PRINCIPLES OF DESIGN

1. Balance is the distribution of elements of the design. Balance is a

visual interpretation of gravity in the design. Large, dense elements
appear to be heavier while smaller elements appear to be lighter. You can
balance designs in three ways:

1. Symmetrical Balance is achieved by placing elements in a very even fashion in the

design. If you have a large, heavy element on the right side, you'll have a matching
heavy element on the left. Centering is the easiest way to get a symmetrically
balanced page. But be careful, as it can be difficult to create a centered design that
doesn't look flat or boring. If you want a symmetrically balanced design, it's better
to create the balance with different elements - such as an image on the left and a
large block of heavier text to the right of it.

2. Asymmetrical Balance pages can be more challenging to design - as they don't have
elements matched across the centerline of the design. For example, you might have
a large element placed very close to the centerline of the design. To balance it
asymmetrically, you might have a small element farther away from the centerline.
If you think of your design as being on a teeter-totter or seesaw, a lighter element
can balance a heavier one by being further away from the center of gravity. You
can also use color or texture to balance an asymmetrical design.

3. Radial Balance is where elements radiate out (in a circular shape) from one main
center point.

4. Crystallographic, Mosaic or “Allover” Balance is about repetition. At first glance,

images employing crystallographic balance can seem random and chaotic; it might
look like visual noise since you can’t identify a distinct focal point or visual
hierarchy right away. But it works.
2. Contrast is one of the graphic design fundamentals that is often
forgotten, or not used to it’s maximum capability. When someone refers to it in
graphic design, the first thing you will probably think is Color contrast. That
is correct, but is the only possible way to create contrast. Contrast can be
created by:

1. COLOR. In an artwork you can apply a different set of color harmonies.

Depending on the harmony you use you can create visual interest in specific
point of you design. In the following picture, your eyes are immediately
attracted to the red apple.

2. SIZE. You probably seen this riddle before, but which of the red circles in the image
below is bigger? Well, hey are the same size. By placing different size circles around
the center one, you can create a different impression of the size of an element.
Infographics have become a nice trend to explain things. And usually is by using
different size of shapes that you can create a visual impact. The bigger the size of
the shape the more important it becomes and catches your reader attention. Look at
this great example of the carbon footprint. Additionally all the bubbles are
integrated to create a footprint shape. But it is very easy to notice which are the 3
countries that create more CO2 emission
3. SHAPE. Another way to create contrast is to play with the shapes. In graphic
design you will be using plenty of different shape elements (circles, squares, etc) ,
so it is important to be aware on how you can place them in your artwork and the
size they will have in order to create a different visual impact. In the second picture,
many shapes are used in the background of the business cards, but the logo is
always in the center inside a circle. We find also of course additional contrast
created by the colors used, but its interesting to focus on how the shapes have been
used.

4. TYPOGRAPHY. It also linked to the size, but not only. In any graphic design
artwork that uses text, it will be crucial to focus the eye of the viewer in the main
elements you want them to read first. Here we can find endless examples from
flyers to advertising, but just to make the point, here is an example of a music
festival in France. Its clear that you will first read the festival name, then the dates
and finally the location.

And it is usually a combination of all those types of

contrasts that will create a good design. Adding good
contrast in your artwork is necessary to ensure that it will not
be boring. Remember that is all about the message you want
to transmit to your audience, so using good contrast will
help you create visual interest in your composition.
 3. Emphasis is applied when an artist wants to
attract more attention to a certain element or area
within a painting by giving it dominance that makes it
stand out. It gives dominance to or stresses a particular
area or element of focus in a painting. Without it a
composition is nothing more than a presentation of a
group of details with equal importance. When a
composition has no emphasis nothing stands out as
demonstrated in the illustration below. However the
effective use of this design principle calls attention to the
important areas of the painting. Thereby creating
elements of interest causing the eye to return to again
and again.

The artist used light to put emphasis on the chef.

He stands out as the main focal point of the entire the painting.

By painting the cowboy’s shirt red he was able to create a

center of interest. Your eye is drawn right to his shirt.
4. Movement is the principle of good design which gives the artist control over what the viewer sees
next. Using this principle, the artist can create the path our eyes will travel as we look at a work of art. For example,
our attention is first captured by the main focal point and then it proceeds to move around the composition as one
element after another catches our attention.

Anticipated Movement. Live figures portrayed in unstable body positions cause us to feel that motion is
imminent. We know from past experience with these positions that some kind of movement will occur. This heightens
the feeling of motion.

Fuzzy Outlines. When figures move past us at very high speeds, we perceive that figure as
somewhat blurry. This experience leads us to interpret blurry or indistinct outlines as conveying motion.

Multiple Image. Showing multiple overlapping images gives us the impression of motion.
We can see that the person or figure has moved through a series of poses.

Optical Movement. The eye is forced to move around the picture dynamically in order to see
all the different elements. Optical movement can be enhanced by curved forms that keep your eyes moving in a circular
pattern throughout the picture.

Optical Illusions. Certain optical illusions based on the repetition of geometric forms will cause your
eye to produce motion where none is present. This picture really seems to move.
5. Pattern is an underlying structure that organizes surfaces or structures in a
consistent, regular manner. It is a repeating unit of shape or form, but it can also be thought
of as the "skeleton" that organizes the parts of a composition.

FLOW. All things flow, following paths of least resistance. Flow can be seen in water,
stone, the growth of trees. Meander patterning is related to the idea of flow, and is built on the repetition
of an undulating line. In this detail from a textile hanging made up of knotted threads, the meandering
color lines resulting from the technique quite naturally create this type of pattern.

BRANCHING. Branching is an obvious form of patterning in the plant world, but it can
also be seen in geological formations such as river deltas and certain crystalline formations.

SPIRAL. Spiral patterns can be seen from the scale of galaxies to the opening "fiddlehead"
buds of ferns, to the forms of microscopic animals.

PACKING AND CRACKING. This refers to the way in which compacted cells define each
other’s shape. A densely packed cluster of mushrooms will grow together, deforming the circular form
of each cap because of crowding. In the same way a cluster of soap bubbles deforms each bubble from
the perfect sphere of the isolated bubble, according to rules that govern the surface tension of soap
bubbles. Surfaces (like mud or old paint) that shrink may experience cracking, resulting in similarly
cellular patterning.

Similar types of patterning can be seen in many designed objects. Even

complex works of art exhibit an underlying structure or pattern grid,
although the mode of patterning may vary over the surface of a complex
composition.
 6. Rhythm is a visual tempo or beat. The principle of design that refers
to a regular repetition of elements of art to produce the look and feel of
movement.

1. Alternating rhythm uses 2 or more interchangeable patters or designs

that are repeated throughout a piece. In this piece, the same design is used, but
the use of different colors creates an alternating rhythm.

2. Flowing rhythm is a rhythm in which movement is shown,

most often with organic shapes. This piece displays flowing rhythm because the
waves (organic figures) are shown to be moving repetitively throughout the piece.

3. Progressive rhythm shows a sequence of motifs/forms

through a progression of steps. This piece displays progressive rhythm because the
American flag grows smaller and smaller within the piece.

4. Random rhythm is when a picture has no pattern what-so-

ever. This picture fits because everyone is set randomly, and not following a known
pattern.

5. Regular rhythm is a regular arrangement of parallel lines. It has

identical motifs, equal amounts of space between, and a steady beat.
 7. Unity is a measure of how the elements of a page
seem to fit together - to belong together. A unified
work of art represents first a whole, then the sum of
its parts.

Ways to Achieve Unity

1. Proximity. The simplest method of making objects

appear to belong together is to group them closely
together. This allows us to see a pattern.

2. Repetition. Repetition of color, shape, texture or

object can be used to tie a work together.

3. Continuation. A much more subtle method of unifying

a work involves the continuation of line, edge or
direction from one area to another. Continuation is
often used in books and magazines to tie the elements
of a page together with the use of rules, and by lining
up edges of copy, headlines and graphics. This painting
by Degas has many elements of continuation. The
circle of the girl's back is continued in the circle of
the tub on the floor. The overhanging brush guides our
eyes towards the objects on the table, which are
arranged as a continuation of the circle.