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OF DESIGN STUDY GUIDE
OBJECTIVES
Learn the different Elements of Design
Identify the different uses of Elements of Design and their uses
Cite some examples or applications of each element.
ELEMENTS OF DESIGN
These are the building blocks used by the designers to create the designs.
ELEMENTS OF DESIGN
Line
Shape and Form
Space
Texture
Value
Color
I. LINE
A line is a mark with length and direction. It is a continuous mark made on a surfc
Often the starting point for all artistic expression, the line is one of the most
essential elements of design. It always has more length than thickness, and can
be unbroken, broken, or implied. A line can be vertical, diagonal, horizontal, and
even curved. It can be any width, size, shape, position, direction, interval, or
density.
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Points create lines and lines create shapes. A line can have other elements like
color, texture, and movement applied to it. Though basic in appearance, lines can
control the viewer’s thoughts and emotions, and lead a viewer’s eye through
space.
Types of Lines
VERTICAL LINES: are straight up and down and perpendicular to horizontal lines
HORIZONTAL LINES: are straight up and down and perpendicular to vertical lines
DIAGONAL LINES: are lines that straight in any direction except vertical or
horizontal
ZIGZAG LINES: are a series of diagonal lines joined end to end
CURVE LINES: are lines that bend in any amount of degree; they may be gently
wavy to tightly wound spirals
II. SHAPE
A shape is the result of enclosed lines to form a boundary. Shapes are two-
dimensional and can be described as geometric, organic, and abstract. All objects
are composed of shapes, and all elements of design are shapes in some way.
Shapes can live in a form.
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Types of Shapes
a. GEOMETRIC SHAPES
b. ORGANIC SHAPES
c. ABSTRACT SHAPES
a. Geometric Shapes
Geometric shapes can be drawn using a ruler, compass, or digital instrument.
They feel very precise, like an architectural rendering.
Examples of geometric shapes are squares, rectangles, triangles, circles, ovals,
pentagons, and so on.
b. Organic or Free-form Shapes
Organic shapes are found in nature or drawn by hand. They’re the opposite of
geometric, and often feel natural or smooth. That’s not to say that because
they’re natural, they’re less complex. They are difficult to describe using
definitions and are irregular and uneven.
Examples include the shape of clouds, puddles, trees, leaves, rocks, and so on.
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c. Abstract
Abstract shapes are a minimalist representation of reality. For instance, a stick
figure of a person is an abstract shape. Logos are mostly represented by abstract
figures to show the type of business.
II. FORM
Form is very similar to the element of design shape. The difference is that the
term is form is used in art work that has three dimensions instead of two as
shapes. The three dimensions are length, width and depth.
Types of Forms
a. GEOMETRIC FORMS
b. ORGANIC FORMS
a. Geometric Forms
As with geometric shapes. geometric forms are based on mathematical
descriptions. Since they are three dimensional (3D) instead of two-dimensional,
they are objects such as cubes, cylinders, cones, and spheres. They are often the
type of form that man-made objects are constructed with.
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b. Free-form or Organic Forms
Organic forms are irregular and are the type of forms that most things in nature
are. Cloud formations, mountains, trees and bushes are all relatively free- form.
animals and even humans tend to be more free- form too, as they are ever
changing forms.
III. SPACE
Every shape or form has a place in space. As an element of design, space refers to
the area around, above, below, or behind an object.
Objects in space can occur in both two and three dimensions. In a two-
dimensional setting, space is about creating the illusion of the third dimension on
a flat surface. Shadows, shading, overlap, and sizing can help define an object’s
place in space.
Types of Space
1. POSITIVE SPACE
2. NEGATIVE SPACE
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Positive Space and Negative Space
Simply put, positive space is best described as the areas in a work of art that are
the subjects, or areas of interest. Negative space is area around the subjects, or
areas of interest.
Take a look at the image.
For example, do you see faces or a vase?
If you are seeing a vase, then you are seeing the
white area as the positive space. The black areas
become the negative space. If you are seeing
faces, then you are seeing the black areas as the
positive space, and the white area as the
negative space.
IV. TEXTURE
Texture is the way a surface feels, or the way it’s perceived to feel. It has the
power to attract or detract a viewer’s eyes and can be applied to lines, shapes,
and forms.
Texture may be used in a work of art to:
create visual interest or a focal point in a composition
to create contrast within a design compostion
to help visually balance a design composition
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2 Types of Texture
1. TACTILE
2. VISUAL
1. Tactile Texture
Tactile textures or Actual texture are three-dimensional and is the way a surface
would feel if you could touch it. You may find actual texture in a sculpture or
collage.
2. Visual Texture
Visual texture is the way a surface appears through the sense of vision. It is the
way something looks like it would feel.
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V. VALUE
Value refers to the degree of lightness and darkness of a specific hue. Yellow has
a higher value than purple because it is closer to white. Value changes create
contrast on a page. The reason you can read this text is that the black content
contrasts with the white background.
Value is very important to drawing and painting because value changes are what
creates contrast. Contrast is needed to help us see and understand a two
dimensional work of art. For example, if the was no value contrast between the
words on this page and the background; you would have difficulty reading what is
here.
Value contrasts can also create interest in art works. Our eyes tend to be drawn
to areas of hign contrast, so artists use this to show us what they think is
important.
Value Scale
Values scales are charts that demonstrate the changing values of a tone. A
typical value scale has incremental steps running from dark to light or vice versa.
A scale may also be a continous gradient of tones; where the change is blended
and tonal steps are not visible. Here are example of both types.
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VI. COLOR
Color is one of the hardest elements to harness, and probably one of the most
challenging to understand. The basics, however, are relatively easy.
We can apply color to any of the elements we mentioned before this point.
Colors create moods and can say something different depending on the
connotations associated with it. Color can create an emphasis on specific areas
of your design layout.
Color can help the organization of a design, and give emphasis to specific areas
or actions. Like other elements, it has a few different properties: hue, saturation,
and value.
a. Hue
Hue is the name of a color in its purest form. For instance, cyan, magenta, and
green are pure colors.
b. Saturation
Saturation refers to the purity of a color. A specific color is most intense when it
is not mixed with white or black.
b. Value
Value refers to the lightness or darkness of a color. It defines a color in terms of
how close it is to white or black. The lighter the color, the closer it is to white.
The darker the color, the closer it is to black.
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Other Characteristics
SHADE is the addition of black to a hue in order to make a darker version.
TINT is the addition of white to a color to make a lighter version.
TONE is the addition of grey to make a color muted.
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COLOR THEORY
Color theory is both the science and art of using color. It explains how humans
perceive color; and the visual effects of how colors mix, match or contrast with
each other. Color theory also involves the messages colors communicate; and the
methods used to replicate color.
They use color theory. Color theory is a practical combination of art and science
that’s used to determine what colors look good together. The color wheel was
invented in 1666 by Isaac Newton, who mapped the color spectrum onto a circle.
The color wheel is the basis of color theory, because it shows the relationship
between colors.
In color theory, colors are organized on a color wheel and grouped into 3
categories: primary colors, secondary colors and tertiary colors. More on that
later.
Color is perception. Our eyes see something (the sky, for example), and data sent
from our eyes to our brains tells us it’s a certain color (blue). Objects reflect light
in different combinations of wavelengths. Our brains pick up on those
wavelength combinations and translate them into the phenomenon we call color.
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Mixing different colors will result in new colors. This is called color mixing. Color
mixing is classified into two main types: ADDITIVE and SUBTRACTIVE color
mixing.
A. RGB: THE ADDITIVE
COLOR MIXING MODEL
Humans see colors in light waves. Mixing
light—or the additive color mixing model—
allows you to create colors by mixing red,
green, and blue light sources of various
intensities. Additive color mixing is when
you mix colors using media that emit light,
like display monitors. As more color (light) is
mixed in, the brightness increases and
approaches white.
Equal amounts of the three primaries give
the sensation of white, while the absence of
additive primaries is black.
TVs, screens, and projectors use red, green, and blue (RGB) as their primary
colors, and then mix them together to create other colors.
Why you should care?
Let’s say you have a very distinct brand with a bright yellow logo. If you post the
logo on Facebook, Twitter or your website and don’t use the correct color
process, your logo will appear muddy instead of that bright yellow. That’s why,
when working with files for any screen, use RGB, not CMYK.
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B. CMYK: THE
SUBTRACTIVE COLOR
MIXING MODEL
Any color you see on a physical surface
(paper, signage, packaging, etc.) uses the
subtractive color mixing model. Most
people are more familiar with this color
model because it’s what we learned in
kindergarten when mixing finger paints.
In this case, “subtractive” simply refers
to the fact that you subtract the light
from the paper by adding more color.
Traditionally, the primary colors used in the subtractive process were red, yellow,
and blue, as these were the colors painters mixed to get all other hues. As color
printing emerged, they were subsequently replaced with cyan, magenta, yellow,
and key/black (CMYK), as this color combo enables printers to produce a wider
variety of colors on paper.
Subtractive color mixing occurs when, for example, superimposing colored film or
mixing paints. As the coloring materials overlap with each other, light is absorbed,
and the mixture becomes darker and approaches black.
Why should you care?
You’ve decided to print a full-color brochure. If you’re investing all that money
into your marketing (printing ain’t cheap!), you expect your printer is going to
get the colors right.
Since printing uses the subtractive color mixing method, getting accurate color
reproduction can only be achieved by using CMYK. Using RGB will not only result
in inaccurate color but a big bill from your printer when you’re forced to ask
them to reprint your entire run.
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COLOR WHEEL
The color wheel or color circle is the
basic tool for combining colors. The
first circular color diagram was
designed by Sir Isaac Newton in
1666.
The color wheel is designed so that
virtually any colors you pick from it
will look good together. Over the
years, many variations of the basic
design have been made, but the most
common version is a wheel of 12
colors based on the RYB (or artistic)
color model.
a. Primary Colors
Red, yellow, blue. Pure colors that combine to
create all other colors on the wheel
These are the only colors that can't be made by
adding or mixing other colors together. All the other
hues can be created by combining primary colors.
b. Secondary Colors
Green, orange, violet.
These are each created by combining two primary
colors — red and blue to make violet, yellow and
blue to make green, and red and yellow to make
orange.
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c. Tertiary Colors
Tertiary colors are colors made by combining a
secondary color with a primary color. Also
known as intermediate colors.
These are found between the primary and
secondary colors. It's important to remember
that they are distinct hues and not just shades
or tints of the primaries and secondaries — a
violet shirt isn't the same thing as a deeper
blue-violet.
WARM COLORS VS COOL COLORS
The color combinations found on a color wheel often have a balance of warm and
cool colors. According to color psychology, different color temperatures evoke
different feelings. For example, warm colors are said to bring to mind coziness
and energy, while cool colors are associated with serenity and isolation.
WARM COLORS are the colors from red through to yellow. These colors are said
to bring to mind warmth, like the sun.
COOL COLORS are the colors from blue to green and purple. These colors are said
to bring to mind coolness, like water.
NEUTRAL COLORS (good for backgrounds): Colors with no strong differentials,
i.e. Brown, Tan, Beige, Gray, Silver, Black, White
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COLOR SCHEMES
There are a number of predefined color scheme standards that make creating
new schemes easier. Below are the traditional schemes.
A. COMPLEMENTARY
Two colors that are on opposite sides of
the color wheel. This combination
provides a high contrast and high impact
color combination – together, these
colors will appear brighter and more
prominent.
B. MONOCHROMATIC
Three shades, tones and tints of one base
color. Provides a subtle and conservative
color combination. This is a versatile
color combination that is easy to apply to
design projects for a harmonious look.
C. ANALOGOUS
Three colors that are side by side on the
color wheel. This color combination is
versatile, but can be overwhelming. To
balance an analogous color scheme,
choose one dominant color, and use the
others as accents.
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D. TRIADIC
Three colors that are evenly spaced on
the color wheel. This provides a high
contrast color scheme, but less so than
the complementary color combination —
making it more versatile. This
combination creates bold, vibrant color
palettes.
E. TETRADIC
Four colors that are evenly spaced on
the color wheel. Tetradic color schemes
are bold and work best if you let one
color be dominant, and use the others
as accents. The more colors you have in
your palette, the more difficult it is to
balance.
COLOR PSYCHOLOGY
Color psychology is the study of colors in relation to human behavior. It aims to
determine how color affects our day to day decisions such as the items we buy.
Does the color of a dress compel us into purchase? Do the colors of a package
make us choose one brand over another? Does the color of an icon make us more
likely to click on it? The short answer is yes.
Color is more than a visual experience. It is also a psychological one that can
radically affect mood and emotion. It is a classic form of communication that can
project your personality and set the tone in each room of your home. Reactions
to color can be subjective, but generally, certain types of colors produce
particular responses.
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is associated with fire, it can represent warmth — or danger.
Energetic
Lively color
Matters of the heart
Violence
In Eastern cultures, red symbolizes good fortune and prosperity and is the
color worn by brides on their wedding day.
Worldwide, red has been associated with various political movements and has
symbolized revolution.
Strength, confidence, and power.
Fiery color, orange, combines the warmth of red with the cheerfulness of
yellow for a hue that communicates activity, energy, and optimism. It’s also
associated with the harvest or autumn season.
In India, saffron, a certain yellowish shade of orange, is considered sacred.
In Japan, orange is the color that symbolizes love.
Represents youthfulness and creativity.
Gold, which is a type of orange or yellow depending on its hue, is a symbol of
luxury or high quality.
Color of sunshine
Yellow often communicates happiness, cheerfulness, friendliness, and the
freshness of spring.
It can also signal warning or caution in certain contexts.
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Some variations (especially desaturated and greenish yellows) can look sickly
or unpleasant; historically, yellow has sometimes been associated with illness
and quarantine.
In some Eastern and Asian cultures, yellow is associated with royalty or high
rank.
In parts of Africa and Latin America, yellow is the traditional color of
mourning.
Pure/bright yellow does a great job of attracting attention, but can be
visually disturbing or even hard to see (for instance, white text against a
bright yellow background or vice versa) if not used with care.
Color of nature, plant life, and growth.
Communicates health, freshness, or an “all-natural” quality.
Dark green can represent wealth (or anything money-related) and stability.
Islam, green is a sacred color.
Ireland, St. Patrick’s Day, and lucky four-leaf clovers.
Brands or product that wants to come across as “green” (in the sense of
natural, healthy, sustainable, environmentally friendly, organic, etc.) often
use nature-inspired colors like green and brown.
Often communicates peaceful, clean qualities.
Blue is seen as calming
In some contexts, it can represent sadness or depression.
In Middle Eastern cultures, blue has traditionally represented protection against
evil.
Blue symbolizes immortality and/or spirituality in many cultures.
Widely used and one of the most versatile colors.
Generally used to communicate trustworthiness, security, and stability.
Dark or navy blue is a particularly popular choice for corporate contexts since it’s
perceived to have serious, conservative, and professional qualities.
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Purple is traditionally associated with royalty, majesty, or honor.
Spiritual/mystical or religious connotations.
Represents nobility or wealth
In Thailand and parts of South America, the color is associated with mourning.
Darker shades of purple often still symbolize luxury or opulence, while
lighter/brighter shades can come across feminine or childish.
Power, luxury, sophistication, and exclusivity.
On the other hand, it can symbolize death, evil, or mystery.
In apparel, black generally communicates formality (“black tie” parties) or
mourning/sorrow (as the color has traditionally worn to funerals).
In some Asian and Latin American cultures, black is considered a masculine
color.
In Egypt, black signifies rebirth.
Across many cultures, the color is associated with magic, superstition, or bad
luck — or, similarly, the unexplainable or unknown.
Colors always look brighter and more intense against black.
White often represents purity, innocence, goodness, or perfection (and is
traditionally worn by brides), but it can also come across as stark or sterile.
In China, white is the color of mourning.
It represents peace across many cultures — a white flag is a universal symbol
of truce or surrender.
Communicates simplicity or a clean, modern quality.
Designers seeking a minimalist aesthetic will frequently use a lot of white.
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REFERENCES:
Edwards, B. (2004). Color by Betty Edwards: A Course in Mastering the Art of
Mixing Colors (Illustrated ed.). TarcherPerigee.
https://www.invisionapp.com/design-defined/elements-of-design/
http://www.wcs.k12.mi.us/cousino/wcsart/art%20foundatons%20site/index.html
https://design.tutsplus.com/articles/the-basic-elements-of-design--cms-33922
https://www.canva.com/colors/color-wheel/
https://www.realmenrealstyle.com/color-wheel-menswear/
https://coschedule.com/blog/color-psychology-marketing/
https://99designs.com/blog/tips/the-7-step-guide-to-understanding-color-theory/
