The Elements of Design

The elements of design are the basic factors that make up the visual form, whether it be a two-

dimensional shape or a three-dimensional object. The elements of design can also be thought of as

forces that, by changing, can singly dominate a composition and help give the form meaning. The

reason for, or meaning of, any visual form provides the composition with a unity of purpose that is

particularly important in theatre. After all, plays are about ideas. These building blocks include: line,

shape, space, texture, form, and color.

Understanding Line

Line is a series of points connected together to

form a narrow path. You may have studied

“lines” in math class. Line is the most basic

element of design because it divides areas into

shapes and spaces. Line can also give direction,

or a feeling of movement, to a design.

Individual lines can be straight or curved.

Straight Lines

Straight lines are divided into three types:

vertical, horizontal, or diagonal.

Vertical lines go up and down. They

generally give the appearance of taller, or

more slender. They have a feeling of

strength, dignity, elevation, hope,

spiritually, and formality. Vertical lines lead

the eyes up and down. They create the

illusion of more height and less width. Thus,

you can use the vertical lines to create a

taller, thinner look. To do this, keep lines

long and unbroken.

Horizontal lines go across. They give the appearance of being shorter or wider. They tend to

create a feeling of stability, restfulness, calmness, or tranquility. However, the spacing and width

of horizontal lines can affect the feeling they create. Horizontal lines move the eyes from side to

side. They give the illusion of more width and less height. For a shorter, wider look, use horizontal

lines.

Diagonal lines move at an angle. They add movement and excitement. They give off the feelings

of a driving force, strife, uncertainty, or concentration. Zigzag lines create the most excitement.

They give the feeling of chaos, shattered dreams, injustice, or pain.

Straight lines can also suggest a certain style. Such lines have a crisp look and are usually used in

classic or conservative designs. Diagonal lines are dramatic and trendier in nature.

Curved Lines

Curved lines can be circular or gently waved. They can move in a vertical, horizontal, or diagonal

direction. Curved lines add softness and roundness. They give the feeling of ease, comfort, wealth, or

expanse.

Characteristics of lines are:

Width - thick, thin, tapering, uneven

Length – long, short, continuous, broken

Direction – horizontal, vertical, diagonal, curving,

perpendicular, oblique, parallel, radial, zigzag

Focus – sharp, blurry, fuzzy, choppy

Feeling – sharp, jagged, graceful, smooth

Types of Line:

Outlines – lines made by the edge of an object or

it’s silhouette

Contour lines – lines that describe the shape of an

object and the interior detail

Gesture lines – lines that are energetic and catches

the movement and gestures of an active figure

Sketch lines - lines that capture the appearance of

an object or impression of a specific place

Calligraphic lines – Greek word meaning “beautiful writing”. Precise, elegant handwriting or lettering

done by hand. Also, artwork that has flowing lines like an elegant handwriting.

Implied Line – lines that are not actually drawn but created by a group of objects seen from a

distance. The direction an object is pointing to, or the

direction a person is looking at.

Understanding Shape

Shape – is a self-contained defined area of geometric or

organic form. When a line crosses itself or intersects with

other lines to enclose a space it creates a shape. Shape is

two-dimensional: it has height and width, but no depth.

Shapes can be created by line, or by color and value changes

which define their edges.

Shape is an outline. Shapes may be geometric or free-form,

natural or stylized, realistic or impressionistic. A circle may

seem infinite, eternal, or feminine; a square or cube may

appear staid or unimaginative; a triangle may seem uplifting

or securely founded; a diamond may seem calming and

restful.

Categories of Shapes

Geometric Shapes – circles, squares, rectangles, and triangles. We see them in architecture and many

manufactured items.

Organic Shapes – leaves, seashells, flowers, etc. We see them in nature and with characteristics that

are free flowing, informal, and/or irregular.

Static Shapes – shapes that appear stable and resting

Dynamic Shape – shapes that appear moving and active.

Understanding Space

Space takes into consideration the concepts of bulk and weight. Space is the three-dimensionality of a

sculpture. A three-dimensional object will have height, width, and depth. Space in a two-dimensional

drawing or painting refers to the arrangement of objects on the picture plane. The picture plane is the

surface of your drawing paper or canvas. A two-dimensional piece of art had height and width, but no

depth. The illusion of depth can be achieved by using perspective. This is the technique used to have

your picture look like it is moving to the distance like a landscape or cityscape.

The space or the objects that you create or place in your

images are positive space. The spaces around these objects

are the negative spaces. It is just as important to be attentive

to the negative space as the positive space.

Categories of Space

Positive Space – is the actual 3-dimensional object

Negative Space – is the space around the 3-dimensional

object

Picture plane – is the flat surface of your drawing paper or

canvas

Composition – is the organization and placement of the

elements on your picture plane

Focal Point – is the object or area you want the viewer to look at first

Types of Perspective

Nonlinear perspective is the method of showing depth that incorporates the following techniques:

□ Position- placing an object higher on the page makes it appear farther back than objects placed

lower on the page.

□ Overlapping – when an object overlaps another object it appears closer to the viewer, and the

object behind the object appears farther away.

□ Size Variation – smaller objects look farther away in the distance, larger objects look closer

□ Color - bright colors look like they are closer to you and neutral colors look like they are farther

away

□ Value – lighter values look like they are farther back and darker value look like they are closer

Linear perspective is the method of using lines to show the illusion of depth in a picture. The following

are types of linear perspective.

One-point perspective – when lines created by the sides of tables or buildings are pointing to

the distance and they all meet at one point on the horizon.

Two-point perspective – here the lines

look like they are meeting at two points

on the horizon line.

Understanding Texture

Texture is the tactile aspect of form. As a design

feature, it adds interest by embellishing the

surface and thereby giving character to the

finished form. Surfaces may vary from the

extremes of highly polished to rough/natural in

quality. The reason for using texture in a scenic

design is the catch, interrupt, and reflect light. The irregular shadows and highlights of a textured

surface enrich a design form.

Texture, whether real or simulated, adds interest and character to a design. Real texture is three-

dimensional, as in use of fabricated brick, stucco, or plastic leaves. Simulated texture is two-

dimensional but suggests a third dimension most commonly

achieved by painting. Wallpaper, parquetry, and other

patterns can be used to suggest texture.

Descriptors are: rough/smooth, wet/dry, hard/soft,

shiny/matte (dull), slick/sticky, slippery/abrasive, coarse/porous…can you think of more?

Understanding Color

Color (Hue, Chroma, Value, and more) comes from light; if it weren’t for light we would have no color.

Color represent emotion and allows objects to stand out from the background.

Categories of Color:

Color wheels, a tool used to organize

color. It is made up of:

Primary colors – red, yellow, and blue.

These colors cannot be mixed, they must

be bought in some form.

Secondary colors – are made by mixing

two primaries

Tertiary or Intermediate colors – are

made by mixing a primary with a

secondary

Color Harmonies:

Using a certain combination of colors that create different looks or feelings

Complimentary Colors – are colors that are opposite each other on the color wheel. When

placed next to each other they look bright and intensify each other, but are seldom used in

equal amounts. When they are mixed together they neutralize each other. They create a sense

of excitement and action.

Analogous Colors – are colors that are next to each other on the color wheel. For example, red,

red orange, and orange are analogous. These are the most pleasing color schemes.

Triadic Harmony – is where three equally spaced colors on the color wheel are used. For

example: yellow, red, and blue are a triadic harmony color scheme.

Monochromatic – is where one color is used but in different values and intensity.

Warm colors – are on one side of the color wheel and they give the feeling of warmth. For

example: red, orange, and yellow are the color of fire and feel warm.

Cool colors – are on the other side of the color wheel and they give the feeling of coolness. For

example: blue, and violet are the color of water and greens are the colors of cool grass.

Understanding Form or Mass

Form has three dimensions. It is basically interchangeable with volume. A form is a solid body or a

grouping of visual elements (line, color, texture, etc.) that compose a solid form. You can hold a form,

walk around a form, and in some cases walk inside a form. In drawing or painting using value can

imply form. Shading a circle (2D) in a certain manner can turn it into a sphere (3D).

Form describes volume and mass, or the three-dimensional

aspects of objects that take up space. Forms can and should

be viewed from many angles. When you hold a baseball,

shoe, or small sculpture; you are aware of their curves,

angles, indentations, extensions, and edges – their forms.

Shape 2D Shape 3D

Principles of Design

How can you successfully combine all the elements of design? The principles of design are the artistic

guidelines for using the various design elements within a piece of art. These principles include:

balance, contrast, emphasis/dominance, rhythm/movement, and unity/harmony.

Balance

Balance is the placement of elements to produce a sense of equilibrium in design composition. The

area of a design may be broken up by structural lines, patterns, texture, or color. Balance can be

symmetrical or asymmetrical.

Symmetrical balance is the

division of space within a piece

into equal parts. Symmetrical

balance usually has a more

formal look.

Asymmetrical balance is

unequal division of space

within a piece. Asymmetrical

balance has an informal or

exciting look.

Emphasis

Emphasis is the focal point, or center of interest. Well-planned emphasis will lead the eye quickly to

the center of interest. Poorly planned emphasis confuses the eye so that it does not know where to

focus. An artist uses emphasis to direct and focus the attention of the viewer on the most important

parts of a composition. An artist creates emphasis through size, color, texture, and shape. A design

lacking emphasis will be monotonous and uninspired.

One method used to attract attention in the design of a work of art is the use of focal point. A focal

point draws your attention to the most important element on the page. There are several techniques

used to emphasize the most important object on a page.

Emphasis by Contrast

In realistic art, the focal point is usually quite easy to spot. Larger

figures, usually found in the foreground, provide a focal point. Even in

non-realistic art, it is usually easy to spot the focal point. If most

figures are horizontal, a vertical element will stand out as a focal point.

If the rest of the elements are irregular, a geometric shape will

stand out.

If most of the elements are dark, a splash of light color will

catch the eye.

Emphasis by Isolation

If most of the elements

in a work of art are grouped closely together, an object by itself

stands out as a focal point.

Emphasis by Placement

An object placed in the center will often be perceived as a focal point. If all eyes

in the painting look at one object, or if an object is placed at the center of the

lines of perspective, that object will be perceived as the focus of the work.

Rhythm/Movement

Rhythm is the flow of lines, shapes, space, and texture. Rhythm refers to the regular repeating

occurrence of elements in the scene. Rhythm is soothing and our eyes beg to follow the rhythmic

patterns. To be effective, rhythm also requires some variability – rhythm that is too similar or perfect

may be boring. Rhythm can be achieved through repetition. There is rhythm in a gradual change in

size or color.

Rhythm is the regular repetition of

elements of art to produce the look and

feel of movement. An artist creates

movement in illustration by repeating

colors, shapes, lines, or textures. The

repetition of elements invites the eye to

jump rapidly or glide smoothly from one

image to the next.

Rhythm allows artists to create a feeling of

organized movement. Elements placed at

regular intervals create a calming rhythm.

Variety keeps rhythm exciting and active,

moving the eye around the artwork.

Movement in a composition guides a viewer’s eye through the work, usually to a FOCAL POINT. An

artist arranges parts of an image to create a sense of motion by using lines, shapes, forms, and

textures, or by combining elements of art to produce a look of action. For example, diagonal lines in a

staircase causes the eye to move upwards. Through shape, by scaling the size of shapes, an artist

creates movement.

Ways to create movement:

□ Fuzzy outlines – when figures move past us at very high speeds, we perceive that figure as

somewhat blurry. This experience leads us to interpret blurry or indistinct outlines as motion.

□ Multiple Image – similarly, showing multiple overlapping images gives us the impression of

motion.

□ Optical Illusions – certain optical illusions based on the repetition of geometric forms will cause

your eye to produce motion where none is present.

Unity/Harmonyws`1

Harmony is the pleasing arrangement of all parts. Harmony is achieved when the design elements

work well together. The colors, lines, shapes, spaces, and textures look like they belong together.

Unity is the quality of completeness a composition has. In a unified work of art, all the parts come

together to form a whole; one part of a composition feels like it belongs with the rest. Like taking a

brick from a wall, a piece needs all the components or it might fall apart. An artist achieves unity by

balancing all the aspects of the composition.

One way to achieve unity is repetition through color, shape, and texture. By grouping objects closely

together, you create proximity or object can be used to tie a work together, which unifies a

composition.

A much more subtle method of unifying a work involves the continuation of line,

edge, or direction from one area to another. Continuation is often used in books

and magazines to tie the elements of a page together with the use of rules, and by

lining up edges of copy, headlines, and graphics.

Contrast

Contrast is an abrupt, unexpected change in a visual element. Artists can create contrast through

VALUE, COLOR, TEXTURE, and SHAPE. Color contrast can be achieved through hue, saturation, and

value. Complementary colors (red/green, yellow/purple, blue/orange) seem to vibrate when they are

placed together in a composition. By juxtaposing value (light/dark) an artist can create a sense of

depth. By varying the thickness and thinness of lines or combining horizontal and vertical lines an

artist creates contrast. Contrast can also be created through shape: curved shapes are calming and

jagged shapes create edginess.

Replicated from Erin Davidson, Rocky Mountain High School