The elements of design are the pieces, the components, the building blocks of design.
Elements are like the ingredients in a recipe, the parts of a machine or the notes in music. On their own, these elements may do little, but put together skillfully, they create a cake, a car or a concerto.
The elements of design include line, shape, color, value and texture. Put together skillfully, they create effective visual communication.
Line
A line is:
- A mark that is longer than it is wide
- An infinite number of points
- The moving path of a point
A line can have different qualities – it can be curved or straight, thin or thick, loose or precise, delicate or bold, expressive or controlled. The qualities of a line will evoke different feelings; a curved line feels natural and organic, while a straight line feels manmade and mechanical. A delicate line feels soft and feminine, while a bold line feels strong and masculine.
A horizontal line reminds us of a calm horizon or a person lying down; it implies quiet and rest. A vertical line makes us think of a skyscraper or a person standing straight and tall; it feels strong and aspiring. A vertical line contains potential for activity, and so creates a more energetic feeling than a horizontal line. A diagonal line is like a bolt of lightening or a person leaning forward poised to run; it suggests energy and movement. Diagonal lines are the most dynamic.
Not all lines are actual lines; sometimes we perceive lines that are not really there. Implied lines are created by a series of points, such as a dotted line or a group of people standing in a row. Psychic lines are not real at all, but are lines we feel; for example when a figure’s eyes are looking in a specific direction or when a line or shape is pointing at something.
Shape
A shape is:
- An area created by an enclosing line
- An area created by color, value or texture
- An area created by surrounding shapes
A shape is a two-dimensional object; it has height and width but no depth. A mass or volume is a three-dimensional shape (or is perceived as such); it has height, width and at least the appearance of depth.
Straight edges and angular corners create rectilinear shapes. Curves and rounded forms create curvilinear shapes.
Geometric shapes such as circles, squares, triangles and rectangles are crisp, precise and mathematical with straight edges and consistent curves.
Natural, or organic, shapes are found in nature, such as rose flowers, tree branches or bamboo leaves. Natural shapes can be irregular or regular in shape.
Abstract, or stylized, shapes are natural shapes that have been altered or simplified to reflect the essence, rather than the actual representation, of an object.
Nonobjective, or nonrepresentational, shapes are created with no reference to a subject; they represent nothing other than the pure shapes we see.
Color
Color is:
- A property of light
- Visible when light is emitted or reflected
- Determined by the wavelength of light
Additive color is created from emitted light such as a video screen, a computer monitor or theatrical lights. The additive primary colors are red, green and blue and all other additive colors are derived from them. Combining two primary colors yields a secondary color: magenta from red and blue, cyan from blue and green and yellow from red and green. Combining all three additive primaries results in white; shining stage lights of red, green and blue in the same area creates a white spotlight. The absence of all additive primaries (in other words, no light) results in black.
Subtractive color is created from light reflecting off a pigmented surface. The subtractive primaries are red, yellow and blue and combined they form the subtractive secondaries orange (red and yellow), green (yellow and blue) and purple (blue and red). Combining all three subtractive primaries results in black; mixing paints results in dark colors (although rarely a true black). The absence of all subtractive primaries (in other words, no pigment) results in white; an albino has no pigment, nor does a blank canvas.
The three properties of color are hue, value and saturation.
Hue refers to the pure state of a color; it is the name we give a color, such as red or blue.
Value refers to the lightness or darkness of a color. Adding white to a hue creates a lighter value, or tint (adding white to red creates pink) and adding black to a hue creates a darker value, or shade (adding black to red creates maroon).
Saturation, also referred to as intensity or chroma, refers to the brightness or dullness of a color. High saturation colors are close to the pure hue of a color; they are bright and vivid like pure red or pure yellow. Mixing pure colors with either gray or the color’s complement (the opposite color on the color wheel) creates low saturation colors (often called muted colors or neutrals).
Temperature is the heat or coolness a color creates psychologically. The warm colors red, orange and yellow remind us of fire and sunlight and so they create a sense of warmth in an image. The cool colors blue and green remind us of water and plants and so they create a feeling of coolness in image. Warm colors tend to feel brighter and more energetic, while cool colors tend to seem calmer and more relaxed.
Color schemes, or color harmonies, have been developed to help designers choose colors that work well together. The color wheel, a visual representation of the subtractive primary, secondary and tertiary colors, forms the basis for color schemes.
A monochromatic color scheme involves variations, usually in value, of a single hue. Monochromatic schemes are highly unified, but may lack variety.
An analogous color scheme uses adjacent colors on the color wheel, as well as their tints and shades. Analogous color schemes are also unified, but have more variety than monochromatic schemes.
A complementary color scheme is created with colors that are opposite each other on the color wheel (known as complements). When complements are mixed together (mixing yellow and purple paint, for example), they desaturate or neutralize each other, but when they are placed next to each other they increase each other’s intensity.
A split complementary color scheme uses the two colors adjacent to the color’s complement for balance. A split complementary scheme offers a wider range of possibilities than a complementary scheme.
A triadic color scheme involves using three colors equally spaced on the color wheel. Triadic colors schemes are lively and can be used where a strong impact is needed.
Value
Value is:
- Relative lightness or darkness
- Dependent on context
- Related to color
Value contrast refers to the degree of variation between light and dark. The highest value contrast is obtained using just black and white. The narrower the range of values, the lower the value contrast. When the range is limited to light values it is referred to as high key; a limited range of dark values is called low key.
Value is often used to add volume to a shape; gradual shading on a circle will make it look like a sphere. Value is also used to create the illusion of space (atmospheric perspective); areas with high value contrast come forward while those with low value contrast recede into the distance. Value can add emphasis; areas of high contrast will stand out in areas of low contrast.
Value can evoke feelings or moods. Low value contrast creates a subtle, restrained effect that feels calm and quiet. High value contrast evokes drama and conflict. The light values of high key images convey the sense of happiness and lightness, mid-range values evoke sadness and depression, and the dark values of low key images create feelings of fear and mystery. In terms of visual weight, darker values feel heavier than lighter values.
Texture
Texture is:
- The surface quality of an object
- Roughness or smoothness
- The sensation of a tactile surface
Actual, or tactile, texture can actually be felt. In two-dimensional design, actual texture is in the feel of the canvas or the surface of the paper. Actual texture can also be created by the thickness of the paint or through collage.
Visual, or simulated, texture can’t actually be felt but is suggested. Visual texture is perceived when we take in visual sensations, but we interpret them tactilely.
Visual textures can be created by reproducing the value and color patterns of actual textures; darks and lights can be used to suggest the furrows in bark or the three-dimensional roughness of a stone surface. Visual texture can also be created by repeating marks or shapes. Letters and words (text) on a page create a visual texture and changing the size and spacing of the text changes the look and feel of the texture.
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