ELEMENTS AND PRINCIPLES OF DESIGN

BY: ASHMINE KAUR

 WHAT THEY ARE?

ELEMENTS PRINCIPLES
• Point
• Line • Balance
• Shape • Scale and Proportion
• Form • Rhythm
• Space • Emphasis/ Focus
• Colour • Unity and Harmony
• Light and Value
• Texture
IMPORTANCE IS ELEMENTS AND PRINCIPLES OF
DESIGN
• They make interiors unique.
• They help in solving design problems.
• With proper use, they help in showcasing client preferences in a space.
• Elements and principles are the basic design vocabulary.
• Designers use them to develop, analyse and assess the good design.
• Elements are the building blocks of design and principles govern designers’ decisions and
behaviours. For a well designed space, they need to be combined.
• A unique space is formed by combining different elements and principles.
 DESIGN ELEMENTS AND PRINCIPLES

• Are not applied accurately like maths and science.

• Designers struggle to classify and describe them.
• Since they are versatile, they can have various interpretations.
• Everybody needs proper usage and communication in the discussion and evaluation
of designs.
• Elements and principles of design convey designers decisions.
 HOW ARE THEY ARE USED TO CREATE A GOOD
COMPOSITION?
An image which captures our attention and is pleasing to us always has a good composition. A
good composition includes many of the elements of design working with the principles of design.
For example, colour is an element and balance, a principle, is the arrangement of colour so that
one side or section of a work of a art doesn’t look heavier or stronger than the other and is in
visual balance. Also, movement, a principle, uses colour, line and shape to direct the viewer’s eye
from one part of a design to another. Unity, a principle, is the result of all the elements and
principles working together.
 ELEMENTS OF DESIGN
• Everything in our environment contains design elements. They are organized according to
design principles by the designer.
• Various combinations of elements create two and three dimensional designs.
• Design applications in projects is improved. They are framework for work and communicate
a wide range of concepts. They are design’s components and building blocks.
• Design components are line, shape, colour, value and texture. When properly combined,
they provide a great visual message. Understanding them is crucial for creating efficient,
clear and engaging designs.
• When used correctly, they provide basic and minimalist design.
 POINT

• Point is the first and simplest element of design. Point serves as the focus of something
visual and therefore draws attention. Even if there is only one point, or one mark, on a blank
page our brains will make it mean something. In fact, the visual world is so complex that the
mind has developed strategies for copying with the confusion. The mind tried to find the
simplest solution to a problem. One of the ways it does this is to form groups of items that
have certain characteristics in common. Our brains seems some kind of relationship or order,
even if only to use it as a point of orientation in relation to the outline of the page. If there
are two points on a page, immediately the eye will make a connection and “see” a line. If
there are three points, it is unavoidable to interpret them as a triangle; the brain supplies the
connections. This compulsion to connect parts is described as grouping
 LINE
• Define a subject’s form of shape on a flat, 2D surface.
• Lines can be thick of thin, smooth or jagged, rigid and mechanical or organic and hand drawn.
• Lines create furnishings and architecture of a room.
• Lines sets form and shape.
• Line is responsible for harmony, contrast and unity in design.
• Line can be used to show movement and guides the eye throughout a room.
• Lines can be used to show mood.
• Line can be used to convey a sense of strength, serenity, gracefulness or action.
• Combining lines and placing them in a design in certain ways can create specific effects and
feelings.
 LINE

• Different types of lines have different effects on design.

• Characteristics of lines include: Width- thick, thin, tapering, uneven Length- long, short,
continuous, broken Direction- horizontal, vertical, diagonal, curving, perpendicular, oblique,
parallel, radial, zigzag Focus- sharp, blurry, fuzzy, choppy
• The difference in line quality have created works with very different impact. How you use
line is very important while creating some artwork.
1. Vertical lines lead the eye up, adding height formality growth spirituality grandeur
strength to a design. Can be seen in: Tall furniture Columns Pillars Striped wallpaper Long
narrow draperies.
 LINE
2. Horizontal lines lead the eye to the left or right, suggesting informality calm peace gentleness
gravity restfulness. Can be seen in: Long, low roofs and furniture such as sofas and chests
3. Diagonal lines suggest action, activity, movement excitement creates a sense of speed. Can be
seen in: Staircases, Cathedral ceilings, Gable Roofs
4. Curved lines many curved lines create a busy look represent freedom, natural flow,
appearance of softness, a soothing feeling. Can be seen in: Doorway arches, Ruffled curtains,
Curved furniture, Rounded accessories, Staircases
5. Directional/ jagged lines Can be perceived as forceful, chaotic, sharp, threatening
6. Thin lines Can be experienced by Unstable, weak
7. Thick lines Can be experienced by Rigid, Dependent, Dominating
Curved line

Horizontal line
 SHAPE
When the beginning and end points of any line meet, a shape is created. You can see shapes in
nature and within interior spaces. Shapes
• are two dimensional
• are angular and sharp or curved and rounded
• become a pattern when repeated
There are several categories of shapes. Geometric shapes suggest order and regularity. They
include circles, triangles, rectangles and squares.
 SHAPE
• Circles: symbolizing infinity, unity, continuity, safety, and protection. They attract attention.
Their use in design is less common.
• Triangles: symbolizing stability, action and masculinity, triangles give the feeling of
dynamic energy.
• Rectangles and Squares: symbolizing solidity, order, formality, security and equality,
rectangle shapes are more pleasing to the eye than square ones. Most spaces are rectangular
and therefore, most construction materials support the shape. Squares are stable, serene and
represent the pure and rational. Repetitive use of square shapes is pleasing to the eye.
 SHAPE
Organic shapes based on nature, are pleasing and suggest constancy, comfort, and spontaneity.
More curved than angular, they are interestingly irregular in their design. Two organic or
natural types of shapes include amoeba- like curves that are meandering and irregular, and
spirals that symbolize creativity, expansion, and transformation.
 FORM
• Form is the outlined edges of a 3D object.
• It has length, width and depth (or height) as well as volume and mass.
• Can be measured, from top to bottom (height), side to side (width) and from back to front
(depth).
• Form is also defined by light and dark.
• It can be defined by the presence of shadows on surfaces or faces of an object.
• There are two types of form geometric (man-made made) and natural (organic form).
• Form maybe created by the combining of two or more shapes.
• It may be enhanced by tone, texture and colour.
 FORM

• It can be illustrated or constructed.

• It has volume and mass.
1. Organic – natural, living form
2. Inorganic geometric – man-made, non-living forms
3. Open-forms – forms that can be looked into. Closed- forms, self contained
4. Geometric Shape – circle, square, rectangle, triangle, pentagon, octagon, other polygons
5. Geometric Form – sphere, cube, pyramid, cone, cylinder
6. Free-Form – any non-geometric shape: irregular, amorphic.
 SPACE
• Space, in 2D design, is essentially flat. It has height and width, but no depth.
• There are certain visual cues, that can create the illusion of space in the mind of viewer. By
using those cues, artists and designers can create image that are interpreted as three
dimensional.
• Space is the area provided for a particular purpose.
• It may have two dimensions (length and width) such as a floor or it may have three dimensions
(length, width and height), such as a room or dwelling. It refers to the area that a shape or form
occupies.
• When space changes gradually, it is more pleasing than when it changes abruptly.
• Space can be defined as positive or negative. Positive space is the filled space, the object(s) or
elements(s) in the design. Negative space is the empty space, or the open space between design
elements or objects, such as a background.
A good example of negative space

A good example of positive space

 COLOUR
• Colour is the key element of interior design.
• It is used to create aesthetically pleasing combinations and also works on a psychological level.
• Each colour has three characteristics: hue, value and intensity.
• It emphasis to create a hierarchy and the piece of art.
• Colour Saturation gives a colour brightness or dullness, Colour mayconnote emotion
(excitement, rage, peace) and simulate brain activity (action, relaxation, concentration). Light
is additive – working towards white.
• Paint or pigment is subtractive – working towards black. Mixing red, blue and yellow can
create any pigment colour.
• Tints are made when white is added to a pure hue to make light values.
 COLOUR

• A Shade is when black is added to a pure hue to make dark values.

• Hue is the name of a colour. Red, green and blue-violet are examples of hues. A colour may
be lightened, darkened or dulled, but the hue will remain the same.
• Tint (colour+white) is high value colour, whereas shade (colour+black) is low value colour.
• Primary colours are hues from which all other colours can be made: red, yellow, blue.
• Secondary colours are made from mixing equal parts of the Primary colours: orange, green,
violet.
• Tertiary colours are those colours between Primary and Secondary colours: red-orange,
orange-yellow etc.
Color Wheel

Color Scheme
 COLOUR
• Complementary colours are those colours that are opposite to each other on the colour wheel:
red-green, orange-blue, yellow-violet.
• Analogous colours are colours that are adjacent (side by side) to each other on the colour
wheel.
• Monochromatic colours are variations in value of one colour by adding either white to make
things or black to make shades.
• Intensity refers to the brightness or dullness of a colour of hue. Adding some of its compliment
can lower the intensity of a hue. The compliment of a hue is the colour directly opposite it on a
standard colour wheel.
• Examples of high intensity colours include hot pink and fire-engine red.
• Low intensity colours include rust and smoky blue.
 Warm Color

Cool Color
 COLOUR
• A colour is Transparent if the viewer can see clearly through it.
• A colour is translucent if it admits light but the image is diffused and can not be seen
clearly.
• A colour is opaque if it can’t be seen through.
• Colour have degrees of transparency descriptors: brilliant, medium, dull.
• Value is the lightness or darkness of a hue.
• The value of a hue can be made lighter by adding white. This produces a tint.
• A hue can be made darker by adding black. This produces a shade.
 LIGHT AND VALUE
Light and value are thought to be separate elements. They can be perceived as one since they are
interconnected. Artificial and natural light are commonly ignored and trivialized. Like color, light
is a very powerful design element. Its quantity, quality, and color influence people’s behavior and
capacity to function.
People see the light in:
• The most spectacular sunrises and sunsets
• The bare bulb in a rustic ceiling in its most basic form
• Lighting has the power to transform a space completely
• A combination of light and shade creates a pleasant and appealing setting.
 LIGHT AND VALUE

Advantages of great lighting:

• It adds depth and height,
• Creates cosy spots, and
• It highlights prominent features.
• The right combination of light and color gives a fresh perspective of life. Professionals
combine elements to create the ideal lighting. They create a seamless blend of aesthetic and
practicality in a room.
Value Scale
 LIGHT AND VALUE
Value
• The tone is another name for the value. It's the object's lightness and darkness, as well as its
color.
• White has a lighter value, whereas black has a darker value. It produces contrast by varying
the brightness and darkness.
• When black and white colures are employed, a high-value contrast is achieved example:
using light furniture against a dark background. Contrast is reduced when darker values like
grey are used. If the colors are similar in value, things will not stand out.
• A key character or feature is highlighted by contrast. It creates the design's focal point or
centre of attention.
 TEXTURE
• Texture is usually referred to as the surface of the wall that is created to give a perfect finish.
• The way it feels when you move your hands over the wall defines the quality of the work
done by designer.
• Those smooth, glossy or coarse textures in all your objects, walls, curtains and fabrics lend a
subtle sense of certain depth in a design.
• If it’s your furniture or accessories or walls, textures have the ability to add that level of
interest and minute detailing that makes it a visual treat to the eye.
Textures can be classified into two types:
 TEXTURE
Actual textures also known as the tactile textures are the textures that you can touch and feel
by hand. They are available in 3D space and can be experienced by means of touch and sight.
Designer has to ensure that there is enough materials and components that have the actual
textures. These actual textures are easy to create as it involves the use of physical material.
Visual texture on the other hand, is more about creating a visual illusion of texture in the 3D
space. Nowadays there are many wallpaper techniques that makes the walls and other interiors
look like they are textured. However, in reality they are not. It is all a game of perceptions. A
skilled designer will be able to recognize lack of texture and will make sure to carefully place
each object with respect to other, adding perfect contract and finish to the design.
 PRINCIPLES OF DESIGN
• Designers use design elements to achieve the principles of design. They are the standard rules
that must be followed. They help in achieving compelling and structured design.
• Shape and convey the design in an efficient and structured way. When properly applied, these
principles help to revolutionize designs. They improve in terms of appearance, performance
and cohesion.
• Not all designs follow the guidelines. They defy and mix norms while still achieving
appealing and intriguing designs.
• A designer should stick to the rules.
• They should know rules and how to create a compile in design.
 BALANCE
Balance is the equilibrium of elements in a space. Two major categories of balance include
• physical balance- an actual weight of an object which depends on gravity and equilibrium
• visual balance- an illusion that relates to perceived relative weights of objects in space
In interiors, designers create visual weight or an illusion of balance. Rather than physically
balancing furniture and objects, designers create balance through a visual judgment. Every
object in a space has a degree of lightness or heaviness. For example, light colours appear
lighter in visual weight than dark colours. Similarly, transparent objects appear lighter than
opaque objects.
 BALANCE
Visual balance is a quality in a room that gives a feeling of equilibrium, stability or steadiness.
It is a distribution of visual weight that results in a comfortable atmosphere. If balance is not
achieved, a sense of imbalance and discomfort results and causes the occupant to leave the
room. There are three types of balance. They include
• symmetrical
• asymmetrical
• radial
 BALANCE
Symmetrical balance is the arrangement of objects on both sides of a centre point or line that
results in a mirror image. In nature, the human body reflects symmetrical balance on the
vertical axis. In a reflected mountain scene in a nearby lake, we can see symmetrical balance
on a horizontal axis. In architecture, we can find it in stately historical buildings such as state
capitol buildings. In interiors, formal spaces such as living rooms, historic parlour and places
of worship utilize symmetrical balance. Designers use symmetrical balance to emphasize a
focus point such as a view outside a window. People perceive symmetrical interiors as
predicable, stable, dignified and calm. For that reason, commercial interiors such as
courtrooms, museums, hotel lobbies and large residences as private palaces use symmetrical
balance. We can also see symmetrical balance in formal historic interiors. We can achieve
symmetrical balance by: 1 aligning a formal dining table with the same number of matching
chairs across table, 2 placing parallel matching loveseat in front of a hotel lobby fireplace, 3
using identical side chairs on either side of a foyer table
 BALANCE
Asymmetrical balance occurs when objects on both sides of the central visual axis are dissimilar
yet appear to have identical visual weight. In nature we see this type of balance walking in a
forest, in a flower garden or in large rock formations. We can see asymmetrical balance in
majority of spaces. Asymmetrical interiors incorporate dissimilar furnishings and objects on
either side of the centre point that provide balance in visual weight. Use of asymmetrical balance
in contemporary interiors provides more spacious appearance. People perceive asymmetrical
interiors as more informal, flexible, creative exciting and vigorous. It is a subtle balance that
requires more thought and imagination than asymmetrical balance, and is more interesting to
view over longer period of time. Use of asymmetrical balance in contemporary interiors provides
a more spacious appearance. Interior furniture arrangements, the arrangement of wall art over a
sofa or the placement of objects on a fireplace mantel may use asymmetrical balance.
 BALANCE

Radial balance occurs when all elements radiate out from one centre point in a circular
fashion similar to spokes on a wheel. The petals of a daisy or the ripples that appear after
throwing a rock into water are examples from nature. In interiors, radial balance is visible in a
ceiling detail, in chairs circling a round table, and in curved stairwells. In commercial interiors,
radial balance often appears in hotel or office lobbies, rosette windows in places of worship,
and central areas of shopping malls around a water fountain.
 SCALE AND PROPORTION
• Scale and Proportion in design are important. It is a very important part of principles of
design.
What is Scale?
Scale refers to one object’s size concerning another. Specifically, the concept of scale is used
when one object’s size is known for certain. Scale is divided in three categories: human scale,
monumental scale and miniature scale. Few examples are:
• the standard wall heights
• height of a table and chair
• how many meters a bathroom or shower should be so as not feeling too cramped.
 SCALE AND PROPORTION
What is the proportion?
Proportion refers to the general size relationship between two different objects. When designers
refers to proportion, they are trying to describe the way objects relate to each other in a room.
Colour, Space and Style shows how to get proportions right every time. General size of objects
can change the entire look and feel of a room.
Example: coffee table needs to be two-thirds as long as the couch it is used with.
 RHYTHM
The principle of rhythm is a creative, repetitive blend of movement and visual form in
conscious, regular arrangement. It often attracts attention and always develops visual unity that
enhances beauty within a space. In design, achievement of rhythm often occurs by using
repetitive elements of design such as colour, light, shape and line or structural forms such as
exposed ceiling beams, columns or windows. We can easily attain rhythm as colour trails
through adjoining spaces, in repeated shapes of furniture or forms repetitively used is
accessories. Of the simplest forms of repetition is use of colour throughout a space in
furnishings, pillows and accessories. In commercial spaces, designers also create rhythm with
simple pattern using ceiling grids, coloured floor tiles or suspended light fixtures over
conference table.
 RHYTHM
Rhythm is divided in five categories:
1. Repetition
2. Progression
3. Alternation
4. Contrast
5. Movement
• Repetition: As the simplest type of rhythm, it controls the eye movement by repeating a
single element again and again. Typically, the elements are in similar size and length.
 RHYTHM
• Progression: Also known as gradation, progression is gradual increase or decrease in size of
a design element, typically as an identical form, colour or shape but in different scale. For
example, a designer may create this effect on a sofa table with a series of vases in a
succession of increasing or decreasing sizes or as a series of small to large stacked boxes. We
can also observe progression when using one colour, from dark to light, in a room.
• Alternation: This type of rhythm uses a repeated pair of contrasting elements such as dash
and dot of Morse code. We can see it in such design elements as a parquet floor or
checkerboard floor. Alternation moves a viewer’s eye around the room and adds variety and
interest. Alternating warm (red, orange) and cool colours (blue, green) around the room also
creates rhythm.
 RHYTHM
• Contrast: Putting elements of the design directly opposite the other will create contrast. It
causes the eyes to move back and forth between the two design elements. Create it with
opposing sides of the colour wheel or we can also mix and match materials. Metal and wood
would be a great example.
• Movement: Movement refers to the path that the viewer’s eye takes. Lines, edges, shapes
and colours can be used to create movement. When a variation of the element is employed
repeatedly, a rhythmic movement is formed. Curved and diagonal lines, as compared to
straight lines, provide movement. The movement doesn’t need to be noisy and chaotic.
 EMPHASIS/FOCUS
The terms emphasis and focus point are used interchangeable in design. A human eye
instinctively search for a space to relax. This is the emphasis or focus point of a room. When
elements work together, a focus point or emphasis unites a space. If a focus point does not
exist in a room, it will appear uninteresting and bland. Multiple focus points in a room might
cause viewers to become confused and conflicted. There are three types of techniques to
establish focus point or emphasis of interior space:
• Dominant
• Subdominant
• subordinate
 EMPHASIS/FOCUS
• Dominant: A breathtaking view, a massive fireplace, or architectural feature such as a large,
built-in bookshelf can achieve this high level of dramatic emphasis.
• Subdominant: This supports the dominant emphasis and is of secondary importance. For
example, designers use the subdominant level when centering large prices of furniture on the
fireplace.
• Subordinate: This level supports the subdominant level and has the least visual weight.
Accessories that sit on tables, fireplace mantels, small furnishings or bookshelves are
examples of this level.
 UNITY AND HARMONY
What is Unity?
The overall cohesiveness of a composition that’s been created with the elements of design. It is
considered the most important principle. Unity comes from repeating things over and over
because then it’s all within the same subject.
What is Harmony?
Uses the elements of design to emphasize the similar parts of different elements. Like things of
same colour, things of same texture. It creates togetherness through difference of objects.
Unity/Harmony is must used to create unity in a unique way.
 UNITY AND HARMONY
If we have too much unity then it makes your entire design feel very flat it make it feel one-
dimensional. If it doesn’t have any interest to it right. So, variety is needed for visual interest to
make people look at your design and look interesting.
Unity and Harmony with Colour and Value: So colour and value unity and harmony deals
with palettes and colour schemes. Unity can be achieved with one colour, but harmony is
created with good colour scheme. Harmony is used to create variety.
Unity and Harmony with Texture: Similarly/same textures used within a design to create a
sense of unity. Can be as simple as the texture of a canvas. Can be with physical material that
can create a unity through texture, can have implied texture or physical texture.
 UNITY AND HARMONY
Unity and Harmony with Shape and Form: Similar use of shapes and forms to create a sense
of unity. Tends to be popular because of how obvious it is. Use of the same shapes and forms over
and over can become boring/ repetitive. Use of rounded or sharp edges or creating similarities
within different forms creates harmony.
Unity and Harmony with Line: It can be with implied line or actual line. When an actual line is
usually similar line weight or similar style.
Thank you