Elements & Principles of Design

in context to Fashion

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 Elements & Principles of Design

•The elements and principles of design are the building blocks used to create a work of art. The
elements of design can be thought of as the things that make up a painting, drawing, design etc.
Good or bad - all paintings will contain most of if not all, the seven elements of design.

•The Principles of design can be thought of as what we do to the elements of design. How we
apply the Principles of design determines how successful we are in creating a work of art.

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The elements form the ‘Vocabulary' of the design

ELEMENTS OF DESIGN

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 Elements of Design

• Space
• Line
• Direction
• Shape
• Form – Silhouette
• Texture
• Color

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 Space
• Space is the area provided for a particular purpose.
• It may have two dimensions (length and width), such as a floor, or it may have
three dimensions (length, width, and height).
• Space includes the background, foreground and middle ground.
• Space refers to the distances or areas around, between or within components of a
piece.
• There are two types of space: positive and negative space. Positive space refers to
the space of a shape representing the subject matter. Negative space refers to the
space around and between the subject matter.

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 Line
• Line 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. It is the basic
component of a shape drawn on
paper. Lines and curves are the basic
building blocks of two dimensional
shapes like a house's plan. Every line
has length, thickness, and direction.
There are curved, horizontal, vertical,
diagonal, zigzag, wavy, parallel, dash,
and dotted lines.

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 The magic "Y" creates a feeling
The single vertical line moves of height as
the eye the eye is guided upward with
upward with nothing to nothing to
interrupt its impede its vertical motion.
movement.

The longer your eye can travel

upward Two vertical lines spaced
without being interrupted by a close together form a
horizontal narrow panel which moves
line, the taller the figure will the eye up the figure.
appear.

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A vertical illusion becomes A vertical line
a horizontal suddenly appears
illusion when a vertical shorter when
line is topped with the eye is forced
a horizontal line causing downward.
the eye to move
from side to side.

The sooner the eye

Two vertical lines spaced far
encounters a horizontal
apart form three
line, the shorter the
wide panels that move the eye
figure will appear.
across the figure.

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 Direction
The element of direction can have a
powerful influence on the mood of a
painting. It is something often overlooked,
but making a conscience decision about the
dominant direction in a painting can have a
noticeable effect on the atmosphere of the
work.
Sometimes the subject will dictate the
dominant direction. Sometimes the subject
will allow you to impose a direction on it.
In the paintings below the subject dictates
the direction. The strong horizontal lines of
the water, boats and buildings in the first
example give a feeling of stillness and calm.
In the second example, the diagonal lines of
the shoreline and the rocks reinforce the
feeling of movement. The third example has
a dominant vertical direction which adds a
static orderly influence to what might be a
random chaotic painting.

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 Form
• Form is any three dimensional object. Form can be
measured, from top to bottom (height), side to side
(width), and from back to front (depth). Form is also
defined by light and dark. There are two types of
form, geometric (man-made) and natural (organic
form). Form may be created by the combining of
two or more shapes. It may be enhanced by tone,
texture and color. It can be illustrated or
constructed.

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Shape
A shape is defined as an area that stands out
from the space next to or around it due to a
defined or implied boundary, or because of
Geometrical shapes
differences of value, color, or texture. Shapes
can also show perspective by overlapping. They
can be geometric or organic. Shapes in house
decor and interior design can be used to add
interest, style, theme to a design like a door.
Shape in interior design depends on the Organic or natural shapes
function of the object like a kitchen cabinet
door. Natural shapes forming patterns on wood
or stone may help increase visual appeal in
interior design. In a landscape, natural shapes,
such as trees contrast with geometric such as Non objective shapes
houses

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 Silhouette
• Contour or outline as shown in a solid black background on white
background.
• Formerly a term widely used to indicate trend in length & general outline
of garment for the coming season.
• Named after a French author and statesmen “Etienine de Silhouette, who
made portraits in black with no background

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 Texture
Texture is perceived surface quality. In
art, there are two types of texture:
Physical Texture (Tactile/ Real) is the
texture you can actually feel with your
hand. The build up of paint, This detail shows the use of visual texture.
slipperiness of soft pastel, layering of The surface appears fractured and broken
collage - all the things that change the but this is an illusion created with the paint.
The paper in this area of the work is
nature of the papers surface.
smooth and flat.
Visual Texture ( Implied ) is the illusion
of physical texture, created with the
materials you use. Paint can be
manipulated to give the impression of
texture, while the paper surface
remains smooth and flat.

In this detail patches of Japanese rice paper,

gesso and thick swipes of soft pastel add a
strong three dimensional physical texture.

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 Texture
• Texture is the quality of an object which we sense through touch. It exists as a literal
surface we can feel, but also as a surface we can see, and imagine the sensation might
have if we felt it. Texture can also be portrayed in an image, suggested to the eye which
can refer to our memories of surfaces we have touched. So a texture can be imaginary.

Bristle, Hard & Rough

Smooth, Cold & Hard

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 Color Basics

• Shade and tint are terms that refer to a variation of a hue.

• Shade: A hue produced by the addition of black.
Tint: A hue produced by the addition of white.

• Color is the perceptual characteristic of light described by a color name. Specifically, color is light,
and light is composed of many colors—those we see are the colors of the visual spectrum: red,
orange, yellow, green, blue, and violet. Objects absorb certain wavelengths and reflect others back
to the viewer. We perceive these wavelengths as color.

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 Color Wheel

• A color wheel (also referred to as a color circle) is a

visual representation of colors arranged according to
their chromatic relationship

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 These terms refer to color groups or types:

• Primary Colors: Colors at their basic

essence; those colors that cannot be
created by mixing others

• Secondary Colors: Those colors achieved

by a mixture of two primaries

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• Tertiary Colors: Those colors achieved
by a mixture of primary and secondary
hues.

• Analogous Colors: Those colors located

close together on a color wheel.

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• Complementary Colors: Those colors
located opposite each other on a color
wheel.

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Complimentary Colors

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 Using a color wheel and a template, the relationships between colors are easy
to identify

Monochromatic Complementary Split-Complementary

Double Complementary Triad Analogous

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The color wheel can be divided into ranges that are visually active or passive. Active
colors will appear to advance when placed against passive hues. Passive colors appear

to recede when positioned against active hues.

• Advancing hues are most often thought to

have less visual weight than the receding
hues.
• Most often warm, saturated, light value
hues are "active" and visually advance.

• Cool, low saturated, dark value hues are

"passive" and visually recede.
• Tints or hues with a low saturation appear
lighter than shades or highly saturated
colors.
• Some colors remain visually neutral or
indifferent

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 Value
• Value is defined as the relative lightness or darkness of a color. It is an important tool
for the designer/artist, in the way that it defines form and creates spatial illusions.
Contrast of value separates objects in space, while gradation of value suggests mass
and contour of a contiguous surface

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Color & Contrast

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Proportion & Intensity

Dominant Color
Sub-Dominant Color
Accent

Dominant Color
Sub-Dominant Color
Accent

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 Contrast & Dominance

Low Contrast Medium Contrast High Contrast

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Color, Shades & Tints

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Different colors have different effects in
different colors

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Color Studies

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The principles of design are related to the arrangement of the units
affecting cohesion of the form. Variations within these organizational
principles also affect the level of complexity within the form. The
principles of design that organize visual elements include -

PRINCIPLES OF DESIGN

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 Principles of Design
• Unity
• Repetition
• Rhythm
• Gradation
• Repeats
• Emphasis /Focal Point Contrast
• Balance Symmetrical, Asymmetrical, Radial
• All over pattern
• Contrast & Harmony
• Proportion /Scale Space Rhythm

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 Balance

• 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.

• 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

• Asymmetrical balance, also called informal balance, is more complex and difficult to envisage. It
involves placement of objects in a way that will allow objects of varying visual weight to balance one
another around a fulcrum point.

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Balance in design is similar to balance in physics

A large shape close to the center can be balanced

by a small shape close to the edge. A large light
toned shape will be balanced by a small dark toned
shape (the darker the shape the heavier it appears to be)

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 • Proportion refers to the relative size and scale of the various
elements in a design. The issue is the relationship between
Proportion objects, or parts, of a whole. This means that it is necessary
to discuss proportion in terms of the context or standard
used to determine proportions.

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 Rhythm
• 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.

• Linear rhythm refers to the characteristic flow of the individual line

• Repetition involves the use of patterning to achieve timed movement and a visual "beat".
This repetition may be a clear repetition of elements in a composition, or it may be a more
subtle kind of repetition that can be observed in the underlying structure of the image.

• Alternation is a specific instance of patterning in which a sequence of repeating motifs are

presented in turn; (short/long; fat/thin; round/square; dark/light).

• Gradation employs a series of motifs patterned to relate to one another through a regular
progression of steps. This may be a gradation of 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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 REPETITION
Repetition with variation is interesting, without variation repetition can become
monotonous.

The five squares above are all the same. They can be taken in and understood with a
single glance.

When variation is introduced, the five squares, although similar, are much more interesting
to look at. They can no longer be absorbed properly with a single glance. The individual
character of each square needs to be considered.

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GRADATION

Gradation of size and direction produce linear perspective. Gradation of of colour

from warm to cool and tone from dark to light produce aerial perspective.
Gradation can add interest and movement to a shape. A gradation from dark to
light will cause the eye to move along a shape.

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 Contrast
• Contrast is the juxtaposition of opposing elements eg. opposite colours on the colour wheel -
red / green, blue / orange etc. Contrast in tone or value - light / dark. Contrast in direction -
horizontal / vertical.
The major contrast in a painting should be located at the center of interest. Too much
contrast scattered throughout a painting can destroy unity and make a work difficult to look
at. Unless a feeling of chaos and confusion are what you are seeking, it is a good idea to
carefully consider where to place your areas of maximum contrast.

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 Harmony

• Harmony in painting is the visually satisfying effect of combining similar,

related elements. eg.adjacent colours on the colour wheel, similar shapes
etc.

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 Dominance
• Dominance gives a painting interest, counteracting confusion and monotony. Dominance can
be applied to one or more of the elements to give emphasis

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 Unity
• Relating the design elements to the the idea being expressed in a painting reinforces the
principal of unity.eg. a painting with an active aggressive subject would work better with a
dominant oblique direction, course, rough texture, angular lines etc. whereas a quiet passive
subject would benefit from horizontal lines, soft texture and less tonal contrast.

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 MOTIFS
• In creative work:
• Motif (narrative), any recurring element in a story that has symbolic
significance
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• Motif (textile arts), a recurring element or fragment that, when joined
together, creates a larger work
• Motif (visual arts), a repeating theme or pattern

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African motifs

Victorian motifs

Celtic Motif

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REPEAT
Repeat is the “ Repetition” of floral or geometric print in a fabric design.
And Repetition is use of same form again and again

Block Repeat Half Drop Repeat All Over Repeat

Ogee Plaid

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 Pattern
• Pattern is an underlying structure that organizes surfaces or structures in a
consistent, regular manner. Pattern can be described as a repeating unit of
shape or form, but it can also be thought of as the "skeleton" that organizes
the parts of a composition.

Flowing Branching Spiral 61

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