with ADOBE APPLICATIONSGRAPHIC DESIGNFOUNDATION IN

Summary Notes

LESSON 2

• GRAPHIC DESIGN ELEMENTS & PRINCIPLES

LESSON 2

ELEMENTSIn Graphic Design there are Key Elements that enable us to communicate our message clearly.

These are what make up our design.

DISCLAIMER: There have been disagreements about the exact number, but to be honest, it doesn’t matter, these are the main conceptual elements. *

LINE SHAPE (FORM) COLOUR TEXTURE SPACEMASS (SIZE)

LINE• One of the most important Elements of Design,

line defines a subject’s form or shape.

• A Line is a form with width & length, but no depth.

• Lines can be thick or thin, smooth or jagged, rigid & mechanical or organic and hand-drawn.

• The direction of a Line can convey mood.

• Lines can be literal or implied.

WIDTH

LENGTH

DEPTH

LINE | TYPES

• There are several types of lines defined by their use.

CONTOUR DIVIDING

Lorem ipsum dolor sit amet

- - - - - - - - - -consecteturadipiscing elit.

Praesent at leopurus. Phasellusmi tortor, mattisnec laoreet ut, tincidunt sedtortor.

GESTUREDECORATION

Contour lines are used to define edges. They create boundaries around or inside an object. Most lines you encounter are contour lines. In design these could be the borders you add around an object or group of objects.

Dividing lines can also define edges, but what distinguishes them from contour lines is they divide space. The lines between columns of text are dividing lines as are the lines separating menu items.

Decoration lines are used to embellish an object. Cross-hatching is an example of using decoration lines to add shading and form to an object. The line beneath linked text is a decorative line as are the lines used to create a floral background image.

Gesture lines are quick and rough continuous lines used to capture form and movement. They are generally used when studying the shape and motion of the form. You likely won’t use gesture lines, but you could certainly create patterns of lines to signify motion of a form.

LINE | MEANINGS

THINThin lines are fragile. They appear easy to break or knock over. They suggest frailty and convey an elegant quality.

THICKThick lines on the other hand appear difficult to break. They suggest strength and give emphasis to nearby elements. Thick lines are bold and make a statement.

HORIZONTALHorizontal lines are parallel to the horizon. They look like they’re lying down, at rest, asleep. They suggest calm and quiet, a relaxed comfort.Horizontal lines can’t fall over. They accentuate width. They’re stable and secure. Horizontal lines by their connection to the horizon are associated with earth bound things and ideas.

VERTICALVertical lines are perpendicular to the horizon. They are filled with potential energy that could be released if they were to fall over. Vertical lines are strong and rigid. They can suggest stability, especially when thicker. Vertical lines accentuate height and convey a lack of movement, which is usually seen as horizontal.

LINE | MEANINGS

Diagonal lines are unbalanced. They are filled with restless and uncontrolled energy. They can appear to be either rising or falling and convey action and motion. Their kinetic energy and apparent movement create tension and excitement. Diagonal lines are more dramatic than either horizontal or vertical lines.

Curved lines are softer than straight lines. They sweep and turn gracefully between end points. They are less definite and predictable than straight lines. They bend, they change direction. Curved lines express fluid movement. They can be calm or dynamic depending on how much they curve. The less active the curve the calmer the feeling.

Zigzag lines are a combination of diagonal lines that connect at points. They take on the dynamic and high energy characteristics of diagonal lines. They create excitement and intense movement. They convey confusion and nervousness as they change direction quickly and frequently. They can imply danger and destruction.

Artificial / Natural Long, perfectly even lines feel artificial. Nature is not perfectly straight. As variation is added to a line it becomes less artificial and more natural.

DIAGONAL CURVED ZIGZAG ARTIFICIAL/NATURAL

LINE | PATTERNS

• A series of lines form a pattern.

• Patterns convey meaning in addition to the meaning of individual lines.

UNIFORM

Parallel lines of uniform width and spacing create a static and orderly effect.It doesn’t matter if the lines are horizontal or vertical or diagonal.Even in curved lines the repetition creates order, however are more dynamic than straight lines.

VARYING

By varying the spacing between lines of equal thickness we can convey motion.When the spacing between lines of the same thickness is random we get a dynamic effect with little order.When we vary both spacing and thickness the effect becomes more chaotic and disorderly.Patterns of lines can be built up to create shading and texture.

ORGANIC. ABSTRACTGEOMETRIC

SHAPE | TYPES

Geometric shapes are what most people think of as shapes. Circles, squares, triangles, diamonds are made up of regular patterns that are easily recognizable. This regularity suggests organisation and efficiency. It suggests structure. Geometric shapes tend to be symmetrical further suggesting order.

Natural/Organic shapes are irregular. They have more curves and are uneven. They tend to be pleasing and comforting. While they can be man-made (ink blobs), they are more typically representative of shapes found in nature such as a leaves, rocks, and clouds. In design organic shapes are generally created through the use of illustration and photography. They are free form and asymmetrical and convey feelings of spontaneity. Organic shapes add interest and reinforce themes.

Abstract shapes have a recognisable form, but are not real. They are stylized or simplified versions. A stick figure is an abstract shape depicting a person. Typographic glyphs are abstract shapes to represent letters. Icons are abstract shapes to represent ideas and concepts. Some abstract shapes have near universal recognition. Think of some of the icons you see in the software you use daily.

SHAPE | MEANINGS

CIRCLES

Circles have no beginning or end. They represent the eternal whole and in every culture are an archetypical form representing the sun, the earth, the moon, the universe, and other celestial objects between. Circles are used to suggest familiar objects such as wheels, balls, many kinds of fruit. They suggested well-roundedness and completeness.

Circles have free movement. They can roll. Shading and lines can enhance this sense of movement in circles. Circles are graceful and their curves are seen as feminine. They are warm, comforting and give a sense of sensuality and love. Their movement suggests energy and power. Their completeness suggests the infinite, unity, and harmony.

Circles protect, they endure, they restrict. They confine what’s within and keep things out. They offer safety and connection. Circles suggests community, integrity, and perfection.

Because they are less common in design they work well to attract attention, provide emphasis, and set things apart.

SHAPE | MEANINGS

SQUARES / RECTANGLES

Squares and rectangles are stable. They’re familiar and trusted shapes and suggest honesty. They have right angles and represent order, mathematics, rationality, and formality. Rectangles are the most common geometric shape encountered. The majority of text we read is set in rectangles or squares.

Squares and rectangles suggest conformity, peacefulness, solidity, security, and equality. Their familiarity and stability, along with their commonness can seem boring. They are generally not attention getters, but can be tilted to add an unexpected twist. Think of designs that tilt images to help them stand out.

SHAPE | MEANINGS

TRIANGLES

Triangles can be stable when sitting on their base or unstable when not. They represent dynamic tension, action, and aggression. Triangles have energy and power and their stable/unstable dynamic can suggest either conflict or steady strength. They are balanced and can be a symbol for law, science, and religion.

Triangles can direct movement based which way they point. They can be used to suggest familiar themes like pyramids, arrows and, pennants. Spiritually they represent the religious trinity. They can suggest self-discovery and revelation.

The strength of triangles suggests masculinity.

Triangles can be used to convey progression, direction, and purpose.

SHAPE | MEANINGS

SPIRALS

Spirals are expressions of creativity. They are often found in the natural growth pattern of many organisms and suggest the process of growth and evolution. Spirals convey ideas of fertility, birth, death, expansion, and transformation. They are cycles of time, life, and the seasons and are a common shape in religious and mystical symbolism.

Spirals move in either direction and represent returning to the same point on life’s journey with new levels of understanding. They represent trust during change, the release of energy and maintaining flexibility through transformation.

Clockwise spirals represent projection of an intention and counter-clockwise spirals the fulfilment of an intention.

Double spirals can be used to symbolize opposing forces.

SHAPE | MEANINGS

CROSSES

Crosses symbolize spirituality and healing. They are seen as the meeting place of divine energies. The 4 points of a cross represent self, nature, wisdom, and higher power or being.

Crosses suggest transition, balance, faith, unity, temperance, hope, and life.

They represent relationships and synthesis and a need for connection to something, whether that something is group, individual, self, or project related.

Texture refers to the characteristics of a surface that can be tactile as well as visual.

It’s not only for print.

Texture can add an emotional and 'real-life' response.

Depending on what artistic venue you're working in, texture should be used differently. For example, logo design should keep texture to a minimum, while web or graphic design can use a lot more.

Texture can be related to the context in which it is inserted – complimenting or strengthening.

Textures can create a more three-dimensional appearance on this two-dimensional surface. It also helps build an immersive world.

Texture with large elements are usually more aggressive.

While finer textures tend to be more delicate.

Texture acts as a secondary element giving support to the main image, reinforcing the visual concept.

TEXTURE

Mass equals size. The physical mass or size is the actual dimensions of the piece.

Size can be relative.

Each piece you create has a physical mass.

The physical mass or size is the actual dimensions of the piece — height, width, thickness/weight (of paper), and depth (3D objects).

Additionally, each element within the design (graphics, photos, lines, text blocks) have their own mass relative to the whole piece. For example, a photo that is physically 3 inches by 5 inches can appear smaller or larger depending on the physical size of the paper it is printed on and the size and proximity (closeness) of other items on the page.

MASS

SPACESomewhat confusingly, one of the first things to understand is that ‘white space’ needn’t be ‘white’!

White Space is actually ‘negative space’ – in other words, the gaps and space between graphic elements on a page, so this could actually be any colour.

The more graphic elements that are displayed and the closer they are to one another, then the more difficult it is for the viewer to make sense of page (or design). E.G. It takes a lot less time to read a bold headline than an entire paragraph.

LegibilityMaking something clear and easy to read is important.Headlines/Titles - leaving sufficient space around important messages (such as headlines) ensures that they will stand out – it’s a way of providing a visual clue for the reader to know ‘where to start’.Body Text - equally, having enough space between lines of text and between paragraphs keeps the text looking light and approachable – after all, who isn’t put off when faced with paragraphs of tightly spaced text.

AestheticGenerally speaking, most people like things that look beautiful, elegant, uncluttered, even pretty. (White) space does this. It allows a design to breathe. Like a frame around a picture, it helps to give definition to the graphic elements that are displayed. As with type, if you cram lots of images together they can become difficult to distinguish, and the inherent impact of each can become lessened.

There will always be an exceptionThis is as considered as a principle and convention, not a rule.

The Principles of design are what we do to design elements.How we apply these determines how successful the design is.

ALIGNMENTAlignment allows us to create order and organisation.Aligning elements allows them to create a visual connection with each other.

BALANCEBalance is the weight distributed in the design by the placement of your elements.Provides stability and structure to a design.E.G. A large shape close to the centre can be balanced by a small shape close to the edge.

CONTRASTContrast is the juxtaposition of opposing elements (opposite colours on the colour wheel, or value light/dark, or direction horizontal/vertical).Contrast allows us to emphasise or highlight key elements in your design.Without Contrast a design can seem uninteresting and not be clear what to look at first.

PROXIMITYProximity is simply the process of ensuring related design elements are grouped together. Any unrelated items, should be spaced apart. Close proximity indicates that items are connected or have a relationship to each other and become one visual unit which helps to organise or give structure to a layout.

REPETITIONRepetition strengthens a design by tying together individual elements.It helps create association and consistency.Repetition can create rhythm (a feeling of organised movement).

PRINCIPLES

SIZE VALUE QUANTITY WEIGHT PLACEMENT TEXTURE

Bigsmall

W W W W

CONTRAST | TYPES

CONTACT

+353 (0) 1 5360892

graphic.design@shawacademy.com

www.shawacademy.com

facebook.com/shawacademy

twitter.com/shawacademy

#shawgraphic