3.

Texture
The way a surface feels or is perceived to feel. Texture can be added to attract or repel interest to a visual element.
Two contrasting visual textures are presented in this picture taken in Bolinao, Pangasinan: the smoothness of the
sea and the roughness of the contorted branches.

4. Color
Determined by its hue (name of color), intensity (purity of the hue), and value (lightness or darkness of hue). Color
and color combination can play a large role in the design. Color may be used for emphasis, or may elicit emotions
from viewers. Color may be warm, cool, or neutral. It plays a major role in our visual perception, as it influences
our reactions about the world around us. It is therefore important to create color palettes that evoke the
appropriate audience reactions.
 5. Form
A figure having volume and thickness. An illusion of a 3-dimensional object can be implied with the use of light and
shading.

Through digital means, shadows are On the other hand, thick pen strokes are placed in the drawing above in order
used to achieve volume and thickness on to provide a three-dimensional effect. the sketch in this sketch.

Principles in Visual Design

The visual appeal of artworks depends on its adherence to principles of design. However, there is no strict
commandment in designing. The personal preferences of the artist remain a prime contributing factor in designing
visuals. Let me share with you some of my work as we discuss the designing principles. Like what I have previously
said, these are my personal take on designing. There are many other styles that can also influence you in your works.

1. Consistency of margins, typeface, typestyle, and colors is necessary, especially in slide presentations or
documents that are more than one page.
When designing posters, I tend to be minimalist. I
highlight important points by lessening the other
accessorial designs, like in the case of this poster for my
school, wherein I used slight geometrical gradient in. I
used only two dominant colors to go with the white –
blue and gold, our school’s the school colors. I gave
variation in the text by using only two fonts, Impact and
Arial, and aside from the DepEd logo at the bottom, I
placed only a derivation of the caring emoji, with the
schools logo replacing the heart.

2. Center of interest – an area that first attracts

attention in a composition. This area is more important
when compared to the other objects or elements in a
composition. This can be by contrast of values, more
colors, and placement in the format.

In a picture, the center of interest should not actually be in the center. In fact, you must avoid the “dead center in
placing the portion that you wish to highlight. The basic rule in “The Rule of Thirds.” Divide the frame into three
portions horizontally and vertically using imaginary lines, and place the point you wish to highlight at any of the
four intersecting points.

Putting the lines on the picture above, the girl’s face, which is the center of interest, is right on an intersection point.
Hence, the picture has an interesting composition.

In portraiture, one tip in order to command the center of interest in close ups
(such as the picture of Liza Soberano) is to place the dominant eye at the
center of the frame. Doing so, the image would have the illusion of staring back
at you. (I did an exercise with my previous classes on assessing the impact of
visuals seen in magazines, and we all realized that many of Liza Soberano’s
photos in her printed product endorsement in magazines all had her dominant
eye at the center.

Photo: "Hope Elizabeth ''Liza'' Soberano DOB January 4, 1998 (age 20 years)"
by aeroman3 is marked with CC PDM 1.0
3. Balance – a feeling of visual equality in shape, form, value, color, etc.
Balance can be symmetrical and evenly balanced, or asymmetrical and
unevenly balanced. Objects, values, colors, textures, shapes, forms, etc. can be
used in creating balance in a composition.
4. Harmony – brings together a composition with similar units. If for example your composition was using
wavy lines and organic shapes, you would stay with those types of lines and not put in just one geometric shape.
(Notice how similar Harmony is to Unity - some sources list both terms).
On the left is the cover design I illustrated for an entry to the 2 nd National Competition on Children’s Storybook
Writing. I decided to change the cover page on the published version, since I want to put an element of surprise on
who the “friends” are. I focused on circles, which is the shape of the characters’ eyes. The result is a playful
harmony of common shapes and colors fit for young learners.

4. Contrast – offers some change in value creating a visual discord in a composition. Contrast shows the difference
between shapes and can be used as a background to bring objects out and forward in a design. It can also be used
to create an area of emphasis.

I love to play on the contrast provided by

light and darkness. It simplifies my
composition and allows the viewer to focus
on the subject of my shoot, as in the case of
this statue of the Blessed Virgin Mary taken
at night.

5. Directional Movement – 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.

On the left, the lines implied by the children’s arms provides a direction that leads to the element that unites them:
a trophy. On the right, the blurred image of children in frenzy during the Buhayani festival evokes a sense of
directionless motion.

6. Rhythm – a movement in which some elements recur regularly. Like a dance, it will have a flow of objects
that will seem to be like the beat of music.

You can find rhythmic patterns everywhere, for a simple cup of cappuccino prepared by a barista, to a festive street
dance.

7. Perspective – created through the arrangement of objects in two-dimensional space to look like they appear
in real life. Perspective is a learned meaning of the relationship between different objects seen in space
 Lines disappearing in the horizon and objects getting smaller conveys a perspective of distance. In this still from
the short film “Awit ng Puso,” the child is seen moving far beyond, and the viewer gets the hint that he still has a
long way to go before him.

Types of Shots

How do we go about telling a story in visual form? Let’s take wisdom form children’s fairytales.

Normally, a fairy tale begins with “Once upon a time, in a land far, far away, there lived a… and so on and so
forth.” That sounds too elementary, but that is the basics to start a story: tell the place and time and introduce the
characters, and the rest will follow. Now, it would be awkward to have somebody narrate that for you, that is why
visuals need to be properly executed to tell a story effectively.

Sometimes, a single picture is more than enough to tell a story. However, a series of pictures can be used
also, as in the photo essay, which is a series of photos that tell a story, and in film, which is practically a series of
frames also. To achieve this, you must remember that capturing visuals is not just a matter of point and shoot. Shots
must be planned and well-framed to contribute well to the story. A single frame may give so much meaning already,
so if you add other frames, then you can get much more. Here is a list of the types of shots (Contis, 2019).

Extreme Wide Shot / Extreme

Long Shot

This reveals to the viewer the world where

the story takes place. Through this shot,
the audience must have a feel of the time
and place of the story – whether it is
morning or evening, hot or cold, wet or dry,
and so on.

The subject may be shown on a small scale

in order to picture his/her relation to the
scene.
Wide Shot / Long Shot

This shot establishes the character and

how he/she is related to the scene. The
characters can be seen from head to toe.
Because of its wide coverage, the wide shot
can also be used as an establishing shot.
This can also be used as a master shot,
which introduces a new location or scene.

Full Shot

Like the wide shot, the full shot also shows

the character from head to toe, but this
time around, the character is already the
focus. Through this, you can clearly see
what the character looks like as a whole or
what he/she is doing.

Medium Shot

The character is seen waste up. This is

often used in dialogue scenes, because it is
wide enough to show two or more
characters but close enough to show
details.
Medium Close-up

This shot rests between the medium shot

and the close-up, with the subject framed
from shoulders up. Through this shot,
more body language can complement the
facial expressions to show emotions.

Close-up

This frames the character’s face and

provides emotional clues that cannot be
effectively shown with the medium shot.
Other things may be shown up close –
shaking hands, tapping feet, etc,

Tip: Cropping the crown of the head in a

close-up conveys a more intimate appeal.
 Extreme Close-up
This is a tighter frame that highlights the
facial features or any subject more. It can
be highly detailed, much more intimate,
emotionally heightened, and even
uncomfortable to view.

Camera Angles and Points of View

Establishing the angles of your shots will also help in providing the desirable meaning on visuals. Through
this, you can suggest a specific emotion, establish strength or weakness, or take the story from the eyes of a
character. Here is a list of shots based on angles and points of view (Ricart, 2018).

Bird’s-eye view

Bird’s-eye view is the name given to the

type of shot taken from an elevated point.
As its own name indicates, it offers a
perspective similar to that which birds see
while flying.

Drones may be used to capture this type of

shot, such as the picture on the left.
However, you can still do this shot as long
as you strategize your location, like
shooting a subject while you are standing
on a bridge.

High angle

A high angle shot is taken pointing the

camera down on the subject. As a result,
the subject is seen as vulnerable and
powerless.
Eye level

The eye level shot is considered the most

natural camera angle. Capturing the shot
at eye-level offers a neutral perception of
the subject. Because it is the way in which
we usually see people, this camera angle
can help the audience connect with the
subject.

Low angle

A low angle shot is taken from below the

subject’s eye line, pointing upwards. This
camera angle makes a subject look
powerful and imposing.

Worm’s-eye view

The worm’s-eye view camera angle looks at

an object or subject from below. It is
commonly used to capture tall elements in
the scene, such as trees or skyscrapers,
and put them in perspective. This type of
camera shot is mostly taken from a
subject’s point of view.
Over the Shoulder Shot

Also called OTS or third person shot, this

is created by placing the camera at the
back of one character while facing the
other character. This is used to highlight
the relationship of characters in a
dialogue.

Dutch Angle

Also called Dutch tilt, canted angle, or

oblique angle, this shot is noticeably tilted
or tipped. This is used to signal to the
viewer that something is wrong,
disorienting, or
unsettling (Lannom, 2020)