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Principles of Design
What is Design

Design is the creation of a plan or convention for the

construction of an object or a system. It may be an
architectural blueprints, engineering drawings, business
processes, circuit diagrams or sewing patterns. Design has
different connotations in different fields

Design is what links creativity and innovation. It shapes ideas to

become practical and attractive propositions for users, clients or
customers. Design may be described as
creativity deployed to a specific end
Principles of Design

The principles of design

describe the ways an •Balance
artist use different
elements of design in a •Rhythm
composition. These ways
or principles are •Emphasis
•Contrast
•Movement
•Harmony
•Proportion and scale

Principles of Design
BALANCE
A sense of equilibrium.

When

establishing balance
consider visual weight created
by size, color, texture and
number of objects.

Balance is the concept of visual

equilibrium, and
relates to our physical sense of
balance. It is a reconciliation of opposing forces in a composition that
results in visual stability. Most successful compositions achieve balance
in one of two ways: symmetrically or asymmetrically.

Principles of Design
BALANCE
Symmetrical balance can be described
as having equal "weight" on equal sides of
a centrally placed fulcrum. It may also be
referred to as formal balance. When the
elements are arranged equally on either
side of a central axis, the result is Bilateral
symmetry.

This axis may be horizontal or vertical. It is

also possible to build formal balance by
arranging elements equally around a
central point , resulting in radial
symmetry. This is called Radial Balance
Principles of Design
BALANCE
Symmetrical balance
Principles of Design
BALANCE
Radial Balance / Biaxial Symmetry
Principles of Design
BALANCE
Near Symmetry & Inverted Symmetry

Principles of Design
BALANCE
Asymmetrical balance, also called
informal balance, is more complex and
difficult to achieve. It involves
placement of objects in a way that will
allow objects of varying visual weight to
balance one another around a central
point.

It just means that there are no mirror

images in a composition. The term,
however, is usually used to describe a
kind of balance that does not rely on
symmetry:

Principles of Design
BALANCE
Asymmetrical balance
Principles of Design
BALANCE
Asymmetrical balance
Principles of Design
BALANCE
Balance Using Texture
Principles of Design
BALANCE
Balance Using Colours
Principles of Design
BALANCE
Balance Using Shapes
Principles of Design
BALANCE
Balance Using Space
Principles of Design
RHYTHM

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. It is often achieved
through the careful placement of repeated
components which invite the viewer's eye
to jump rapidly or glide smoothly from one
to the next.

Rhythm in architecture is the repetitive use

of a group of visual elements, at least three times, to establish a
recognizable “pattern.” Simple examples of rhythm are the alternating
window and column arrangement of most high rise office buildings. More
complex rhythms make use of what in jazz music is called "counterpoint",
that is, two or more intersecting or overlaid rhythms. This is seen frequently
in classical architecture, where a series of columns and openings are
overlaid on top of a series of smaller openings.
Principles of Design

TYPE OF RHYTHEM

Rhythm by Repetition
Rhythm by Gradation
Rhythm by Radiation
Rhythm by Opposition
Rhythm by Transition
Rhythm By Repetition
Principles of Design

Rhythm created by
duplicating (repeating)
shapes, colors, pattern, line,
texture.

Repeated Window panes,

repeat. Stripes on wall and
design and colour of glass.
Principles of Design
Rhythm By Repetition
Principles of Design
Rhythm By Gradation
▪ Rhythm created by a
gradual change in size or
color.

▪ Carpet on the floor

changes gradually in value.

▪ Gradation in lights. bellow

Rhythm By Gradation
Principles of Design
Rhythm By Gradation
Principles of Design
Rhythm by Radiation

◼ Rhythm created by identical

objects coming from a central
axis.

◼ The glass frames “radiate”

from the center of the path.

◼ The floor design, the

windows, furniture etc. in
redial rhythm
Principles of Design
Rhythm by Radiation
Principles of Design
Rhythm By Opposition

◼ Rhythm created direct

placement of lines,
shapes or color to create
opposition through
abrupt visual change.
◼ Contrasting black and white
tiles and the lines intersecting at
right angles.
Principles of Design

Rhythm By Opposition
Principles of Design
Rhythm By Transition

◼ Rhythm created by curved lines that carry your eye across a

straight surface.

◼ Window treatments that gently swag down, create a soft rhythm

by transition.

Rhythm By Transition
Principles of Design

EMPHASIS
Emphasis creates a focal point in a design composition; it is how we bring attention to wha

It is the the focus of attention and interest within a composition

Principles of Design
In Architecture it is the feature that commands attention and makes a design visually intere

EMPHASIS
Principles of Design
EMPHASIS

The main reason in using emphasis is to help you communicate the

message that needs to be communicated. Emphasis helps readers
determine the important information on your display and allows them to
interpret the message faster. This process of arranging the visual
elements on a composition according to their order of importance and
emphasis is called Visual Hierarchy. Visual Hierarchy is used to guide
readers attention to the main places on your composition.
Principles of Design
How to Create Emphasis

Make it bolder
Make it brighter Change Style
Add special visual effects.
Add a border or frame
Add more negative of positive space
Add shadow or lights
Change the color
Change the position
Create Focal Points
Principles of Design
Guidelines for Creating Emphasis

The point of emphasis should

command attention, but not dominate
the overall design.

Other features within the

composition should not compete for
the emphasis or contrast.
 Principles of Design
EMPHASIS In Architecture

Hadid
Architects
Zaha
Principles of Design
Contrast (variety)

Contrast is simply defined as difference.

Difference between elements or subjects
within a work of art or composition.
Contrast can be created through variety
within the elements of art. (i.e. value,
color, texture) Contrast can be used to
create a focal point or area of interest in an
artwork.

Contrast is closely related with variety

which is usually considered as principle of
design. Although some art purist, stick
with variety and argue that contrast simply
creates variety.
Principles of Design
Contrast (variety)
it is easy to understand how colour can create
contrast. For example, complementary colours
provide a high level of contrast. Complementary
colours are colours that are located directly
across from each other on the colour wheel. Red
and green, blue and orange, and purple and
yellow are all examples of this. But when using
complementary colours, we also have to consider
value. Value is the darkness or lightness of
colour. Without contrast in value, the contrast
created by complementary colours is
counterproductive. Notice how the red and green
vibrate off of each other. The result is aesthetically
horrid. The problem lies in the use of value.
There needs to be contrast in value along with the
contrast in colour. If we change the values, not
the colours, the result is more successful
Principles of Design
Contrast (variety) in Color
Principles of Design
Contrast (variety) in Texture
Principles of Design
Contrast (variety) in Size & Shape
Principles of Design
Contrast (variety) in Space
Principles of Design
Movement

Movement is the visual flow of your Design. It's the path that you intend
your viewer's eye to follow. You can create this by purposefully placing art
elements in a way that creates a path for the eye to follow
Principles of Design
Movement
Is a visual flow through the composition. It can be the
suggestion of motion in a design as you move from object to
object by way of placement and position. Directional
movement can be created with a value pattern. It is with
the placement of dark and light areas that you can move
your attention through the format

An art work may incorporate actual motion; that is, the

artwork itself moves in some way. Or it may incorporate
the illusion of, or implied movement.

Art that moves through the effect of natural properties,

either its own inherent properties or their effect, is
unpredictable. Spatial relationships within the work
change continuously, with endless possibilities. One of the
delights of experiencing such artwork is the element of
change and surprise. It's as if every time we look at it we are
seeing a new artwork.
Principles of Design
Movement
The Alhambra is a massive complex in
southern Spain built by Moors during
the 14th century. Its function was two
fold: as a fortress for protection and
defense, and as a palace for relaxation
and luxurious refreshment. Southern
Spain is dry and hot, and one of the
delightful and remarkable aspects of
the Alhambra is that water flows
throughout the whole complex in
surprising and ingenious ways. All of
this was engineered using forces of
nature and the qualities of how water
moves. Around every corner, in
gardens and courts and staircases the
water flows. It bestows a profound
sense of renewal and rest.
Principles of Design
Movement Patterns
Principles of Design
Movement in Architecture
Principles of Design
Harmony
Harmony in visual design means all parts of the visual image relate
to and complement each other. Harmony pulls the pieces of a visual
image together. Harmony can be achieved through repetition and
rhythm ◼◼ There are 2 types of harmony.
◼ Unity
◼ Variety

Harmony By Unity
Principles of Design
◼ Unity occurs when all
the parts of a design or
composition are related
by one idea.

◼ A unified design has

consistency of style
Principles of Design
Harmony By Unity
Principles of Design
Harmony By Unity
Principles of Design
Harmony By Variety
◼ When multiple elements of
design are used to add
interest to a design.
◼ Variety can be created using
different elements and
materials, as long as they are
compatible to each other.

Unity Vs Variety
Principles of Design
Harmony By Variety
Harmony Is achieved when unity and variety are effectively combined.
◼ Carrying variety too far creates confusion.
◼ A lack of unity may make a space smaller.
Principles of Design
Harmony By Variety
Principles of Design
Harmony By Variety

Proportions & Scales

Principles of Design
Scale refers to the size of an object (a
whole) in relationship to another object
(another whole). In art the size
relationship between an object and the
human body is significant. In
experiencing the scale of an artwork
we tend to compare its size to the size
of our own bodies.
Principles of Design
Proportions & Scales

Scale relates to the

size of a design in
relation to the height
and width of the area
in which it is placed
Principles of Design
Proportions & Scales

Placement of objects determine

the size when compared to each
other or in other words we
evaluate the size from the objects
surrounded by objects.
Principles of Design
Proportions & Scales
 Principles of Design
Proportions & Scales
◼ Relates to the actual and
◼ relative size and visual BAD SCALE
weight of the design and its
components.

◼ Furniture and accessories

◼ must be in scale to the room

OD SCALE
Principles of Design
Proportions & Scales
Principles of Design
Proportions & Scales
Principles of Design
Proportions & Scales

Scale is very much associated with

ergonomics when used in the field of
architecture. The space designed for
human being is closely related size of
body parts and its function.
Principles of Design
Proportions & Scales
Origins of Measurements
In ancient times, the body ruled when it came to measuring. The length
of a foot, the width of a finger, and the distance of a step were all
accepted measurements.

Inch: At first an inch was the width of a man's thumb. In the 14th century, King Edward
II of England ruled that 1 inch equalled 3 grains of barley placed end to end
lengthwise.
Hand: A hand was approximately 5 inches or 5 digits (fingers) across. Today, a hand is
4 inches and is used to measure horses (from the ground to the horse's withers, or
shoulder).
Span: A span was the length of the hand stretched out, about 9 inches.
Foot: In ancient times, the foot was 111/42 inches. Today it is 12 inches, the length of
the average man's foot.
Yard: A yard was originally the length of a man's belt or girdle, as it was called. In the
12th century, King Henry I of England fixed the yard as the distance from his nose to
the thumb of his out-stretched arm. Today it is 36 inches.
Cubit: In ancient Egypt, a cubit was the distance from the elbow to the fingertips.
Today a cubit is about 18 inches.
Principles of Design
Proportions & Scales
Origins of Measurements (Metric)
The French originated the meter in the 1790s as one/ten-
millionth of the distance from the equator to the north pole along
a meridian through Paris. It is realistically represented by the
distance between two marks on an iron bar kept in Paris. The word “metric”
comes from the Latin word “metricus” or from the Greek word “metron,”
both meaning measure. The metric system is based on the meter.

This shows the close association between measurement system and nature’s
creation.

In both Metric and Amstrong measurement system are derived from

Proportions of nature and human body.
Principles of Design
Proportions & Scales

Le Corbusier developed the Modular man

in the long tradition of Vitruvius, Leonardo
da Vinci's Vitruvian Man, the work of Leon
Battista Alberti, and other attempts to
discover mathematical proportions in the
human body and then to use that
knowledge to improve both the
appearance and function of architecture.
The system is based on human
measurements, the double unit, the
Fibonacci numbers, and the golden ratio.
Le Corbusier described it as a "range of
harmonious measurements to suit the
David is a masterpiece of Renaissance
sculpture created between 1501 and 1504 human scale, universally applicable to
by Michelangelo architecture and to mechanical things"
Proportions & Scales
Principles of Design
The Modulor Man was meant as a
universal system of proportions. The
ambition was vast: it was devised to
reconcile maths, the human form,
architecture and beauty into a single
system. This system could then be
used to provide the measurements for
all aspects of design from door
handles to cities, and Corbusier
believed that it could be further
applied to industry and mechanics.
The fundamental "module" of the
Modulor is a six-foot man, allegedly
based on the usual height of the
detectives in the English crime novels
Corbusier enjoyed
Principles of Design
Proportions & Scales

The Modulor was, however, as

arbitrary as any human
measurement: its six-foot basis
was plucked out of the air, there
was no reason the Modulor Man
couldn't be five foot ten or six foot
two. As is often said, a six-foot
rule is hardly fair to women and
children. Also, Corbusier's own
application of it was somewhat
haphazard but his work certainly
enlightened us about relationship
between mathematics, nature,
human ergonomics and
architecture.
Principles of Design
Proportions & Scales Analysis
Fibonacci numbers and Modular Man Mathematics

The Fibonacci Sequence is the

series of numbers: 0, 1, 1, 2, 3, 5,
8, 13, 21, 34, ... The next number is
found by adding up the two
numbers before it. The 2 is found
by adding the two numbers before
it (1+1)

Mark the proportions of Modular

man measured by mm

6, 9, 15, 24, 39, 63……..1130, 1829

11, 18, 30, 48, 76 ………1397, 2260
Principles of Design
Proportions & Scales Analysis
Fibonacci Sequence
Graphical representation

Johannes Kepler (1571–

1630) is observed that a
fibonacci number when
divided with the previous
number in sequence have
a constant ratio of
progression after initial
few numbers.

144 / 89 = 1.618
233 /144 = 1.618
377 /233 = 1.618
Principles of Design
Proportions & Scales Analysis
Fibonacci Sequence Graphical representation
Principles of Design
Proportions & Scales Analysis
Fibonacci Sequence Graphical representation

Pi or p (3.14…) is the ratio of the circumference of a circle to its diameter, Phi

or Φ (1.618 …) is the Golden Ratio that results when a line is divided in one
very special and unique way. To illustrate, suppose you were asked to take a
string and cut it. There’s any number of places that you could cut it, and each
place would result in different ratios for the length of the small piece to the
large piece, and of the large piece to the entire string. There is one unique
point, however, at which the ratio of the large piece to the smaller piece is
exactly the same as the ratio of the whole string to the larger piece, and at
this point this Golden Ratio of both is 1.618 to 1, or Phi.
Principles of Design
Proportions & Scales Analysis
Fibonacci Sequence Graphical representation

What makes this so much more than an interesting exercise in mathematics is that
this proportion appears throughout creation and extensively in the human face and
body. It’s found in the proportions of many other animals, in plants, in the solar
system and even in the price and timing movements of stock markets and foreign
currency exchange. Its appeal thus ranges from mathematicians to doctors to
naturalists to artists to investors to mystics. This is known as golden ratio, divine
proportion, golden mean, or golden section(Φ)
Principles of Design
Proportions & Scales Analysis
Fibonacci Sequence Graphical representation
Principles of Design
Proportions & Scales Analysis
Fibonacci Sequence Graphical representation

Leonardo Bonacci also known as Fibonacci, and also known as

Leonardo of
Pisa found Fibonacci Sequence 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, … Phidias
a Greek sculptor and mathematician found golden ratio. Keplar
derived many Geometrical constructions to get Golden Ratio.
Principles of Design
Proportions & Scales Analysis
Construction of Golden Rectangle
Principles of Design
Proportions & Scales Analysis
Construction of Golden Rectangle

Fibonacci
Sequence 0, 1,
1, 2, 3, 5, 8
Principles of Design
Proportions & Scales Analysis
Construction of Golden Rectangle

If you sum the squares of any series of Fibonacci numbers, they will equal
the last Fibonacci number used in the series times the next Fibonacci
number. This property results in the Fibonacci spiral, based on the
following progression and properties of the Fibonacci series:
Principles of Design
Proportions & Scales Analysis
Construction of Golden Rectangle
Principles of Design
Proportions & Scales Analysis
Error In Modular System

Le Corbusier thought that by using a simple

geometrical extension you could derive a
rectangle with sides 1:2 from a rectangle
with sides of the ratio 1:φ. After all,
adjacent squares make plans and facades
that fit the modernist aesthetic of symmetry
and simplicity.
In a book on architectural proportion
Richard Padovan records that when this
error in constructive geometry was pointed
out, Le Corbusier consulted a
mathematician friend. The mathematician
confirmed that Le Corbusier’s constructive
method was out by 0.006 from what he
expected (Padovan 1999)
Principles of Design
Proportions & Scales Analysis
Error In Modular System

When Le Corbusier discovered the error in

his attempt to derive two squares from the
Golden Rectangle, he thought this revealed
something about the difference between
architecture and philosophy

he concludes

‘the thing is not open and shut; it is not

sealed; there is a chink to let in the air; life
is there, awakened by the occurrence of a
fateful equality which is not exactly, not
strictly equal … And that is what creates
movement.
Principles of Design
Proportions & Scales Analysis
Golden Ratio in Architecture
Principles of Design
Proportions & Scales Analysis
Some common Day today things in Golden Ratio
Principles of Design
Proportions & Scales Analysis
Some common Day today things in Golden Ratio
Principles of Design
Proportions & Scales Analysis
Some common Day today things in Golden Ratio