Visual Communication Design for Digital Media

Prof. Saptarshi Kolay

Department of Architecture and Planning
Indian Institute of Technology, Roorkee

Lecture – 04
Principles of Design Part-I

Welcome students to the NPTEL online certification course titled Visual Communication
Design for Digital Media. So, today, we will discuss principle of design. In the previous
class, we discussed about elements of design and the principles of designs are; how we
arrange the elements of design to create a composition. So, the artist and designers plans
the arrangement of element to form a visual composition. The visual arrangement is
perceived by the viewer based on their experience and communication happens through
the visuals they look at.

(Refer Slide Time: 01:00)

There exit a pattern; the way viewers perceive visual; from these patterns visual design
principles are evolved.

The visual arrangements are therefore should be based on these principles of design for
effective visual communication.
(Refer Slide Time: 01:13)

So, if you look at this diagram; this is a representation of the communication process.
First we see the different elements fragmented and the designer and artist select these
elements to create a visual communication, then the user sees the composition, after that
there the interpretation happens and that goes into user’s mind. So, if the composition is
meaningful, then user perceives the meaning of the communication and the visual
communication happens through the final composition.

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To achieve a visual composition, there are the following visual design principles. So,
these are; one; unity, next emphasis, then proportion, balance and rhythm.

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So, first we discuss about unity. Unity means that there is a coherence of arrangement
which exist among the elements of design in the visual composition. They look as though
they are unified; as though some visual connection is there in the holistic composition.
Another term of the unity is harmony.

(Refer Slide Time: 02:23)

So, visual and intellectual unity, we should not be confused between visual and
intellectual unity. Visual unity is visually we connect different elements of design,
suppose there are circles; it can be smaller circles, it can be bigger circles, but as there is
a unity because of the element, shape of the design that is circle, we connect the designs.
Similarly if there are unity in texture, unity in line quality or unity in the other elements
of design, we connect the composition, but in terms of intellectual unity, there is a
thematic connection not into; not in the connection; not a visual connection is there in the
composition.

So, we can define the intellectual unity as the whole must be predominant; the visual
unity is and there are different kind of unity, one is visual unity and another is thematic
unity. We are in the principle of design; we are actually talking about the visual unity.
Intellectual unity is not a part of the principle of design. Intellectual unity is just a
thematic unity. So, for example, if you talk about visual unity; so, for example, if in the
composition, there are multiple circles, one circle is smaller, the other circle might be
bigger, if in the; there can be a color difference, but still because of the shape, unity in
the shape that is the element of design, we perceive the composition as a holistic one and
it can be in terms of texture, in terms of color, in terms of a line and other elements of
design, the unity can be achieved; whereas, the thematic unity is just a conceptual unity;
for example, if we paste the photograph of a tree and a flower and fruit, then we unite
them as a parts of flora.

So, there might not be any visual unity in the composition, but that is just a thematic
unity. So, the ways to achieve unity are different.
(Refer Slide Time: 04:36)

So, we will discuss them as one by one. So, one is proximity and easy way to gain unity
is to make separate elements look as if they belong together. So, if we arrange different
shapes, different visual elements together and then they look unified. For example, this is
a example taken from Lauer and Pentak’s basic design. So, in the first composition A; if
we see, there are different elements all have different color, different texture and they are
not together. In the second composition in B; they are placed in the closer proximity. So,
in the second composition; we perceive this circle; this rectangle and triangle and these 4
things together as a combined one, but in the first composition, we do not perceive that.

(Refer Slide Time: 05:34)

The next way to achieve unity is repetition; perceiving a visual path and a connection
based on the repetitive arrangement of different shapes or different lines or texture can
create unity.

(Refer Slide Time: 05:52)

For example, in this poster, we can see; there is a similar; 2 shapes are repeated twice,
the color is different, this shape also has a 2 d effect, whereas, this shape has a 3 d effect,
but still we unite them because of the continuity the visual continuity we have.

(Refer Slide Time: 06:20)

For example, this is a example from web design. So, if we see the popup window here
and the backdrop has unity because of has unity because of the continuity the continuity
is there in terms of color. So, we can see yellow color over here that is also there in the
backdrop this red color usage of red color is there that is also there in the backdrop and
the squarish format is also matching with backdrop.

So, there is a unity because of the principle continuity. The next is similarity; if there are
similarities in the elements of design, we also perceive the composition as unified.

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For example, there is a packaging design. So, different packaging design has different
names, different colors, different products, packaging are of different colors and different
names, but still you can see the unity be achieved with the arrangement of the elements
of design. So, in the first example, there the color of the product is red and the second
example; the color of the product is material which is there is a green.

But still the shape of the packaging and the labeling and the typography used and a
texture everything is same. So, they create a unity among the product range and they talk
about a brand identity.
(Refer Slide Time: 07:47)

The next is closure; if the mind try to connect the individual elements which is there in
closer proximity, but in this is different from the example which we discussed earlier.
The example we see over here, this is 4 different; absolutely different shapes together;
arrange together that is why we perceive it as a same composition, but here if we see the
example it will be clearer for example, IBM’s logo and WWF’s logo.

So, in terms of closure smaller element does not have any meaning, when we see
together, then we can read the IBM. The complete fonts of I, B and M, but if you see it in
the fragmented way, these are just a series of rectangles. Similarly in this logo of WWF,
there are some black and white compositions because of the close proximities; they
create the shape of the panda. So, there is in this principle that shapes are together and
they the meaning comes when they are composed in a in a particular way and position in
a particular place. So, the holistic meaning is there, but individual meaning is not there,
then the way to achieve unity is common fate elements which are likely to be perceived
as a unity as one unit.
(Refer Slide Time: 09:28)

If they are moving in the same direction; for example, the famous poster by Herbert
Bayer; the Bauhaus poster where pot raying Kandinsky; so, the first is the original poster.

In the second if you see the elements different elements typographic elements the
photographs and the shapes we see are there and the background is deleted the third
example is actually the poster is to it the first composition what first element what we see
the photograph is change the direction is changed and here the typographic typography
and the boxes are the directions are change. So, if you see; for this example and this
example here all the elements are following a same particular direction which is this axis
where as in this example, these 2 are not following the access. So, in this example this
part and this part is not united with the rest of the composition because of the principle
that is because of the common fate of unity is not achieved in this thing. So, this is
actually a distorted composition this the from the original composition
(Refer Slide Time: 10:58)

Then another way of achieving unity is continuity in the line. So, if lines are always a
perceived as if they are following simplest path. So, if 2 lines break the viewer see the
overall movement rather than the break. So, for example, if we see there are psychic
lines in the top of the row this is another row the top of the row these are this acts as a
line this also access a line this is a top of top line of the shape. So, these lines actually
break over here over here and also over here, but we perceive this line as a united line.
So, this is actually based on the principle of continuity similarly we can see a line over
here a line over here because of the photographs alignment and the text alignment we
perceive a line similarly the grey patch over here follows a line at the bottom of this
photograph.

So, if you some up these are the principles; these are the way to achieve unity one is
similarity, this is the thematic photograph thematic diagram.
(Refer Slide Time: 12:08)

So, these circles are united and these crosses are united and the proximity when we
cluster them together they create unity. So, here in this composition we actually have 2
different part 2 different zone of the composition because of the proximity of shapes here
we have the continuity of line the line breaks over here, but it continues from here and
connects this line. So, if this part this curvilinear line is omitted then this part and this
part will not be united then because of the closure the 2 elements are meaningful when
they are together. So, there is a holistic meaning in the in this principle. So, that that was
the example for IBM’s logo and then common fate when together they create a meaning
and continuity of line is this thing.

So, unity with variety is a very important thing in the visual composition. So, we if
everything is totally unified then there is a lack of lack of drama in the compositions the
user lose it is their intention to look at the composition because there is no hidden
meaning in the composition. So, some part of the variety has to be there in the
composition along with the unity in terms of elements of design for example, in the first
composition the composition is boring because it is absolutely united and it is very easy
to perceive the composition.
(Refer Slide Time: 13:50)

So, first is black then white the regular pattern is there the second and third composition
they were a little bit varieties added with the composition though there are only black
white there is a play with black white and grey and all we have the squares in the
composition, but still we have variety. So, the unity in this composition is the square and
the color in terms of shape and color, but there are varieties in terms of rhythm.

(Refer Slide Time: 14:21)

So, in this example there is also a good example of unity with variety here we have
different kind of line qualities there is a variety different colors, but still they are unified
because of the curvilinearity of the line. The curvilinearity of the text and the
curvilinearity of the shape matches each other and even we see the color over here
yellow and then again over here is a same yellow that is a repetition over here.

So, this that is why this composition is unified, but again the variety is also there in the
sketchy phones as well as well as in the contrast of the photographic reality of the part in
the bottom then the next principle of design is emphasis to create a focal point that is that
is very important in the composition if we do not create a focal point. The composition
just acts as a texture it does not have any visual any part where the visual interest will be
there and to do that we have to create a hierarchy in inside a composition.

So, too way; there are different ways to achieve emphasis the first way of achieving
emphasis is isolation if we isolate a particular element from the composition it will
augment in the hierarchy and have an emphasis in a composition.

(Refer Slide Time: 15:42)

For example we have these 2 compositions this 2 photo one photograph and one painting
here in the first example the photograph distribution if you see in terms of elements of
design the distribution of color distribution of texture is absolutely even. So, this
photograph actually acts as a texture and because of the even distribution of color
whereas, in this photograph they are again the same theme is the same lot of people, but
because of the lighting because of the difference of value the this person this foreground
is first distinguish distinguishable from the background, but even in the foreground if we
see because of the isolation of this man from the rest 4 man the this man is getting the
emphasis.

So, in this composition if you think about the hierarchy this here the first level of
hierarchy is this. So, this person gets the first attention then 4 this 4 person gets the
second has the second hierarchy second level of hierarchy in the composition and all this
persons though they are facial expressions and bodies the detailed, but because of the
illumination level they act as a background in the composition.

So, another way to achieve emphasis is a placement.

(Refer Slide Time: 17:17)

So, if we see in this example all the shapes and though they have they have different
shapes they direct to a particular shape. So, here these among all these are shapes this
rectangle gets the emphasis because of the position and the pay because of the placement
of the other rectangles all other rectangles are directing to this rectangle.
(Refer Slide Time: 17:44)

Again in this example we have this poster design by Adolphe Mouron. So, here all this
lines direct to the star because of this lines the star gets an emphasis the stars color if you
look at the color contrast and the shape and the area it occupies; it is not much and the
color contrast is also not high where as we have the higher color contrast over here in the
bottom, but because of the placement of this particular advantage point the star gets the
first emphasis in the poster.

Another way to achieve emphasis is scale. So, if we play with the scale if we increase the
scale of a particular known object the object gets an emphasis or if we also suddenly
decrease the scale which also gets an emphasis; so, more or less. So, if there is a scale
change. So, we can create an emphasis on that object.
(Refer Slide Time: 18:48)

So, here we can see the comb over here and the glass over here and the brush over here
are enlarged in scale so, but the other furniture’s in the room are of the scale, we are
normally used to perceive them in this scale. So, these 3 objects has the emphasis
because of their enlarge scale.

(Refer Slide Time: 19:10)

Similarly, in this composition if we see these top view of sky scrapers over here, these 2
skyscrapers and is absolutely of a different scale then the shoe. So, here because of the
color contrast and the scale the shoe gets an first emphasis and because of the color
contrast the different color contrast the right up which is aligned with a shoe gets an the
emphasis is there as well because of the direction its pointed towards the shoe the shoe
gets the first emphasis and then because from the shoe there is typographic element
coming here. So, that also gets an emphasis because of their enlarge scale another way to
achieve emphasis is contrast. So, if we create a light and dark contrast or a texture
contrast or a shape contrast in shape we can create an emphasis in the composition for
example, here the contrast is created based on color.

So, here we are the complete composition has a tone of blue and the flower over here has
a yellow color.

(Refer Slide Time: 20:34)

And if you see the color wheel yellow and blue other complementary color. So, they
have highest contrast highest possible contrast in this composition. And also if we see
this line is our sketched line and this these are the photographs also will this line gets the
second hierarchy in the emphasis because of its line quality the other for things what is
used in the compositions are photorealistic, whereas this line is hand drawn. So, that is
that is why this line also the face which is created by hand drawn line also has an
emphasis in the composition.
(Refer Slide Time: 21:18)

Then the other way of creating emphasis is a direction of the pointer if this in this
composition we see this 2 triangle is pointing towards the circle though the circle is
smaller in size and occupies less area in the composition still the circle gets and higher
highest emphasis than the other 2 triangles.

(Refer Slide Time: 21:46)

Here in this composition also we can see the emphasis is there because of the direction if
we start reading from here its metro and police. So, metropolis if we read o is here. So,
this circle is here and because of this typography it directs towards the circle when we
stop reading from here to there the S is there in the circle. So, this circle and the centre of
this complete composition is this. So, this creates gets an emphasis in the composition.

(Refer Slide Time: 22:26)

So, we can we can see the there has to be a structural hierarchy in the composition. So,
for example, we have 2 packaging design over here. So, there in this packaging design
there are photographs there are typography and there are some blank Vacanza spaces. So,
here in the composition if we see the first right of which starts from here is has larger
font height. So, this has the emphasis as well we also have a photograph over here which
also has a emphasis in the next level, but here this typography’s are barely readable. So,
this has a least degree of emphasis in the composition.

So, the next principle of design is proportion. So, in terms of big and small: however,
they are relative, but the propose proportion refers to a relative size and size measured
against other elements or against some mental or norms or standards or perceived.
(Refer Slide Time: 23:26)

So, the proportion when we think about proportion we also think about what we already
have perceived. So, if that matches with the proportion we perceive the proportion is a
proper and if it does not match with our preconceived notion, then we see some anomaly
in the composition for example, that is why some of the proportion acts since beautiful in
our users mind and the some of the proportions look odd in users mind.

So, based on this users experience and users preconceived notion we have some beautiful
proportions are this established beautiful proportions are there: for example, Le Modulor
by Le Corbusier. So, he established a proportion which is beautiful in or most of the
user’s eye and another is Fibonacci series which is based on the golden mean proportion.
(Refer Slide Time: 24:30)

So, these proportions are actually we find them in the nature. So, this Fibonacci series
and Le Modulor can be found in flora and fauna for example, we see the Fibonacci series
in the conch shell, we see a Le Modulor in ideal human body part, even the Fibonacci
series which is derived from golden mean rectangle is there in Vitruvian Man’s; the Da
Vinci’s Vitruvian Man.

So, if we apply this, propose a beautiful proportion; the compositions looks beautiful for
example, in this example The Egg which is there in the; has a different proportion and
also in acts a foreground.
(Refer Slide Time: 25:18)

But the other element in the backdrop does not have a perceivable proportion. So, here in
this design this has a different proportion and has an emphasis in the design.

So, this is the first part of principles of design in the second lecture. I will continue with
the elements and the principles of design the next part of the principle of design.

Thank you.