ELEMENTS OF DESIGN IN VISUAL COMMUNICATION

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ELEMENTS OF DESIGN IN VISUAL COMMUNICATION
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Point (dot) Even if there is only one point, one
mark on a blank page there is something built
into the brain that wills meaning for it, and
seeks some kind of relationship or order, if only
to use it as a point of orientation in relation
to the outline of the page. If there are two
points, immediately the eye will make a
connection and "see" a line.
If there are three points, it is unavoidable to
interpret them as a triangle the mind supplies
the connections. This compulsion to connect parts
is described as grouping, or gestalt.
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LINES A line is a mark made by a moving point
and having psychological impact according to its
direction, weight, and the variations in its
direction and weight. It is an enormously useful
and versatile graphic device that is made to
function in both visual and verbal ways. It can
act as as a symbolic language, or it can
communicate emotion through its character and
direction
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Lines can function independently to suggest forms
that can be recognized, even when the lines are
limited in extent. This can be seen in drawings
such as the Saul Steinberg illustration shown
here.
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Lines can be combined with other lines to create
textures and patterns. This is common in
engravings and pen and ink drawings such as the
one on the left.The use of line in combination
results in the development of form and value,
which are other elements of design.
However, line is not always explicit. It can
exist by implication, as the edge of forms.
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Horizontal line suggests a feeling of rest or
repose. Objects parallel to the earth are at rest
in relation to gravity. Therefore compositions in
which horizontal lines dominate tend to be quiet
and restful in feeling. One of the hallmarks of
Frank Lloyd Wright's architectural style is its
use of strong horizontal elements which stress
the relationship of the structure to the land.
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Vertical lines communicate a feeling of loftiness
and spirituality. Erect lines seem to extend
upwards beyond human reach, toward the sky. They
often dominate public architecture, from
cathedrals to corporate headquarters.
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Diagonal lines suggest a feeling of movement or
direction. Since objects in a diagonal position
are unstable in relation to gravity, being
neither vertical nor horizontal, they are either
about to fall, or are already in motion. In a
two dimensional composition diagonal lines are
also used to indicate depth, an illusion of
perspective that pulls the viewer into the
picture-creating an illusion of a space that one
could move about within. Thus if a feeling of
movement or speed is desired, or a feeling of
activity, diagonal lines can be used.
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Deep, acute curves suggest confusion, turbulence,
even frenzy, as in the violence of waves in a
storm, the chaos of a tangled thread, or the
turmoil of lines suggested by the forms of a
crowd.
Soft, shallow curves suggest comfort, safety,
familiarity, relaxation. They recall the curves
of the human body, and therefore have a pleasing,
sensual quality.
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Shape is one of the basic elements of design.
Alone or in combination with other shapes or
lines they can convey universal meanings as well
as guide the eye or organize information. The
three basic types of shapes are geometric,
natural, and abstract.
Geometric shapes are structured, often
symmetrical shapes. These include squares,
circles, and triangles but also octagons,
hexagons, and cones.
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Natural shapes are found in nature or they can be
manmade shapes. Leaves are an example of a
natural shape. An ink blob is a natural shape.
Natural shapes are often irregular and fluid.
Abstract shapes are stylized or simplified
versions. Symbols found on signs, such as the
stylized wheelchair shape for handicapped access,
is one example.
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The square denotes honesty and stability. Squares
are familiar, trusted shapes. Because the vast
majority of the text we read is set in squares
and rectangles, it has become familiar, safe, and
comfortable.
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Circles suggest infinity. They are also
protective (think of protective encircling arms).
They can also denote free movement such as a
rolling ball or a more controlled movement such
as a spinning globe.
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Triangles suggest action. They are dynamic.
Triangles may convey either conflict or strength.
Triangles can direct movement (up, down, left,
right depending on which way they 'point') but
rather than moving themselves, they point the way
for the reader
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Shapes are not always created by forming lines
sometimes they are formed as a result of other
phenomena, as in figure-ground relationships
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VOLUME When we add a third dimension to a
drawing, we get an illusion of depth, or volume .
. .
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SCALE Scale refers to the relationships in size
between shapes and objects
The blue face is large compared to the orange
face, but small compared to the green one!
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SPATIALITY
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BALANCE Balance is the concept of visual
equilibrium, and relates to our physical sense of
balance. Balance in a three dimensional object
is easy to understand if balance isn't achieved,
the object tips over. To understand balance in a
two dimensional composition, we must use our
imaginations to carry this three dimensional
analogy forward to the flat surface.
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Most successful compositions achieve balance in
one of two ways symmetrically or asymmetrically.

Symmetrical balance
Asymmetrical balance
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Perspective
Representing things the way they look, with
parallel lines converging on some point
(imaginary or real) on the horizon line, via the
process of psychological closure.
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DIRECTION Lines and shapes direct our eyes to
move in certain directions. When we look at at
image, we tend to start in the upper left corner
and move around the image as we are directed by
lines, shapes and other phenomena.
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LIGHTING
Light can be used to direct the eyes, and it
shapes our perception of things by illuminating
light, shadow, shapes, textures and color.
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In chiaroscuro lighting, the image seems to
emerge from shadow, which tends to make the image
more emotional or dramatic
Flat lighting reveals more, but is less dramatic
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PROPORTION THE GOLDEN SECTION
Y
Z
X
YZ is to XY as XY is to XZ
Pythagoras is supposed to have discovered this
law. The eye finds this proportional
relationship pleasing, and it can be found
throughout all visual phenomena paintings,
architecture, in advertisements.
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ATTRIBUTES OF COLOR
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WARMTH AND COOLNESS
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HUE refers to the colors themselves, and their
place in the color wheel
SATURATION Refers to the strength, intensity or
purity of a color (how little black or white has
been mixed into it)
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BRIGHTNESS Not related to the color itself, but
to the intensity of light generated by an object
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CONTEXTUAL RELATIONSHIPS Colors are affected by
other colors near them. A color can seem weaker
or stronger, depending on the colors placed next
to it.