Elements and Priniciples of Design.pdf

DESIGN
ELEMENTS
Mehul Chaudhary
Department of Architecture
NIT Hamirpur

DEFINITION
• Elements of Design
The visual language that an artist uses to communicate one’s ideas in
creating any work of art. All artwork is composed of one or more of
these Elements.
These elements eventually grow into Form with their unique
attributes.
The Point 1D Line 2D Shape 3D Form
Each element is first considered as an abstract, a conceptual
element (in mind space), and then as a visual element in the
vocabulary of architectural design.

ELEMENTS OF DESIGN
• POINT
• LINE
• PLANE
• SHAPE
• FORM
• VOLUME
• TEXTURE
• COLOUR
• VALUE

ELEMENTS OF DESIGN
Being conceptual elements; point, line, plane, and volume are not
generally visible but to mind’s eyes. While they might not actually
exist, but their presence is very much felt and observed.
• A point at the intersection of two lines.
• A line marking the contour of a plane.
A
A’
B
B’
o

ELEMENTS OF DESIGN
• A plane enclosing a volume.
• Volume of an object that occupies space.

ELEMENTS OF DESIGN
• When made visible to the eye on paper or in three-dimensional
space, these elements become form with characteristics of
substance, shape, size, color, and texture.
One should be able to perceive in these structures; the existence
of the primary elements of point, line, plane, and volume.

ELEMENTS OF DESIGN
POINT
Point indicates a position in space. It has no length, width, depth and
is therefore; static, centralized, and directionless.
As the prime element in the vocabulary of form, a point can serve to
mark:
• The two ends of a line
• The intersection of two lines.
• The center of field
• The ,meeting of lines at the corner of a plane or volume.

ELEMENTS OF DESIGN
POINT
Although a point theoretically has neither shape nor form, it begins to
make its presence felt when placed within a visual field. At the
center of its environment, a point is stable and at rest, organizing
surrounding elements about itself and dominating its field.

ELEMENTS OF DESIGN
POINT
• When the point is moved off-center, its field rather becomes more
aggressive and begins to compete for visual supremacy.
• Visual tension is created between the point and its field.

ELEMENTS OF DESIGN
POINT
A point visibly marks a position in space or on the ground plane. A
point must be projected vertically into a linear form; either as a
column, obelisk, or tower.
Such columnar element is seen as a
point in the plan and therefore, retains
the visual characteristics of a point.

ELEMENTS OF DESIGN
POINT
Other point-generated forms that share these same visual attributes
are:
• Circle
• Cylinder
• Sphere

ELEMENTS OF DESIGN
LINE
Two points describe a line that connects them. Although the points
give this line finite length, the line can also be considered a segment
of an infinitely longer path.

ELEMENTS OF DESIGN
LINE
A point extended becomes a line. Conceptually, a line has length, but
no width or depth.
Whereas a point is by nature static; a line describing the path of a
point in motion, is capable of visually expressing direction,
movement, and growth.
It can serve to:
• Join
• Link
• Support
• Surround or
• Intersect other visual elements

ELEMENTS OF DESIGN
LINE
• A line theoretically has only one dimension, it must have some
degree of thickness to become visible.
• The character of a line; whether tense or loose, bold or tentative,
graceful or ragged, is determined by our perception of its length–
width ratio, its contour, and its degree of continuity.

ELEMENTS OF DESIGN
LINE
A line can most generally:
• Describe the edges or give
shape to planes.
• Articulate the surfaces of
planes

ELEMENTS OF DESIGN
LINE
• A line is a dot that moves or continuous mark.
• It defines space, contours and outlines, or suggests mass and
volume.
• It can be straight, curved, vertical, horizontal, jagged, or dotted.
• It may be continuous mark made on a surface with a pointed tool
or implied by the edges of shapes and forms.

ELEMENTS OF DESIGN
LINE
• A line leads the vision from one point to another.
• Even the continuous repetition of similar elements, can be
regarded as a line. This type of line has significant textural
qualities.

ELEMENTS OF DESIGN
LINE (Vertical Lines)
• Represents dignity,
formality, stability,
and strength.
• Creates feelings
of aspiration and ascension.

ELEMENTS OF DESIGN
LINE (Horizontal Lines)
• Represents calm,
peace, and relaxation.
• Are generally
restful.
• Are informal

ELEMENTS OF DESIGN
LINE (Diagonal Lines)
• Represents action, activity,
excitement, and movement.

ELEMENTS OF DESIGN
LINE (Curved Lines)
• Upward: lifts and inspires
• Downward: sadness and
seriousness
• Small: playful

ELEMENTS OF DESIGN
LINE
Types of lines include; vertical, horizontal, diagonal, straight or ruled,
curved, bent, points, angular, thin, thick, or wide, interrupted (dotted,
dashed, broken) blurred or fuzzy, controlled, freehand, parallel,
hatching, cross-hatching, meandering, and spiraling.
Direction
Direction
Length
Movement
Surface
Movement
Surface

ELEMENTS OF DESIGN
LINE
Linear members that possess the necessary material strength can
perform structural functions.
In the example, linear elements:
• Express movement across space

ELEMENTS OF DESIGN
LINE
Linear members provide support
for an overhead plane
• Form a three-dimensional
structural frame for architectural
space

ELEMENTS OF DESIGN
LINE
A line can be an imagined element rather than a visible one in
architecture. An example is the axis, a regulating line established by
two distant points in space and about which elements are
symmetrically arranged.
Although architectural
space exists in three
dimensions, it can be
linear in form to
accommodate the path of
movement through a
building and link its spaces
to one another.

ELEMENTS OF DESIGN
SHAPE
An enclosed space defined and determined by other art elements
such as line, color, value, and texture. Shapes can be categorized
into two different types: Geometric and Organic.
Organic
An irregular shape, or one that
might be found in nature, rather
than a regular mechanical
shape like leaves, seashells,
flowers. Seen in nature; free
flowing and irregular shapes.
Geometric
Shapes that are created through
use of mathematics. These
shapes include Circle, Oval,
Triangle, Square, Rectangle,
Hexagon, Octagon and Pentagon.

ELEMENTS OF DESIGN
SHAPE (Geometric Shape)
• A two-dimensional enclosed space defined by other art elements
such as line, color and texture.
• Made by connecting lines
• Geometric: Circles, squares, rectangles,
triangles, ovals, diamonds.

ELEMENTS OF DESIGN
SHAPE (Organic Shape)
• These are the shapes, often curvilinear in appearance, that are
similar to those found in nature, such as plants, animals, and
rocks.
• Examples of organic shapes are the shape of a leaf, a cloud, a
seashell, a rain puddle, an animal, and flowers.

ELEMENTS OF DESIGN
SHAPES
Positive Shapes: These are the solid forms in a design such as a
bowl of fruit. In a sculpture it is the solid form of the sculpture.
Negative Shapes: In a drawing, it is the space around the positive
shape or the shape around the bowl of fruit. In sculpture, it is the
empty shape around and between the sculptures..

ELEMENTS OF DESIGN
FORM
• Form may be created by the combination of two or more shapes or
as a three-dimensional shape (cube, pyramid, sphere, cylinder,
etc.).
• It may be enhanced by tone, texture and color.
• Form is considered three-dimensional showing height, width and
depth.
• Examples of these are sculpture,
theater play and figurines.
• Forms can be either geometric or
organic.
• One can hold a form or walk around it.

ELEMENTS OF DESIGN
FORM (Inspiration: Geometric Form)
• An element of art that is three dimensional (height, width, and
depth) and encloses volume. For example; a triangle which is two
dimensional, is a shape and a pyramid, which is three dimensional
is a form.
Pyramid of Sun, State of Mexico,
Mexico

ELEMENTS OF DESIGN
FORM (Inspiration: Organic Form)
Regium Waterfront, Italy
Harbin Opera House, China

ELEMENTS OF DESIGN
TEXTURE
The surface quality of an object or item
A rock may be rough and jagged. A piece of silk may be soft and
smooth, and your desk may feel hard and smooth.
Texture also refers to the way a picture is made to look rough or
smooth.
Tactile
• How does the object feel to the touch?
• Can feel the variation in the surface.
Visual
• An illusion - how the object appears to feel.
• Applied using line, color, & shading.

ELEMENTS OF DESIGN
TEXTURE
An element of art; texture is the surface quality or feel of an object,
its smoothness, roughness, softness, etc. Textures may be actual or
implied.
Implied textures are suggested by an artist
in the painting of different areas of a
picture; often in
representing drapery,
metals, rocks, hair, etc.
Textures can be felt with
the fingers.

ELEMENTS OF DESIGN
TEXTURE (Smooth)
• Makes colors appear
lighter and brighter.
• Is generally considered
more formal.

ELEMENTS OF DESIGN
TEXTURE (Rough)
• It makes colors look
darker and less intense.
• Is generally less formal.

ELEMENTS OF DESIGN
TEXTURE (Shiny)
• It is reflective of light.
• It has more intense colors.

ELEMENTS OF DESIGN
TEXTURE (Illustrations)

ELEMENTS OF DESIGN
SPACE
• Space is element which refers
to three-dimensional expanse
between, around, above,
below, or within objects where
a designer works.

ELEMENTS OF DESIGN
SPACE (To make a small space feel spacious)
• Use light, cool colors
• Allow for large open areas &
empty space
• Use small prints, patterns, and
textures
• Allow as much floor to show
as possible
• Place large pieces of furniture
near walls
• Furniture should be up off the
floor and not bulky.

ELEMENTS OF DESIGN
SPACE (To make a large space feel intimate)
• Place furniture perpendicular
to walls.
• Group furniture according to
areas of activity.
• Use large furniture that sits
directly on the floor.
• Use warm and intimate
colours.

ELEMENTS OF DESIGN
COLOUR
• Reflected light.
• Most important element.
• Creates the most impact.

ELEMENTS OF DESIGN
VALUE
An element of art that refers to the lightness or darkness of a color.
Value is an especially important element in works of art when color
is absent. This is particularly likely with drawings, lithographs,
photographs, and sculpture.
A gray scale, a series of spaces filled with the tints and shades of
one color starting with white or the lightest tint on one end, and
gradually changing into the darkest shade or black on the other.

PRINCIPLES
DIRECTIONS TO
USE ELEMENTS
OF DESIGN

DESIGN OF BUILDING
• Should have geometrical order and
expression of formal qualities
• Should have adequate performance
and expression of spaces
• Should have adequate performance
and expression of material
elements
FORM
FUNCTION
MATERIAL

PRINCIPLES OF DESIGN
Seven Principles of Visual Design:
• BALANCE
• RHYTHM
• EMPHASIS
• HARMONY
• PROPORTION AND SCALE
• MOVEMENT
• CONTRAST
• UNITY

BALANCE
• Parts of the design are equally distributed to create a sense of
stability. Both physical and visual balance create a sense of
equilibrium.
• When establishing balance; consider visual weight created by size,
color, texture and number of objects.
TYPES:
1. Symmetrical / Formal Balance
2. Asymmetrical / Informal Balance
3. Radial Balance
4. Vertical Balance
5. Horizontal Balance

BALANCE (Symmetrical/Formal Balance)
• The elements within the design are identical in relation to a central
line or axis.
• Achieved by placing identical objects on either side of a central
point.
• Creates a quiet, restful feeling.
• Suggests restraint, orderliness,
formality.
• Also called, FORMAL balance.
The Taj Mahal Mausoleum, Agra,
Uttar Pradesh, India

BALANCE (Symmetrical/Formal Balance)
Windows draped in
identical fabrics,
flank both sides of
the grandfather
clock.
Identical candle
sticks, plates, sit on
the mantle at each
side of the wall
mounted mirror.
Identical light
sconces are placed
on both sides of
framed picture.

BALANCE (Asymmetrical/Informal Balance)
• Parts of the design are not identical but are equal in visual weight.
• Achieved by placing different objects of equal visual weight on
either side of a central point.
Chateau de Chaumont
Saone-et-Loire, France

BALANCE (Asymmetrical/Informal Balance)
Creates more
interesting
arrangements.
Suggests
informality, relaxed.
Wall hangings of the
same visual weight
are hung on each side
of the plant stand.
Chair balances out the
fireplace on the other
side of the room.
Mirror is placed off
center on the
mantle.
Tray and bottles on
either side of the
mirror help to
balance it out.

BALANCE (Radial Balance)
• Design elements radiate outward from the center.
• Radial Balance involves having furnishings or patterns arranged in
a circular manner.
• Radiation creates a sweeping, dramatic, circular motion in space.
Dresden Frauenkirche,
Dresden, Germany

BALANCE (Vertical Balance)
The top and bottom parts are equal.
Jal Mahal Palace, Jaipur

BALANCE (Horizontal Balance)
The left and right parts are equal.
Gate of Supreme Harmony, Forbidden City,
Beijing, China

RHYTHM
Repeated use of line, shape, color, texture or pattern.
Its various types are:
• Rhythm by Repetition/ Regular
• Rhythm by Gradation
• Rhythm by Radiation
• Rhythm by Opposition
• Rhythm by Transition

RHYTHM (by Repetition)
Rhythm created by duplicating
(repeating) shapes, colors, pattern,
line, texture.
• Beams in the ceiling are repeated.
• Windowpanes are repeated.
• Stripes on ottoman and chair are
• repeated.

RHYTHM (by Random Repetition)
• Random rhythm.
• The beats of the elements are
random or at irregular intervals.
St. Basil Cathedral, Moscow,
Russia

RHYTHM (by Gradation)
• Rhythm created by a gradual change in size or color.
• The repeated element is identical except for one detail increasing
or decreasing gradually with each repetition.

RHYTHM (by Radiation)
• Rhythm created by identical
objects coming from a central axis.
• Tall Grasses radiate from the
center of the vase on this bathroom
vanity.

RHYTHM (by Opposition)
• Rhythm created by lines at right
angles or contrasting colors.
• Contrasting black and white tiles
and the lines intersecting at right
angles.

RHYTHM (by Opposition)
• Rhythm created by curved lines
that carry your eye across a straight
surface.
• Window treatments that gently
swag down, create a soft rhythm
by transition.

EMPHASIS
• The feature in a design that attracts one’s eye – the focal point
• Emphasis can be achieved through size, placement, shape, color,
and/or use of lines.
El Shefaa Mosque, Egypt
Bahai Garden, Haifa, Israel

EMPHASIS (Ways to create Emphasis)
• Arrangement of furniture
around a focal point.
• Use of color, texture, or
pattern.
• Placement of accessories.
• Use of lighting.
• The point of emphasis should
command attention, but not
dominate the overall design.
• Other features within the
room should not compete for
the emphasis.

MOVEMENT
Movement is the design
principle that uses some of
the elements of art to produce
the look of action or to cause
the viewer’s eye to sweep
over the artwork in a certain
manner.

HARMONY (Unity)
Unity is achieved by the consistent use of lines, color, material,
and/or texture within a design.
Chi Lin Nunnery, Hong Kong West Virginia University,
Morgan Town

HARMONY (Variety)
• When two or more different
elements of design are used to
add interest to a design.
• Variety can be achieved by
combining different styles and
materials, if they are compatible.

CONTRAST
It is an attribute that depicts
noticeable difference between
elements.
It can be created by:
• Color
• Proportion and scale
• Shape
• Texture
The Louvre Museum, Paris,
France

PROPORTION and SCALE
SCALE: It relates to the size of a design in relation to the height and
width of the area in which it is placed.
PROPORTION: It relates to the parts of the object and how one part
relates to another.
It is about the relationship in size of one component (part) of a work
of art to another.

Relates to the actual and relative
size and visual weight of the
design and its components.
Comparative relationships
between elements in a design
with respect to size.
Furniture and accessories must
be in scale to the room.
The Washington Monument
with Lincoln Memorial, DC

Used as an end
table, this wood
pedestal towers
over the sofa,
making the sofa
appear small and
the pairing
awkward. (Too Big)
The lamp would
need to be fully
stretched to offer
good illumination
from this low point.
(Too small)
The perfect pairing,
visually and
physically, is a
tabletop that is a
couple of inches
shorter than the
sofa arm. (Just
right)

This tall lamp
towers above the
nearby sofa and
chair. It is also
several inches
taller. (Too big)
This lamp is
overwhelmed by the
high-back sofa and
stocky chair that
surround it. (Too
small)
An end-table lamp
should be tall enough to
clear the top of the sofa
with a little room to
spare, yet not so tall that
it dwarfs the table it
rests on. (Just right)

This 5-foot-wide
double pendant
chandelier
overpowers the
table. (Too big)
The fixture is too
small to adequately
light the table. (Too
small)
In general, a chandelier’s
width or diameter should
be at least 2 feet
narrower than the table
length. (Just right)

• Square is the least pleasing shape.
• Rectangles are more pleasing, especially with a ratio of 2:3.
• Palladio placed greater emphasis on these simple ratios; such as
3:4, 4:6 etc.
This relationship may not only be one of magnitude, but also of
quantity or degree. Designer may usually have a range of choices
when determining the proportions of things (by nature of materials,
by building elements respond to forces, and by how things are
made).

In architecture; a system of relationship of parts to each other and to
the whole, often governed by a standard unit of length is called a
module-based relation e.g., on the half the diameter of a classical
column.
Whole Part

PROPORTION and SCALE (Material Proportions)
All materials have rational proportions that are dictated by their
inherent strengths and weaknesses.
For example, a stone slab that is 4” thick and 8 feet long can be
reasonably expected to support itself as a bridge between two
supports. But if its size increases fourfold, to 16” thick and 32 feet
long, it will probably collapse under its own weight.

PROPORTION and SCALE (Material Proportions)
Bricks are strong in
compression and depend on
their mass for strength but
week in tensile forces.
Therefore, materials are of
volumetric forms.

PROPORTION and SCALE (Structural Proportions)
• Structural elements are called
upon to span spaces and
transmit their loads through
vertical supports to the
foundation system of a building.
• The size and proportion of these
elements are directly related to
the structural tasks they perform
and can therefore be visual
indicators of the size and scale of
the spaces they help enclose.

PROPORTION and SCALE (Manufactured Proportions)
• Many architectural elements are
sized and proportioned not only
according to their structural
properties and function, but also
by the process through which
they are manufactured.
• Because these elements are
mass-produced in factories, they
have standard sizes and
proportions imposed on them by
the individual manufacturers or
by industry standards.

PROPORTION and SCALE (Theories)
• GOLDEN RATIO
• CLASSICAL ORDERS
• RENAISSANCE THEORIES
• MODULOR
• KEN
• ANTHROPOMETRY

PROPORTION and SCALE (Golden Ratio)
• The Golden Section is a proportion b/w two dimensions of a
plane or two divisions of a line, in which the ration of the
smaller to larger is the same as the larger to whole (i.e.,
0.618).
• It can be expressed algebraically by the equation of two ratios:
𝑎
𝑏
=
𝑏
𝑎 + 𝑏
= 0.618

• The rectangle whose sides are
proportioned according to the
golden Section is called Golden
Rectangle.
• It has long been believed to produce
some of the most aesthetically
pleasing shapes in nature, and as
such has been used in many works
of art and architecture.
• The ratio is AB:BC = BC:AC =1:1.618.

• The ancient Greeks studied mathematics and felt that it was the
controlling force of the universe. From mathematics they derived
what they considered to be the ideal proportion - the golden
mean or golden section - for harmonious effect.

• If we create a set of squares inside the golden rectangle,
always adhering to the same proportions, and then inscribe a
spiral through these, we get the identical pattern as found in
nature for such things as the spiral of a nautilus shell, a cat's
claw, a pinecone, flowers, etc.
• If a square is constructed on the smaller side of a golden
rectangle the remaining portion would be smaller but in
golden section.
• The golden section has been used extensively in architecture,
painting, and sculpture.

PROPORTION and SCALE (Classic Orders)
In ancient Greek architecture, the Greek
Orders were the guidelines of building
projects.
The three Greek Orders were:
• Doric Order - the starting point of the
Greek orders and the simplest form.
• Ionic Order - an order evolved from
Doric order, the mature form of the
Greek Orders
and the peak of style.
• Corinthian Order - an over-developed
compound style with leaf-like details
made of stone.

PROPORTION and SCALE (Renaissance Theories)
Seven Ideal Plan Shapes for Rooms.
• Andrea Palladio (1508–80) was
probably the most influential architect
of the Italian Renaissance.
• Series of interlocking ratios that results
from applying Pythagoras theory of
means of the intervals of the Greek
scale.
• Andrea Palladio proposed these seven
most beautiful and proportionable
manners of rooms.

PROPORTION and SCALE (Renaissance Theories)
Palazzo Iseppo Porto,
Vicenza, Italy, 1552,
Andrea Palladio
30 x 30, 20 x 30, 10 x
30, 45 x 45

PROPORTION and SCALE (Modulor)
• Le Corbusier developed his proportioning system, the Modulor
(1942). He saw the measuring tools of the Greeks, Egyptians, and
other high civilizations as being infinitely rich and subtle because
they formed part of the mathematics of the human body, gracious,
elegant, and firm.
• He based his measuring tool, the Modulor; on both mathematics
(aesthetic dimensions of the Golden Section and the Fibonacci
Series) & the proportions of human body (functional dimensions).
• Ha saw the Modular not as a series by numbers with inherent
harmony, but a system of measurement that could govern length,
surface volume and maintain the human scale everywhere.

The basic grid consist of three measures, 113, 70, and 43
centimeters, proportioned according to the Golden Section.
• 43 + 70 = 113
• 113 + 70 = 183
• 113 + 70 + 43 = 226 (2 x 113)
113, 183, and 226 define the space occupied by the human figure.
From 113 and 226, Le Corbusier developed the Red and Blue series,
diminishing scales of dimensions that were related to the stature of
the human figure.

Le Corbusier saw the Modulor not
merely as a series of numbers with
an inherent harmony, but as a
system of measurements that could
govern lengths, surfaces, and
volumes, and maintain the human
scale everywhere.
It could lend itself to an infinity of
combinations; it ensures unity with
diversity; the miracle of numbers.

PROPORTION and SCALE (Ken)
• The traditional Japanese unit of measure, the shaku; was
originally imported from China. It is almost equivalent to the
English foot and divisible into decimal units.
• Another unit of measure, the ken; was introduced in the latter half
of Japan’s Middle Ages.
• 1 𝐾𝑒𝑛=6 𝑆ℎ𝑎𝑘𝑢~6^′ 7“=1.818m = 5.96’(Value varies with time and
location)
• In Japanese Architecture, the ken is used as a proportion for
intervals b/w the columns of traditional style buildings.
• The ken was soon standardized for residential architecture as
Tatami Mats (used to cover the floor in Japan) .

• The size of a room is designated by the number of its floor mats.
• The traditional floor mat was originally proportioned to
accommodate two persons sitting or one person sleeping.
• The ordering system of the ken grid developed; however, the floor
mat lost its dependence on human dimensions and was subjected
to the demands of the structural system and its column spacing.
• Because of their 1:2 modularity, the floor mats can be arranged in
several ways for any given room size.

Two methods of designing with the ken
modular grid developed that affected its
dimension are:
• In the Inaka-ma method: the ken grid of
6 shaku determined the center-to-
center spacing of columns. Therefore,
the standard tatami floor mat (3 x 6
shaku or 0.5 x 1 ken) varied slightly to
allow for the thickness of the columns.
• In the Kyo-ma method: the floor mat
remained constant (3.15 x 6.30 shaku)
and the column spacing (ken module)
varied according to the size of the room
and ranged from 6.4 to 6.7 shaku.

• Floor surface of Japanese
houses are still measured
in Tatami i.e., equivalent to
half of a square Ken.
And for each room size, a
different ceiling height is
established according to the
following:
• height of the ceiling
(shaku), measured from
the top of the frieze board =
number of mats x 0.3.

PROPORTION and SCALE (Anthropometry)
Defines
• Anthropos = Man
• Metron = Measure
Refers to the measurements of the
size and proportions of the human
body.
Its applicability to the design process
is seen in the physical fit between the
human body and the various
component of space i.e., table , chair,
steps, door, window

PROPORTION and SCALE (Anthropometry)
Body Proportion:
The basic rule of thumb
is that the body is 7.5
or 8 times the size of
the head.

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