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Principles of Graphic Design
Much like traditional art, graphic design shares the same artistic components in terms of "essential". This includes line, shape, form, value, color, texture, and space. You can read more about these elements and how they relate to art here. However, the visual hierarchy of graphic design has more subtleties involved than the aforementioned seven elements. This includes, but is not limited to, point, plane, scale, and type.
Balance
Balance refers to the distribution of visual weight in a work of art. In painting, it is the visual equilibrium of the elements that causes the total image to appear balanced. Balance can be either symmetrical or asymmetrical in a work of art.
Balance is the attainment of optical and psychological equilibrium in a design. The visual weight of an image. Balance can relate to symmetry, asymmetry or radial balance.
At first glance, an observer may wonder how this cover could possibly represent a good example of balance. Think of this design not in terms of balancing two mirrored sides (symmetrical balance), but of two different elements—type and shape—offsetting each other. The illustration on the left side is basically built of shapes, while the right side of the design is primarily type. The two are placed in the format in such a way as to create a sense of near-perfect balance. The dark vignetted border and the tail of the cat coming up to the right edge of the cover do wonders to stabilize the design.
Balance is the attainment of optical and psychological equilibrium in a design. The visual weight of an image. Balance can relate to symmetry, asymmetry or radial balance.
Symmetrical Balance is an even placement of visual weight in the design.
Asymmetrical Balance creates uneven spaces, a sense of imbalance making tension and a dynamic suggestion of visual movement. Asymmetrical balance refers to a psychological or "felt" balance. Space and shape don't need to be evenly dispersed on the page
Radial Symmetry relates to images emitting from a point like spokes on a wheel or ripples from a pebble tossed into a pond.
Asymmetrical Balance creates uneven spaces, a sense of imbalance making tension and a dynamic suggestion of visual movement. Asymmetrical balance refers to a psychological or "felt" balance. Space and shape don't need to be evenly dispersed on the page
Radial Symmetry relates to images emitting from a point like spokes on a wheel or ripples from a pebble tossed into a pond.
At first glance, an observer may wonder how this cover could possibly represent a good example of balance. Think of this design not in terms of balancing two mirrored sides (symmetrical balance), but of two different elements—type and shape—offsetting each other. The illustration on the left side is basically built of shapes, while the right side of the design is primarily type. The two are placed in the format in such a way as to create a sense of near-perfect balance. The dark vignetted border and the tail of the cat coming up to the right edge of the cover do wonders to stabilize the design.
Contrast
Contrast refers to differences in values, colors, textures, shapes, and other elements. Contrasts create visual excitement, and add interest to the work. If all the art elements - value, for example - are the same, the result is monotonous and unexciting.
This elegant solution to promoting Tableaux Restaurant uses contrast and variety to create a sophisticated yet lively look. The mailer, especially, is the epitome of this approach, with its use of different yet complementary images and elements, including a leopard-skin pattern, stylized sun images, metallic bronze with olive green, Chinese type and English with calligraphic flourishes.
The address side of the mailer has a high-key value, while the opposite side is low-key. this piece is given special appeal by the use of an unusual shape and die-cut black flaps that lift up to reveal more information printed on a light screen of olive green.
The mailer, along with the rest of the identity system, uses three common colors—black, olive green and a metallic bronze—to unify the elements and give a common identity to the campaign.
This elegant solution to promoting Tableaux Restaurant uses contrast and variety to create a sophisticated yet lively look. The mailer, especially, is the epitome of this approach, with its use of different yet complementary images and elements, including a leopard-skin pattern, stylized sun images, metallic bronze with olive green, Chinese type and English with calligraphic flourishes.
The address side of the mailer has a high-key value, while the opposite side is low-key. this piece is given special appeal by the use of an unusual shape and die-cut black flaps that lift up to reveal more information printed on a light screen of olive green.
The mailer, along with the rest of the identity system, uses three common colors—black, olive green and a metallic bronze—to unify the elements and give a common identity to the campaign.
Emphasis
Emphasis is used by artists to create dominance and focus in their work. Artists can emphasize color, value, shapes, or other art elements to achieve dominance. Various kinds of contrast can be used to emphasize a center of interest. While you can talk about emphasizing one thing or another, the element of emphasis has more to do with an object, color or style dominating another for a heightened sense of contrast. Contrast is intriguing, and it creates a focal point.
Emphasis is also known as dominance in graphic design.
Emphasis refers to the first thing the eye sees on a design. Traditionally this was the central part of the design, from which all other parts radiated. Emphasis is meant to create an implied path for the viewer's eye to follow, getting information in the correct order. To do this you need to force them to a specific start point on the design to get their attention.
There are many ways to create emphatic elements in your work through color, text, and image. For instance, the color red adds emphasis to anything, being highly visually stimulating. Controversial, sexual, and shocking text/imagery is also very emphatic and attracts the eye near instantly. However, one must be aware as to not overwhelm the piece. Be careful that your dominant element doesn't overwhelm the whole image. Too much dominance and the viewer will see nothing else. In this case, having a co-dominant element may help add balance back to the piece.
Emphasis is also known as dominance in graphic design.
Emphasis refers to the first thing the eye sees on a design. Traditionally this was the central part of the design, from which all other parts radiated. Emphasis is meant to create an implied path for the viewer's eye to follow, getting information in the correct order. To do this you need to force them to a specific start point on the design to get their attention.
There are many ways to create emphatic elements in your work through color, text, and image. For instance, the color red adds emphasis to anything, being highly visually stimulating. Controversial, sexual, and shocking text/imagery is also very emphatic and attracts the eye near instantly. However, one must be aware as to not overwhelm the piece. Be careful that your dominant element doesn't overwhelm the whole image. Too much dominance and the viewer will see nothing else. In this case, having a co-dominant element may help add balance back to the piece.
Movement
Movement is the suggestion of motion in a work of art, either by represented gesture in figurative painting or sculpture or by the relationship of structural elements in a design or composition. Visual movement is used by artists to direct viewers through their work, often to a focal area. Such movements can be directed along lines, edges, shapes, and colors within the works, but moves the eye most easily on paths of equal value.
In graphic design, movement is best expressed through diagonals. It can also be known as flow.
Movement is the combination of elements to guide the viewer around the design in the correct direction. Flow begins and ends with the dominant element to help keep the eye moving constantly around the design. Movement aids the viewer in navigating the piece, as well as adding dramatic emphasis and tension to a graphic design.
Movement is the combination of elements to guide the viewer around the design in the correct direction. Flow begins and ends with the dominant element to help keep the eye moving constantly around the design. Movement aids the viewer in navigating the piece, as well as adding dramatic emphasis and tension to a graphic design.
Rhythm
Rhythm in graphic design is also continuity. Recurrence or organized movement in space & time. Sequence is the experience of the rhythm. One space may have several different rhythms.
Repetition: the regular or harmonious recurrence of elements, including: lines, shapes, forms or colors. They work to connect points in space.
Progression: a sequence or transition produced by increasing or decreasing one or more qualities, progression is ordered systematic change. Such examples include radiation and gradation.
Contrast: deliberate placement of elements to create opposition by abrupt transition rather than gradual. Contrast heightens values/interest through comparison (or Tension).
Progression: a sequence or transition produced by increasing or decreasing one or more qualities, progression is ordered systematic change. Such examples include radiation and gradation.
Contrast: deliberate placement of elements to create opposition by abrupt transition rather than gradual. Contrast heightens values/interest through comparison (or Tension).
Unity
The result of bringing the elements of art into appropriate ratio between harmony and variety to give a sense of oneness. Visual unity is one of the most important aspects of well-developed art and is planned by the artist to make the work feel satisfying to look at, complete, and finished. When all of the aforementioned elements work in harmony in a piece and creates good cohesion, the artist has achieved unity.
Nowhere is unity more important than in a campaign for a paying client. Creating unity is a form of branding: you must establish a look and attitude that are recognizable even before the content of the ad is read. It's in this way that an advertisement or logo with unity commands attention and becomes hard to ignore, turning into a very successful visual campaign.
Unity is also a measure of how the elements of a page seem to fit together - to belong together. A unified work of art represents first a whole, then the sum of its parts. All of the elements of visual communication (image/type) are consistent with each other in shape, style, and color - and consistent with the overall message of the image and from a commercial and aesthetic point of view. Establishing and maintaining a consistency throughout your printed piece is essential to the success of your design. Unity will hold together both the image and the message of your design.
Nowhere is unity more important than in a campaign for a paying client. Creating unity is a form of branding: you must establish a look and attitude that are recognizable even before the content of the ad is read. It's in this way that an advertisement or logo with unity commands attention and becomes hard to ignore, turning into a very successful visual campaign.
Unity can be achieved though:
Color symbolism: Colors that work together with the message; e.g. an environmental action poster would do well with greens and other natural colors. The color supports the message.
Shapes & Lines: Curved and organic shapes can imply a lighthearted and tranquil feel, while bold, vertical lines imply elevation and superiority. Horizontal lines display stability and diagonal lines illustrate excitement and movement. These emotions are essential to defining the tone of your graphic design.
Typography/Fonts: Type can work together with your design to create more cohesion. It's important to select a type face that reflects the overall message you're trying to convey. Perhaps you want a bubbly, fun font? Or a seductive and elegant font? Proper selection can go a long way in terms of unifying a design.
Style: Overall style creates a united message. A wedding invitation and an Oktoberfest beer gathering have two very different styles and must be represented accordingly. Style also talks to the targeted audience; each design would be tailored to the market and the products' respective tastes and pre-existing established styles.
Gestalt Theory: Principles like proximity (the simplest method of making objects appear to belong together is to group them closely together), similarity (repeating colors, shapes, values, textures, or lines creates a visual relationship between elements, called correspondence), and continuation (a much more subtle method of unifying a work involves the continuation of line, edge or direction from one area to another) are often used to unify a piece.
Shapes & Lines: Curved and organic shapes can imply a lighthearted and tranquil feel, while bold, vertical lines imply elevation and superiority. Horizontal lines display stability and diagonal lines illustrate excitement and movement. These emotions are essential to defining the tone of your graphic design.
Typography/Fonts: Type can work together with your design to create more cohesion. It's important to select a type face that reflects the overall message you're trying to convey. Perhaps you want a bubbly, fun font? Or a seductive and elegant font? Proper selection can go a long way in terms of unifying a design.
Gestalt Theory: Principles like proximity (the simplest method of making objects appear to belong together is to group them closely together), similarity (repeating colors, shapes, values, textures, or lines creates a visual relationship between elements, called correspondence), and continuation (a much more subtle method of unifying a work involves the continuation of line, edge or direction from one area to another) are often used to unify a piece.
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