong conflicting
emotions.
The other wor*, by lphonse
!ucha, uses subdued,
analogous color to create a
very different feeling.
Line

+ine is the basic element that refers to the

continuous movement of a point along a surface,
such as by a pencil or brush. The edges of
shapes and forms also create lines. $t is the
basic component of a shape drawn on paper.
+ines and curves are the basic building bloc*s of
two dimensional shapes li*e a house's plan.
Every line has length, thic*ness, and direction.
There are curve, hori,ontal, vertical, diagonal,
,ig,ag, wavy, parallel, dash, and dotted lines.
+ine

mar* with greater length than width.

+ines can be hori,ontal, vertical or
diagonal, straight or curved, thic* or thin
$n the first image, +eonardo da -inci used a soft, sensitive soft line
to create a graceful image. The center image has the same sub#ect.
.owever, the artist "illem De/ooning has created a very different
feeling by using a heavy, gestural line. The woman's face in the third
image is created with a mechanical line creating an emotionally0
detached feeling. lthough the sub#ect matter is the same in all three
wor*s, the differences in line )uality have created wor*s with very
different impact. .ow you use line is one of the most important
decisions to be made in creating a wor* of art 0 this is true whether
you are using a pencil point or a cursor on a monitor.
Line - the path of a point
Shape

shape is defined as an area that stands out from the

space ne1t to or around it due to a defined or implied
boundary

2hapes can also show perspective by overlapping.

They can be geometric or organic.

2hapes in house decor and interior design can be used

to add interest, style, theme to a design li*e a door.

2hape in interior design depends on the function of the

ob#ect li*e a *itchen cabinet door. 3atural shapes
forming patterns on wood or stone may help increase
visual appeal in interior design.

$n a landscape, natural shapes, such as trees contrast

with geometric such as houses.
Shape

closed line. 2hapes can be geometric,

li*e s)uares and circles4 or organic, li*e
free formed shapes or natural shapes.
2hapes are flat and can e1press length
and width.
Shape - perceivable area.

The shapes in the image on the left are clearly defined. (y

contrast, the ship's shape on the right is barely discernable. This
difference in clarity of shape is part of the meaning of these
wor*s 0 one conveys a sense of orderliness and confidence,
while the other communicates a sense of vulnerability and
uncertainty. The shapes of the ob#ects that you create or place in
your images are positive shapes. The spaces around these
shapes are the negative spaces. the negative space is #ust as
important as the positive shapes.
Value

-alue is an element of art that refers to the

relationship between light and dar* on a
surface or ob#ect and also helps with 5orm. $t
gives ob#ects depth and perception. -alue is
also referred to as tone.
Texture

Te1ture is perceived surface )uality. $n art,

there are two types of te1ture6 tactile and
implied. Tactile te1ture %real te1ture& is the way
the surface of an ob#ect actual feels. E1amples
of this include sandpaper, cotton balls, tree
bar*, puppy fur, etc. $mplied te1ture is the way
the surface on an ob#ect loo*s li*e it feels. The
te1ture may loo* rough, fi,,y, gritty, but cannot
actually be felt. This type of te1ture is used by
artist when drawing or painting.
Texture

2urface )uality that can be seen and felt.

Te1tures can be rough or smooth, soft or

hard.

Te1tures do not always feel the way they

loo*4 for e1ample, a drawing of a
porcupine may loo* pric*ly, but if you
touch the drawing, the paper is still
smooth.
Form

5orm is any three dimensional ob#ect.

5orm can be measured, from top to bottom

%height&, side to side %width&, and from bac* to
front %depth&.

5orm is also defined by light and dar*.

There are two types of form, geometric %man0

made& and natural %organic form&.

5orm may be created by the combining of

two or more shapes. $t may be enhanced by
tone, te1ture and color.

$t can be illustrated or constructed.

Form

Three0dimensional shapes, e1pressing

length, width, and depth. (alls, cylinders,
bo1es and triangles are forms.
Space

2pace is the area provided for a particular purpose. $t

may have two dimensions %length and width&, such as
a floor, or it may have three dimensions %length,
width, and height&. 2pace includes the bac*ground,
foreground and middle ground. 2pace refers to the
distances or areas around, between or within
components of a piece. There are two type of space6
positive and negative space. Positive space refers to
the space of a shape representing the sub#ect matter.
3egative space refers to the space around and
between the sub#ect matter.
Space

is the area between and around ob#ects.

The space around ob#ects is often called
negative space4 negative space has
shape. 2pace can also refer to the feeling
of depth. Real space is three0dimensional4
in visual art when we can create the
feeling or illusion of depth we call it space.
(alance

(alance can be either symmetrical or

asymmetrical.

(alance also refers to a sense that dominant

focal points don't give a feeling of being pulled
too much to any specific part of the artwor*.

(alance can be achieved by the location of

ob#ects, volume or si,es of ob#ects, and by
color.

$t can also be achieved by balancing lighter

colors with dar*er colors, or bold colors with
light neutral colors.
The principles of design

7overn the relationships of the elements

used and organi,e the composition as a
whole.

2uccessful design incorporates the use of

the principles and elements to serve the
designer's purpose and visual goals.

There are no rules for their use.

The designer's purpose and intent drives

the decisions made to achieve harmony
between the elements.
8nity

8nity refers to a sense that everything in a

piece of wor* belongs there, and ma*es a
whole piece.

$t is achieved by the use of balance,

repetition and9or design harmony.
Unity

is the feeling of harmony between all parts

of the artwor* creating a sense of
completeness.
Unity-Variety
2ome artists, such as ndy "arhol,
have emphasi,ed repetition to ma*e a
statement about the prevalence of
mass0production in our society. !ost
artists, however, see* a more e)ual
balance between unity and variety in
their wor*. 5or e1ample, the three0tined
shape of the pitchfor* in 7rant "ood's
painting %left& in repeated e1actly in the
clothing. $t is also repeated in the
windows and vertical lines in the house.
:n the other hand, curved shapes
surround the woman's head 0 in the
broach, curved edge of her dress and
bac*ground trees. This repetition of
shape unifies the painting, while the
differences between the vertical and
curved shapes give the painting a
balancing sense of variety.
-ariety

The use of dissimilar elements, which

creates interest and uni)ueness.

-ariety li*e a painting or some reflective

wood panels added on a plain wall may be
used to reduce monotony.

.elps infuse color to house decor to

attempt to increase design beauty.
Variety

is the use of several elements of design to

hold the viewer;s attention and to guide
the viewer;s eye through the artwor*.
Pattern

is the repeating of an ob#ect or symbol all

over the artwor*.
Contrast

Contrast is the occurrence of differing

elements, such as color, value, si,e, etc. $t
creates interest and pulls the attention
toward the focal point.
(alance

the distribution of the visual weight of ob#ects,

colors, te1ture, and space.

$f the design was a scale these elements should

be balanced to ma*e a design feel stable.

$n symmetrical balance, the elements used on

one side of the design are similar to those on the
other side4 in asymmetrical balance, the sides
are different but still loo* balanced.

$n radial balance, the elements are arranged

around a central point and may be similar.
(alance

a feeling of visual e)uality in shape, form,

value, color, etc.

(alance can be symmetrical or evenly

balanced or asymmetrical and un0evenly
balanced.

:b#ects, values, colors, te1tures, shapes,

forms, etc., can be used in creating a
balance in a composition.
Balance 0 euali!ing the visual
"eight of elements
.The cross on the left is symmetrically %formally&
balanced 0 one half mirrors the other. Religious and
significant ob#ects are often given a symmetrical balance.
The painting by !ary Cassatt, %on the right& depicts an
ordinary moment. ppropriately, it is asymmetrically
balanced.
The two women on one side are
balanced by the large silver service and
fireplace on the other 0with the area of
highest value contrast %the woman in dar*
with the near0white saucer and cup& only
slightly off0set from the center. lthough
asymmetrical balance may appear more
casual and less planned, it usually ta*e
greater e1perience to utili,e the
psychological and felt nuances of
balancing a few larger ob#ects against
many smaller ob#ects, or large areas of
muted color against smaller areas of
intense color, nearly centered ob#ects
balanced against ob#ects positioned near
the picture's edge, etc.
#epetition

wor*s with pattern to ma*e the artwor*

seem active. The repetition of elements of
design creates unity within the artwor*.
Rhythm

The recurrence of forms within a wor*

ny element that occurs is generally

echoed, often with some variation to
maintain interest.

Rhythm in interior design also may be

used to reduce randomness.
#hythm

is created when one or more elements of

design are used repeatedly to create a
feeling of organi,ed movement.

-ariety is essential to *eep rhythm e1citing

and active, and moving the viewer around
the artwor*.

Rhythm creates a mood li*e music or

dancing.
Emphasis

Emphasis refers to areas of interest that guides

the eye into and out of the image

!ay give direction and organi,ation to a design,

and avoid subconscious confusion to sometimes
improve the design's visual appeal and style.

Emphasis hierarchy or focus is not giving each

ob#ect in a pro#ect e)ual dominance within a
piece of wor*.

Can be increased by ma*ing the ob#ect larger,

more sophisticated, more ornate, by placing it in
the foreground, or standout visually more than
other ob#ects in a pro#ect.
$mphasis

is the part of the design that catches the

viewer;s attention. 8sually the artist will
ma*e one area stand out by contrasting it
with other areas. The area will be different
in si,e, color, te1ture, shape, etc.
%irection
an&
$mphasis'
Direction is the visual path our eye will follow. Emphasis refers to the
ob#ect or element which first catches our attention. 8nli*e se)uential or
time0based art forms such as music or film, a painting such as The
!oulin Rouge %above& is seen instantaneously. The whole wor* is
revealed to us simultaneously. n artist needs to create an area of
emphasis 0a focal point that begins the path our eyes will follow as we
ta*e in the whole art wor*. $n this painting, our eye is first drawn to the
woman's face on the right edge. $t isn't by chance that we see her first 0
the artist, Toulouse0+autrec, has heighten the value contrast, color
intensity, color contrast %orange hair and bright red lips contrast with
the green of her forehead&, and proportion %she is the largest person&.
$n addition, she is staring directly at us. (asically, we are first drawn to
the area of greatest contrast. :ur eye then sweeps across the canvas,
ta*ing in the other figures %which include the artist&.
.armony

chieved through the sensitive balance of

variety and unity.

Color harmony may be achieved using

complementary or analogous colors.

.armony in design is similarity of components or

ob#ects loo*ing li*e these belong together.

!ay be visually pleasing and harmony is when

some of the ob#ects share a common trait.
common trait between ob#ects could be6 color,
shape, te1ture, pattern, material, theme, style,
si,e, or functionality.
Proportion

The relationship of si,e between ob#ects.

Proportion is also relative si,es of surface

areas of different colors.

Depends on functionality of ob#ect. rt

painting can be given the correct si,e in
relation to room to ma*e it an effective
decorating component or source of color.
Proportion

is the feeling of unity created when all

parts %si,es, amounts, or number& relate
well with each other. "hen drawing the
human figure, proportion can refer to the
si,e of the head compared to the rest of
the body
Proportion 0 relative si!e of ob(ects
"ithin the "or) of art.
$n his painting of a bedroom % bottom left&, Rene
!agritte has created a surreal situation simply by
manipulating the proportions of common ob#ects.
There are no clues that tell us if we are in a normal0
si,ed room or a dollhouse. $n the other painting,
ndrew "yeth has used the proportion very
differently 0 the small farmhouse against the largeness
of the field created a sense of isolation.
*ovement

is the path the viewer;s eye ta*es through

the artwor*, often to focal areas. 2uch
movement can be directed along lines
edges, shape and color within the artwor*.
5unctionality

Proper functionality is simply the best

possible design and best possible location
of this design that the occupant re)uires.

7reat functionality and best possible

materials for the function usually also
increases visual appeal.
Pro1imity

Pro1imity is the placing of similar ob#ects

closer together physically, and unli*e
ob#ects further apart. This aids in creating
unity.

5or e1ample, different furniture styles with

different colors compressed in a small
bedroom does not loo* as nice as the
same furniture placed further apart in a
very large living room.
Color theory

Color theory in interior design includes the color wheel.

$nvolves the idea of how color affects human thoughts

and emotions

pleasing combination of colors and the amount of

these colors in a design.

visually pleasing color combination that enhances the

style and character of a design li*e a home interior
design.

8sing a limited number of colors in a color palette

usually seven or less initially to help preserve design
unity.

visually pleasing color combination may be chosen for

the color palette of a room for a particular age group and
gender.
P < E in Design +ayout
(alance usually
comes in two forms,
symmetrical and
asymmetrical, and
provides a sense of
%or lac* of& e)uilibrium
that can create tension
and visual weight.
The =!anhattan Edition>
design ma*es use of a
regular rhythm in the upper
part of the page as well as in
the right0hand navigational
elements of the design. This
creates a sense of movement
in the s*y and adds a good
amount of te1ture to the
overall design. $t is
complemented by the te1ture
in the buildings, and the
te1ture created by the font
chosen for the title of the
page and ma#or headings. $t
is contrasted with the overall
smoothness of the blac* on
the lower parts of the page,
and the soft glow used for
content areas.
=!useum> is a good e1ample of how
proportion can be used in a design to
draw the eye to specific areas on the
page, specifically through the use of
small silhouettes standing in the
environment in the design. The top
image leads you into the setting by
drawing your eye bac* towards the
opening in the wall where the first
silhouette is standing. 2crolling down you
find that the content in the page follows
more of these silhouettes, and you are
drawn towards the tension created by
their comparison with that of the content
frames. ?ou also get the sense that the
silhouettes are loo*ing at the frames on
the wall, in an almost implied sense of
continuance. The comparison of scale
draws the eye in, and the implied
continuance leads you to the content.
The =Pretty in Pin*> design ma*es
use of dominance to place emphasis
on certain parts of the page. The
right0most column, where the content
is, is the dominant part of this design.
$t is the largest area of color and
ma*es use of big, reversed out, te1t
for ma#or headings. The center
navigation column is the sub0
dominant part of the page. $t still
comes forward in space and calls
attention to itself, but uses less color
and smaller te1t in a slightly smaller
space@relegating it to the second
degree of dominance. 5inally, the left0
most column with the logo and
e1planatory te1t is the subordinate
ob#ect on the page. $t falls farthest
bac* in space, and importance.
=2ubway Dream> uses line in a
number of different ways. 5irst, as
a rigid element to help frame the
page and separate the content
areas from the bac*ground. 3e1t,
the illustrations that are used
throughout the page rely heavily
on line, and they have an organic
)uality about them that almost
ma*es them feel li*e a s*etch or
drawing. The lighter elements in
the middle0ground, drawings
behind the woman, lines and
navigational icons are entirely
based on contour. The woman in
the foreground has more form, yet
still relies heavily on contour and
line to help establish that form.
5inally, the font chosen for the
ma#or headings is dominantly an
organic line that helps to accent
the overall design of the page.
There is a definite sense of three
dimensions in =.edges,> despite the
fact that we our frame of reference is
two dimensional. There are a couple
of techni)ues used to create this
illusion. 5irst, the imagery is drawn
in perspective using two points in
space to establish the angles at
which all of the elements are
aligned. 2econd, a good amount of
value differentiation is used to
establish highlights and shadows
and to ma*e the title te1t appear to
be sitting on the ground. 5inally, the
use of the small figures helps to
establish a sense of environment,
ma*ing the overall illusion more
believable. The figures are
interacting with the forms, standing
on top of them or digging holes in
them, which helps to e1tend the
sense of space in the composition.
Color is the eye;s
response to wavelengths
of radiation in the visible
spectrum.
There are three main
components of color6 hue,
value and saturation.
.ue is where the color is
positioned on the color
wheel and what most
people thin* of when they
thin* of color.
-alue is the lightness or
dar*ness of a color, how
much blac* or white is
mi1ed with it.
2aturation is the intensity
of a color.
P < E $n +andscape Design

2implicity is the essence of design. This is

an ob#ective that $ have always tried to
achieve in all of my previous residential,
commercial, institutional and recreational
pro#ects. .ow a designer creatively
combines plant material and other design
components into a simple, unified scheme
is always an e1citing challenge.
Simplicity is the essence of design.
Efective use of circulinear line form.... Vancouver Parks
Board.
Weak, scallopy edges leave a lot to be desired.
+inear 9 curvilinear lines at 2issinghurst.
2culpture 9 ma,e garden in Aapan. Elevated pieces of sculpture
create emphasis in the landscape.
Ornamental
grasses and
herbs are
complimentar
y in teture.

Ostrya
virginiana
"#ron$ood% &
native tree
that ehibits
ecellent
teture.

Vigorously use
color in the
landscape.

Warm colors
advance...'alt
(ake )ity, *tah.
#nformal balance...+iagara,on,the,(ake, Ontario
-epetition of
diamond
.agstones creates
movement in
paving pattern.

/he repetitious
use of paving
stone creates
unity in the
landscape.
& variety of forms creates signi0cant landscape interest.
/his moon gate is in perfect proportion to its setting.
Repetitious use of sculpture in landscape reduces
monotony and results in the establishment of
rhythm.