The principles of design - balance, emphasis, rhythm, unity, and contrast - are the structural foundation of a design and determine how the various design elements are organized within the compositional space. Let’s discuss the following principles of design, click on the links (below) or scroll down the page.
Balance occurs when all the design elements are equally distributed through the design. There are essentially two types of balance: symmetrical and asymmetrical.
Symmetrical elements are arranged equally on both sides of a composition to suggest a stable or static motion. A symmetrically balanced layout is one in which visual elements are mirrored from side to side or from top to bottom.
Asymmetrical elements create a deliberate imbalance to suggest variety or dynamic movement. In an asymmetrically balanced layout, the words and phrases and graphics are arranged unequally on either side of the imaginary axis, and the focus is on harmonious balance.
A balance design is one in which the visual weights of all the elements are equally dispersed throughout the layout. Visual weight is the illusion of physical weight of a visual element on the page.
Emphasis indicates the most important element on the page based on the message. It’s the element that stands out and gets noticed first. The most emphasized visual element in a design is called focal point because it attracts the viewer’s attention first. For example, by taking an element and making it bigger, bolder, or brighter, by putting it in a contrasting color, or by surrounding it with white space you can create emphasis in a design.
Using emphasis in your design simplifies the viewer’s task and helps them pick out the essentials in your message faster than having to wade through nonemphasized information. The easier you make it for your reader, the more likely they will receive or at least glace at your message.
Rhythm is a pattern created by repeating elements. Rhythm denotes the movement in the way elements directs our gaze to scan the message for understanding or information. The term sequence is used to refer to the viewing order of the elements and to determine the flow of a multipage publication such as magazine or book. Rhythm can be illustrated in a variety of ways through repetition of objects, colors, and placement in the composition. Most of the time, we associate patterns with rhythm. While it is true that all patterns have a rhythm, all rhythms do not necessarily have a pattern. Pattern, rhythm, and movement are closely related depending upon how they are used.
Unity is achieved when all design elements relate to one another and project a sense of completeness. A viewer will always seek unity in a message. Without it, the viewer will lose interest. Designers use ideas drawn from gesalt theory to help unify their designs. Gesalt theory is the psychological process by which a viewer unites disparate design elements into whole from that is greater than the sum of its parts. Two such ideas are grouping and figure/ground. Grouping happens when elements are close together and visually appear as part of group. Figure/ground occurs when a viewer can identify an object (figure) as a shape distinct from its background (ground). This perception is dependent on he design principles of contrast.
Contrast stresses the visual differences in size, shape, and color between the elements to enhance the perception of a message intended. Contrast draws and directs viewer’s attention to specific areas of information. It is the easiest, quickest ways to give your reader a visual treat and to draw attention to the page. The principle of contrast is used hand in hand with the principle of emphasis to keep elements on the page from looking, too much alike, and to pick up where the principle of emphasis stops on visually organizing the page. Designs with little contrast often lack variety and are visually boring. For example, you can use size contrast, color contrast, typeface contrast, weight contrast, or texture contrast in your design.
Practice balance, emphasis, rhythm, unity, and contrast in your own design work as the structural foundation and determine how the various design elements can be organized within the compositional space.
"A work of art is a world in itself reflecting senses and emotions of the artist's world". - Hans Hoffman
Graham L. (2002). Basics of Design. Albany, NY: Thomson Learning.
Lester P. (2003). Visual Comunication: Images with messages. Belmont, CA: Wadsworth/Thomson Learning.
Montague J. (2005). Basic Perspective Drawing: A visual guide. Hoboken, NJ: Wiley.
Resnick E. (2003). Design for Communication: Conceptual Graphic Design Basics. Hoboken, NJ: Wiley.
Williams R. (1994). The non-designer's design book. Berkeley, CA: Peachpit Press.