GD Toolkit Summary Notes - Lesson 2

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shawacademy
Graphic
Design
LESSON 2
GRAPHIC DESIGN ELEMENTS & PRINCIPLES
summarynotes
The Diploma in Graphic Design Toolkit
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S Lesson 2
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shawacademy

S Lesson 2
DESIGN ELEMENTS &
PRINCIPLES ARE AT
THE CORE OF ANY TYPE
OF DESIGN AND ONCE
YOU ARE FAMILIAR AND
AWARE OF THESE, AND
UNDERSTAND HOW TO
APPLY THEM TO YOUR
OWN WORK, YOU WILL
BECOME A BETTER
DESIGNER.
2.01 Line 6
2.02 Shape 8
2.03 Colour 10
2.04 Texture, Mass & Space 12
2.05 Principles 14

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Graphic Design Elements & Principles
Elements
&
Principles

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Graphic Design Elements & Principles
Design elements are what we use to make up our
design. Think of them as ingredients.
Graphic Design is
“the art or
profession of visual
communication that
combines images,
words and ideas to
convey information
to an audience”
Design must
be interpreted
the same way
by everyone
to function.
We have lines and all their variances, short, long,
straight, curvy, dashed, thick or thin.
Shape is a combination of several lines in different
directions creating a new element. Images are also
types of shape. Form describes volume and mass,
or the 3D aspects of an object.
Colour is one of the most important elements even
Black & White.
Texture refers to the characteristics of a surface
that can be tactile as well as visual.
Mass is the physical or visually observable size. It’s
all relative!
Space is important and helps focus on what
matters.
The Principles of design
are what we do to design
elements.
How we apply these
determines how
successful the design is.

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Elements - Line
“A Line is a form
with width &
length, but no
depth.”

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Elements - Line
2.01
Line
Line
The direction of a Line can convey mood.
Horizontal – calmness, stability, tranquility
Vertical – balance, formality, alertness
Oblique/Diagonal – movement, action
Curved – fluidity, differing variances generate different moods
Zig-Zag – excitement, intense, danger
Thin – fragile, elegant
Thick – strength, emphasis
Lines can be literal or implied.
Line Types
Contour lines are used to define edges. The 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.
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.
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 Patterns
A series of lines form a pattern.
Patterns convey meaning in addition to the meaning of individual lines.
Parallel lines of uniform width and spacing create a static and orderly effect.
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.
Lines can be made up of type or any shape placed one after the other.

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Elements - Shape
“Shapes have
meaning and are
an important
building block
in the visual
grammar and
visual thinking
we have at our
disposal as
designers.”

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Elements - Shape
2.02
Shape
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.
Shape Meanings
Circles have no beginning or end. They suggested well-roundedness and
completeness. Circles have free movement. Shading and lines can enhance
this sense of movement in circles. Circles are graceful and their curves are
seen as feminine. 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.
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.
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.
The strength of triangles suggests masculinity.
Triangles can be used to convey progression, direction, and purpose.
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.
Crosses symbolize spirituality and healing. They are seen as the meeting
place of divine energies. Crosses suggest transition, balance, faith, unity,
temperance, hope, and life.

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Elements - Colour
“Colour is one of
the most powerful
tools that a
designer can draw
upon and understanding
how
colour affects us
is key in communicating
messages
effectively.”

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Elements - Colour
2.03
Colour
RELATIVE
Colour is relative. What
you see and I see may be
different versions of the
same colour.
ABSENCE
Good design should work in
the absence of colour.
ENHANCE
Colour should be used to
enhance design, shouldn’t
be the design.
Reflective Colour
Physical objects, when
struck by light (the visible
kind), will reflect back
certain wavelengths of light
to your eyes.
However, colour in this
regard depends on one
important idea: wavelengths
of light are subtracted as
they are reflected off of an
object.
Additive Colour (RGB)
Monitors display colour in a
much different way.
Because they generate
their own light, they must
generate their own colour as
well.
Generally, the three
“primaries” used to create
colours are red, green, and
blue.
If a computer monitor
displays purple, it actually
lights up both blue and red
pixels in a given area.
Colour Theory
CONTRASTING/COMPLIMENTARY COLORS
Complementary colours are any two colours which are directly opposite each
other, such as red and green, blue and orange.
ANALOGOUS COLOURS
Analogous colours are any colours that sit next to each other on the colour
wheel, such as green, yellow, orange. Typically, designers will choose colours
like this in groups of three; this practice is known as selecting triads.
RECTANGULAR COLOUR
Rectangular colour schemes are not only the most complex, but the hardest
to work with. Picking the colours for these is fairly straightforward, you simply
draw a rectangle over the colour wheel; each of the corners anchored to a
particular colour.
EMOTIONS AND FEELINGS ASSOCIATED WITH COLOURS
Each colour has a lightness and emotion associated with it.
Warm Colours
Warm colours “pull forward” more than cool colours. In this way, a dark
version of a warm colour will appear to be the same brightness as a mathematically
lighter version of a cool colour.
Red:
Orange:
Yellow:
Cool Colours
Energy, Power, Passion, Love
Happiness, Enthusiasm, Attraction, Success
Cheerfulness, Stimulation, Attention-seeking
Cool colours “push backward” or recede more than warm colours. In this way,
a light version of a cool colour will appear to be the same brightness as a
mathematically darker version of a warm colour.
Green:
Blue:
Purple:
Refreshing, fresh, prestige, cooling, calming,
Reliable, trustworthy, dependable, restful
Spirituality, ceremony, mystery, transformation, royalty

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Elements - Texture, Mass, Space
“Rules were made
to be broken, of
course, but you
have to know
what they are
first.”

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Elements - Texture, Mass, Space
2.04
Texture, Mass & Space
Mass
Mass equals size. 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).
There is a Physical Size and
a Visual Size
A Physically small brochure
can have a great deal of
mass through the use of
heavy text and graphic
elements
A Physically large brochure
can appear smaller, lighter
by using text and graphics
sparingly
Texture
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 a two-dimensional
surface. It also helps build an immersive world.
Texture acts as a secondary element giving support to the main image,
reinforcing the visual concept.
Space
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.
Legibility Making 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.
Aesthetic Generally 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 exception.
This is as considered as a principle and convention, not a rule.

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

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Graphic Design Principles
2.05
Graphic Design
Principles
ALIGNMENT Alignment allows us to create order and organisation.
Aligning elements allows them to create a visual connection with each other.
The two basic alignment principles are Edge Alignment and Centre Alignment.
BALANCE Balance 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.
Symmetrical balance occurs when the visual weight is evenly divided in
terms of horizontal, vertical or radial. This style relies on a balance of two
similar elements from two different sides.
Asymmetrical balance occurs when the visual weight of design elements are
not evenly distributed in the central axis. This style relies on visual games,
such as scale, contrast and colour to achieve a balance.
CONTRAST Contrast 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.
Types of contrast include Size, Value, Quantity, Weight, Placement & Texture
PROXIMITY Proximity 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.
Proximity doesn’t mean that elements have to be placed together, it means
they should be visually connected in some way.
REPETITION Repetition strengthens a design by tying together individual
elements. It helps create association and consistency. Repetition can create
rhythm (a feeling of organised movement).

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