Transcripts
1. Class Intro : Hello. My name is Ramzi Bilhah. I'm a graphic designer,
a creative coder and concept artist,
UAIUX designer. I worked with many brands, and I have 20 years
of experience. In this class, design mastery, principle and visual hierarchy
is a comprehensive theory driving course designed to help you become a great
graphic designer. By diving deep into every
essential principle, balance, unity, contrast in faces,
repetition, variety, rhythm, pattern,
proximity, alignment, movement, scale, texture,
and negative space, all in one cohesive framework
that empowers you to craft a memorable impactful design and communicate your vision
with the crysto clarity. You will gain access to a custom interactive
learning system, delivered as
downloadable HTML files. You can open in your browser
to explore live example and experiments that
reveal exactly how this principle guide the
eye and how they work. Strength the brand
recognition and transform ordinary layout into
powerful visual stories. To ensure you internalize
and apply these concepts, you will complete a
detailed PDF quiz, upload your answer to the class page for
personalized feedback, and tackle engaging
web based quiz that grades your
response in real time. Helping you identify
area to revisit until each principal feels second
nature, which is structured. Theory first approach,
hands on assessment and practical demonstration of visual hierarchy in action. You will build the
clarity, confidence, and vocabulary needed to create designs that not only
look exceptional, but also resonate
deeply and drive meaningful engagement.
Welcome to the class.
2. Introduction To Graphic Design Principles: Visual communication,
a discipline with rich history extending back
to ancient civilization. Rely on fundamental
principles to ensure messages are conveyed effectively and aesthetically. This principle act as the
cornerstone of design across various media from
traditional graphic design to contemporary web and
user interface design. They provide a common framework
for designers to create purposeful and impactful visual that resonate with the audience. Understanding how this principle interconnect and influence one another is crucial for achieving visual harmony and
effective communication. In general, design
principles are foundational guidelines
that underpin the creation of
visually appealing, functional and
effective designs. They encompass a
range of concepts, including balance, unity, paces, pattern, rhythm,
contrast color, scale, hierarchy, movement,
negative space, alignment, and proximity. These principles are
not rigid rules, but flexible considerations
derived from behavioral science,
sociology, and ergonomics. They ensure designs communicate clearly, enhance
user experience, and maintain aesthetic harmony, making them essential for both novic and
experienced designers. The importance of
these principles lies in their ability to solve user problems and create intuitive
engaging designs. Many principles balance, distribute visual weight
for stability and harmony, symmetrical or
asymmetrical arrangement. It's a crucial for comfortable
viewing experience, guiding the eye smoothly, used by evenly distributing
element like balance and large images with text
blocks in a website layout. Avoid designs too
heavy on one side, which can feel unstable. And principle like unity. I ensure elements work together cohesively using
consistent styles, vital for clear communication. Use it by maintaining consistent
colors and typography, like a brand's website using the same palette across pages. Avoid disparate elements that
create chaos and confusion. We're going to see
with all more details about all the
principle one by one. Now we're going to
take a look about some examples that have
design principles. This poster you see here
is the bloody road. It made by me,
effectively utilize several design principle to create striding
impactful visual. First, it used color contrast, and the most dominant
contrast is between the stark black of the
building and the title. The vibrant red of the road and the off
white cream background, this high contrast immediately
drought the viewer's eye and creates a scene of drama and tension, fitting the title. The sharp angular shapes of the building contrast
with the flow and organic curve of
the bloody road. This is juxta position at visual interest and emphasizes
the center element. Also the type contrast, while the font toss
are relatively simple, there is a contrast in
size and boldness between the bloody road and Bram
Zbelhgcclear hierarchy. The poster also has the principal emphass
which you can see here clearly by the
color and the placements. The bright red bloody road is
undeniably the focal point, a central placement and contrasting color
demand attention. Title size placement
of the bloody Road is the largest text element and it is positioned
prominently at the top, establishing the
subject of the poster. Also, in this poster, we can have the principle
of movement, which are the leading lines. The wind and red rods act
as strong leading lines, round the viewer eyes
from the bottom of the poster toward the vanishing
point in the distance. This creates a sense of depth and pulls the
viewer into the scene. Another principle the poster has is simplicity
and minimalism. Limited color palette, the use of only three main
colors, black, red, and off white creates a clean and impactful design,
avoiding visual clutter. Also simplified its shapes, the building are represented by basic geometric
shapes contributing to the overall
minimalist aesthetic. Another principle also you can see in this poster is
the visual hierarchy. Size and position of the text, the title is the
largest and at the top, followed by the author name
in a smaller font size. Clearly communicate the
poster title and the author. Dominance of the road, the visual weight
of the red road, makes its primary element conveying the central
themes just by the title. And the last principle we can talk about here
is the symbolism. The color red is often associated
with the blood, danger, and intensity directly relating to the bloody aspect
of the title. The road itself can
symbolize a journey, path or even a descent
into something dangerous. The winding and somewhat
ominous natural of this road reinforces
the title's implication. Also, the dark
silhouetted buildings create a sense of an
urban environment, potentially suggesting
where this bloody road is located or the
context of the story. As you saw, this poster had
many principles designed, and that's what
make it effectively and communicate
directly the message. Now we're going to talk
about this other example of four posters together. This is also some of my project, and it convey different
principles design. As you see the Apple example,
principle of contrast, high contrast between
the red apple and the off white background. The black tape also contrasts strongly with the background. Also emphasize the large
sent replaced red Apple is in the clear focal point. Is size and color immediately
draw the viewers attention. In this poster, also, we can find simplicity and minimalism. The design is very
clean and uncluttered, featuring only the
essential element, the title, the Apple Illustration
and the author's name. Symbolism, the apple, a well known symbol potentially
representing temptation, knowledge, or something else, depending on the poster's theme. We can see also the visual
hierarchy, the title, the apple is permanent, followed by the illustration, and then the author's name
in a small font size. Now, the crosswalk has also
the principle of contrast, strong contrast between
the black and white areas, particularly in the deception of the crosswalk and the figure, the off white background also contrast with
the black element. We can find also in faces which is the silhouette of the
person in the crosswalk is the main point of
interest emphasizes by its center placement and the contrasting stripes
of the crosswalk. In this poster, we have also
the principle of movement. The diagonal lines
of the crosswalk, stripes create the
signs of a movement and lead the eye
toward the figure. The figure itself is
depicted in motion. We can find also
the simplicity and abstraction because
the design use simplified shapes and
silhouette to convey the scene. In the third poster cityscape, we can see also the
contrast between the black silhouette of
the city building and the red circles representing the sun or the moon and
the off white background. Principle of incess here is the cityscape
silhouette positioned against the contrast
and red circles, and it's the center role focus. We can see here
something like layering, where the black city scape is layered over the red circles, creating a sense of depth. Simplicity and abstraction
always in my project. It shows in the city
is represented by simplified geometric shapes,
creating stylized posters. For the final poster, the gun man, you
can find, again, the principle of contrast
with a strong contrast between the black silhouette of the gunman and the
red background. The off white text also
contrast with the red. In faces, the two silhouetted figure pointing guns
at each other are the clear focal point sized by their central position and the star contrasts
with the background. This poster convey
tension and drama. The use of the red and the
confrantional poses of the figure create a sense of attention and
potential conflict. Directly relating to the title. You can see also the
principle symmetry implied, while not perfectly symmetrical, the placement of the two figure, create sense of a balance and confrontation across
the vertical axis. You can see also the
visual hierarchy is the most prominent
text followed by the impactful visual of the gunman and then
the author's name. The red background is also
dominant visual element. Overall, these kind of posters has a limited
color palette. All four poster utilize a restricted color
palette, primarily black, red, and off white, creating a consistent visual
style and strong impact. Strong contrast,
each poster relies heavily on contrast to make
the key element stand out. Central focus, each design has a clear central visual element that directly relate
to the title. And also the consistent
typography, the fonte style, and placement of
the author name are consistent across all four
retinscens of Brandon. And also the poster embrace
a minimalist approach, avoiding unnecessary detail and focusing on conveying
the core idea. As you see also Lil
ham here by me, it has the same style but
the different kind of a color element and different
way of using colors, but always using
the same principles with contrast the various shades of blue used for the bird, contrast with the off
white background, making the illustration
stand out. The darker blue of the title also contrast with the
lighter background. The emphasis principle
also represented here with the central
placement and the size, the style is blue bird and
is the dominant element, place it centrally and taking up significant portion
of the poster space. This is immediately
dro the viewers eyes. In this example of
abstract photography, what you can see first. Think where your eyes goes, where your attention goes, and what the design principle
you see in this image. After you thinking a little bit, now let's see if we
found the same results. First thing, we see
the color contrast, the yellow of the element
contrast with the grays, black, and of white of the other elements
and the background. Also, we can see
the shape contrast, the organic shape of
the lemon contrast with the geometric form of the
cylinder rectangle and a cube. We can see also here another kind of a contrast
with the texture. While we can't physically
feel the texture, the visual representation
is just different textures, the rough surface
of the cylinder, the smooth surface of the lemon, the possibly polished surface
of the rectangle slab, and the plecked
texture of the cube. Another design principle
we can see here is space, which is the negative space. A significant portion of
the image is empty space, the gray background
and the dark surface. This negative space help to isulate the objects and
draw attention to them. It also contributes to the overall minimalist
and contemplative feel. We can see also the
shapes and forms. The image utilize
basic geometric forms, cylinder rectangle and cube, which provide a structure
and sense of order. Organic forb and the lemon
and reduce an organic form, creating visual interest and contrast with geometric shapes. We can find also
the implied line, the thin white bar creates a strong horizontal implied line connecting the yellow
cylinder and the lemon. It also emphasizes the
precarious balance. We can see also the edges of the geometric shape define their form and
create visual lines. For the color palette
of this image, it's very limited
and muted palette. The image employ limited and
mostly muted color palette, gray black or white
with a pop of yellow. This contribute to a sense
of stillness and focus. Overall, the image demonstrate
principle of balance in pass through color and
precarious placement, contrast in color and shapes, effective use of a
negative space and interplay of geometric
and organic forms. Minimalist approach and usual arrangements
of the objects, quativisual tigin and potentially
symbolic composition. This is another image with a
different kind of structure, but also convey the
same design principle. We're not going to talk
about what this image has, I want you to look to this
image and try for yourself to find out what are the principle in this image and
how you see it. Try to figure out yourself. This will help you understand how to place your focal
point and how to use the contrast and the
color palette and understand the
using of the space and the order of your elements. In conclusion, the
design principle explored in this introduction
that we are going to talk about them one by one in our class are
fundamental to creating impactful and effective
visual communication an understanding
this principle go fully enable designers to craft compositions that are not
only aesthetically pleasing, but also clear, engaging
and purposeful. Mastering this principle is an interactive process that involves continuous learning
and experimentation. By paying close attention to how this principle
interact with the design and by studying example of both successful and
successful application, individuals can refine
their design skills and create more compelling and
effective visual messages.
3. Learn About Balance Design Principle : Balance is fundamental principle
in design that refers to the distribution of
visual weight within a composition to create
stability and structure. It's about how the weight of the design elements influenced by factor like size, color, texture, and space are offset against each other to achieve
a sense of equilibrium. As well, balanced
design feels complete, cohesive, and satisfying
to the viewer. There are several
types of balance that designers can employ to achieve
different visual effects. Symmetrical balance. Symmetrical balance, also
known as formal balance occurs when elements are mirrored on either side of central axis, creating a composition
that feels stable, organized, and often elegant. This mirroring
doesn't necessarily require identical elements, but can involve similar shapes. Colors, numbers, and scales, example of symmetrical balance
are prevalent in nature, such as the wings of a butterfly or the
petals of a flower, in design, logo like AirBnB, starbucks and channel often
utilize symmetrical balance. Interior design also
frequently employ symmetry, such as placing matching chairs on their sides
of a fireplace. While symmetry provide a sense of order and trustworthiness, it can sometimes lack guinea
mism if not implanted fully. Asymmetrical balance, asymmetrical balance
or informal balance, achieved equilibrium through
the strategic placement of element with an
equal visual weight. A large element on one
side may be balanced by several or small
elements on the other or by placing smaller elements
further from the center, asymmetrical balance often
creates a more dynamic, visually interesting
and contemporary feel. Example include a
website layout with a large image balanced by
text or a painting where a prominent object
on one side is counteracted by negative space or smaller details on the other, such as Van Gogh, the starry night, and
Hooks wave paint, achieving effective
asymmetrical balance require a good understanding
of visual weight to avoid design
feeling unstable. Radial balance. Radial
balance occur when all elements radiate
outwards from center point in a
circular manner. This type of balance naturally draw the eyes toward the center, making it easy to
maintain a focal point. Example can be found
in a nature like the petal of a flower or
a ripple in the water. Logos, such as the
bridge petroleum logo also utilize a radial balance. It can create a sense
of a movement and dynamism while
maintaining cohesion. Mosaic balance, also known as crystallographic balance
or all over balance. Achieves harmony through
an even distribution of various elements
across a composition in seemingly random way. Despite the apparent lack of a focal point or a strict order, the consistent distribution of visual weight quits balance. The abstract expressionist
painter Jacques Pollock often employed this type
of balance in his work. It can be used to create subtle background that enhance the impact of
foreground elements. Of balance design or discordant balance
intentionally breaks the rules of a balance to create a visually jarring or
uncomfortable effect. The goal is often to make the viewer stop and pay attention. This technique can be
used in typography or other design element to
emphasize or sense of attention. However, it should be used
cautiously as it can also lead to design that feel
unsettling or unprofessional, if not executed well. Good use of balance in design. Effective use of
galans is crucial for creating visual appealing
and organized design. It ensure that no signal area of the design feel
heavier than the other, resulting in harmonious
and stable composition, well balanced design, feel natural and
pleasing to the eye. Example of good balance can be seen in various forms of art and design where the eye flows smoothly from one
element to another, logos that are
symmetrically balanced, like we said before,
Starbucks or Channel feel stable
and trustworthy. Asymmetric balance in website
designs such as of those by Apple and Rabox can quit dynamic yet organized
user experience. Radial balance in logos like Bridge Petroleum draws attention to the central brand market. In art, both symmetrical
and asymmetrical balance contribute to the overall
aesthetic and emotional impact, as seen in the works of Leonardo Da Vinci and
Pete MandurienP use of balance in design. Poor balance in design can
lead to composition that feel disorganized, chaotic,
and unprofessional. Overloading one side
of the design with too many elements can create an even overwhelming feeling. A lack of a clear focal point or a fazed arrangement
of element without consideration for visual
weight can result in a sense of amblence
and visual discomfort. Design that lack
proper alignment and proportionally among
their elements often struggle with
overall visual appeal. Even distribution of
visual weight can make a design feel as
it might tip over. Ultimately, a lack of a
balance can distract from the intended message and create
a negative on experience. Best practice for using balance. To effectively use
balance in design, consider the following
best practice. Understanding visual
weight, recognize that different elements carry different visual weight
based on their size, color, texture, and position, darker colors, and larger objects generally
appear heavier. Create a focal point. A balanced composition
often benefit from a clear focal point
that ensure the design. Distribute element evenly symmetrical balance
for symmetrical design, ensure that visual weight is distributed equally on both
sides of the central axis. Counterbalance element
or asymmetric balance. In asymmetric balance design, balance heavier element with a lighter element or
strategic use of space. Use color strategically. Employ color to balance the
visual weight of elements, smaller areas of bright colors can balance larger
areas of muted tones. Consider shape and size. Use a variation in
shape and size to create visual and to rest
while maintaining balance. Pay attention to position. The placement of elements
significantly impact balance. Consider how elements
are positioned relative to each other and
the overall composition. Utilize texture and space. Texture can add visual weight
and negative space plays a crucial role in creating balance by providing
visual breathing room. Determine the intend field, decide whether you want a
formal and stable fiel, symmetrical or more dynamic and informal field
as symmetrical. Use grid and alignment. Employ grids and
alignment tools to help distribute element evenly
and maintain balance. You can also seek feedback. Ask others for their
opinion on the balance of your design as a visual
perception can be subjective. Now we're going to take a
look at example to show the best practice of the
balanced design principle. The balanced design principle in this type Betan sand mandla works primarily through
radial symmetry. Central focus, the mand has a very distinct
central point, often containing a deity, seed, syllable, or geometric form representing the essence
of the mandalla. All element radiate outwards
from the central point. Equal distribution, the various motif color and ometric pattern are arranged in a circular fashion
with a similar element repeated a regular interval
around the center. For instance, you can observe repeating patterns of
architecture element. Style is animal and floral
design distribution evenly in each quadrant. We can see also the
mirroring effect, while not a perfect mirror
image across a single axis, Gloral symmetry, there
is a strong sense of visual mirroring across multiple axis radiation
from the center. Each quadrant often
contain similar, though not identical
complexity and visual weight. We can see also
concentric layers. The mandala is constructed in concentric
circles or a layer, each often with its own
distinct pattern and symbolism. This layer contribute to the
overall balance by creating harmonious progression from
the inner sancton outward. Visual weight and
complexity are often distributed relatively
evenly across this layer. Why this art is a good example. First, clear visual
representation, the radial symmetry is
immediately apparent and form the fundamental
structure of the entire artwork. It's not a subtle
secondary element is the defining
characteristic of the design. It also has a strong
sense of equilibrium. The radial arranging
inherently creates a feeling of subtle
harmony and equilibrium. Your eye is not only down to the center and the balanced distribution of
the element around it, it reinforces the
sense of centredness. We can see also at the symbolic is the
context of the mandala. This balance is not just aesthetic but also
deeply symbolic. It represents cosmic harmony, wholeness, and the
interconnectedness of the universe. The balanced design adds
meditation and contemplation, fostering sense of
the inner peace and equilibrium in the viewer. The Tibetan sound mandela exemplify the balanced
design principle through its strong radial symmetry where element are distributed equally
around the central point, creating visually harmonious and symbolically
significant composition. Another example we can
see here in one of the famous art by Salvador Dali, the persistent of memory, often referred to
as melting clocks, work through a more
symmetrical approach, creating a sense of unease and surrealism rather than
traditionally stability. However, balance is still achieved in less
conventional way through the distribution of visual
weight and into rest across the canvas.
Dominant left side. The left side of the painting
is visually heavier, featured the solid
angular block, often interrupted as a table or structure with two
permanent melting clucks, drop it over it and a dead tree like structure
extending upwards. The darker tones and more defined forms on the
side drowy viewers eyes. Counterbalancing right side. The right side of
the canvas feature a more open and sulate landscape with a lighter color palette. The melton lack grabbed
over the amorphous, slipping like a figure, often interrupted
as a self portrait, act as a crucial count weight to the activity on the left, the distance brighter
landscape also provide a visual balance by offering a contrasting area of interest. We can see also the focal
point and the visual weight. The melting clocks are the
primary focal point and their placement is key to the balance are
counterbalanced and single, albeit sranly position,
clock on the right. The solid form on the left provides significant
visual weight, which is offset by the larger more open space and the intergen form of the
sleeping figre on the right, use of the line and the form. The strong vertical
and diagonal lines on the left, the block, and the tree are contrasted by the more fluid and organic
lines of the melting clocks, and the amorphous
figor on the right, this contrast contribute to a dynamic yet
balanced composition. Why this is a good
asymmetrical balance. Intentional imbalance
for surreal effect, the deliberate lack of a
perfect symmetry contributes significantly to the dream like and unsulting atmosphere
of the painting. It mirrors the irrationality and fluidity of
the subconscious, a key theme in serialism. It creates also visual
and rest and tension. The symmetrical
arrangement prevent the composition from feeling
statetic or predictable. It creates a visual tension that draws the viewer eyes
around the canvas, prompting exploration of the
strange and expected mirror the irrationality and
fluidity of the subconscious. Create a visual tension that draws the viewers eyes
around the canvas, prompting exploration of the strange and
expected elements. Guiding the viewers eyes by the placement of
the melting clocks and the contrasting areas of visual weight guide the
viewers gaze across the scene, encouraging a comparison between
the solid and the fluid, the time bot and the timeless. The resisting of
memory demonstrate a symmetrical
balance effectively while not traditionally
balanced. The distribution of visual
weight, focal point, and contrasting element
across the canvas, create a compelling and
thought provoking composition. This deliberate
imbalance is crucial to the paint and surreal
and symbolic nature, making it an excellent
example of how balance can be achieved in unconventional way to serve the artistic intent. Another example here in
Sandra Bocellis the births of Venus operate through
a combination of symmetrical and
asymmetrical elements. Grethmonious a
dynamic composition. Central symmetry, the
central figure of a venous stand in relatively
symmetrical pose. Her body is aligned vertically, and while her arms and her
hair create some symmetry, her overall stands provide a strong central axis
of visual balance. The large se shell
beneath her also contribute to the central focus and
symmetrical grounding. A symmetrical control weight, the figor flanking venous on either side, create
symmetrical balance. To the left, the furs, the west wind and Cloris and nymth are enter wind blowing
Venous toward the shore. Their dynamic
overlapping forms and the Blon appery cutscens of a movement and visual weight on the left side of
the composition. To the right, ahora goddess of the season and
usually spring, stand ready to clothe Venus, her more strategic pose, the vertical lines
of her figure, and the flown fabric, she hold out quite
different kind of visual weight
on the right side. And throw visual into rest. Although the left side appears
more active and dynamic, the right side holds its
own visual interest, through the intricate details
of the horrors dress, the flow in fabric and
her sense expression. This prevented the
composition from feeling too heavily
weighted on one side. Use of line and shape, the following line
of vinous hair, the curves of sechllblen
rappery on the left, and the gentler curves of
the garment on the right, contribute to an
overall sense of visual harmony and balance, despite the asymmetry of
the flanking figures. Color and tone. The
distribution of color and tones also play
a role in the balance. The lighter tones
of a venous and the Casell are contrasted by the richer colors
of the figure, and ropery on either side, the background landscape with its horizontal lines
of the sea and sky provide a stable backdrop that further enhance the
sense of overall balance. The birth of venus is compelling example of
balance achieved through a carefully interplay of symmetrical and
asymmetrical elements. The central relatively symmetrical
figure of the venus is counterbalanced by the dynamically posed
figures on the left. And the more statitic yet visually engaging
figure on the right. This create a harmonious and visually
interesting composition that serves both the
aesthetic beauty and the narrative
of the painting. In this famous logo example
of McDonald's I'm loving it, logo works through combinations of asymmetrical and
implied balance, creating a visual stable and
recognizable brand mark. Asymmetrical placement, the most permanent
element, the golden arcs. M is positioned significantly to the left of the tag
line. I'm loving it. This immediately indicate an
asymmetrical arrangement. Balance and throw visual weight. Despite the
asymmetrical placement, the logo achieves
balance through the visual weight and
characteristic of its element. The M, the large bold
and iconic golden x carry significant visual
weight due to their size. Distinctive shape and bright
color yellow against red. The tag line, while
smaller and in black, is strategically placed
to the right of the M. It's horizontal
arrangement and the use of the text create visual
counterweight to the vertically and
boldness of the M. The length of the tag line also contribute to this balance. The strong contrast between the yellow and the
red background, and the tag line against
the red helps to define each element and contribute to the
overall visual balance. The brightness of the yellow draw immediate
attention to the M, while the black text
provide a solid anchor. The ample red negative
space surrounding both the M and the tagline is crucial
for the logo balance. It prevents the individual
element from feeling crowded and allow each to have its own visual
breathing route, contributing to overall
harmonious composition. Macdonald lovent its
logo effectively utilize asymmetrical balance by
strategically positioning the visual dominant to
the left of the tagline. The taglines length
horizontal orientation and the implied baseline provide the necessary visual
counterweight to decrettable. Recognizable and
impactful brand mark, the truthful use of a
color and negative space further enhance this balance. And we can see a different kind of balance in a different
kind of example. Find out each image what
kind of a balance it has. Try to understand it yourself so you can practice what you
learn about the balance. You can see also how the
balance work in this poster of the green nun and how it operated through the
combination of the balance. Try to figure out yourself what kind of a balance
this image has. More balanced art designs and posters to figure out how the balance work in
all of these images. Write example to find out how the balance work in the image of the Moniza and also in the
poster of Charlotte Horns, and most importantly,
how it works in this famous artwork by Leonardo Da Vinci,
the Last Supper. Now we're going to talk about
another design principle.
4. Learn About Contrast Design Principle: Contrast a fundamental
principle in design involve the strategic use of visually different elements
within a composition. Tse techniques goes beyond
simply capturing attention. It serves to guide the viewers
eyes to a focal point, emphasize important
information, and introduce variety and
even drama to design. By highlighting
dissimilarity between design elements such as color, text, image, and layout. Contrast help establish
visual hierarchy and clarity. Contrast can be
defined as arrangement of opposite element to
create visual interest, excitement and drama
within a piece. It's about making
elements stand out by showcasing noticeable
differences between them. These differences can
manifest in various way, including color, like
juxtaposing different hues, Vallow lightness or darkness, intensity, saturation, or
temperature of warm or cool. And also size, vary on
the scale of elements, such as a large versus a
small text or a graphic. Can be also by shape, combining in different
forms like geometric versus organic shapes or shapes
versus rounded edges. Also placing rough texture
next to a smooth ones. Can be also by typography
using different phone styles, weight, bold or light, size or parent, sheriff
and son Sheriff. Alignment can also contrast through the placement
of elements, such as left align
a text next to a centered image and can
also be used by space, utilizing positive
and negative space to make certain elements
more permanent. Effective contrast is significant
in graphic design as it determines whether
a viewer will be drawn and to investigate
further or move on. Good use of contrast in design. Effective use of
contrast is essential for creating impactful
and organized designs. It helps to establish a clear focal point
in visual hierarchy, guiding the viewer through the information in
logical manner. Creating in faces
contrast help to draw the viewer's eye to the most important elements
such as headlines, call to action or
key information. This can be achieved by
making this element larger, bolder or using contrasting
color, Improving readability. Strong contrast between text and background colors is
crucial for legibility, especially for users
with visual impairments. Black text on a white
background offer the highest contrast,
organizing information. Contrast can help to visually separate different
sections of content, making it easier for viewer to scan and understand
the information. Using different
font size and wait for heading and body texts
create a clear hierarchy. Adding visual interest. Strategic use of contrast
in color, shape, and texture can make a design
more dynamic and engaging, preventing it from appearing monotonous, establishing
brand identity. Contrast can be
used to reinforce brand personality and
making it more memorable. Poor use of contrast in design. Conversely, poor use of contrast can lead to design that
are difficult to read, confusing or overwhelming,
like insufficient contrast, low contrast between
text and background can make text difficult or
impossible to read, especially for individuals with low vision or color blindness. Overwhelming contrast, too
much contrast or the use of clashing colors can be visually jarring and unpleasant, leading to eye strain
and making it hard to focus. Lack of hierarchy. If all elements have the
same level of contrast, nothing will stand out, making it unclear what the
viewer should focus on, and consistent contrast
and consistent use of contrast across a
design can make it feel disorganized
and unprofessional. Ignoring accessibility. Failing to consider color contrast accessibility guideline can exclude a significant
portion of the audience. Best practice for using contrast to effectively implement
contrast in your design, consider this best practice. Prioritize readability, ensure sufficient
contrast between text and background to make content easily
legible for all user. Use contrast checking tool
to verify accessibility. Establish visual hierarchy,
use contrast in size, color and weight to
clearly indicate the importance of
different elements and guide the viewers eyes. Use color strategically,
understand the color wheel and color theory to create harmonious yet contrasting
color palette. Complementary colors
offer high contrast, but use them thoughtfully to avoid overwhelming the design. Very size and scale. Use significant
difference in the size of element to create in faces
and visual interest. Experiment with shape and texture, combine
different shapes, geometric and organic and texture smooth and rough to
add depth and visual appeal. Create white space.
Use negative space to create contrast and allow
key element to stand out, given the design
room to breathe. Limit phone choices. Stick to one or two
contrasting typeface to maintain clarity and
avoid visual clutter. Use variation in
weight and style within the same typeface
for septic contrast. Consider the context. The appropriate level
and type of contrast may vary depending on the design
purpose and target audience. By understanding and applying the principle of
contrast, effectively, designers can create visually compelling and
communicative design that capture attention and
guide the viewers experience. Now we're going to take
a look about some of the example of great
use of the contrast. The contrast design
principle in this image, Carvadhow the calling
of St. Matthew. Its work extremely effectively through the dramatic use of chiara Sukuro the intense contrast between
light and shadows. This technique is the most
dominant aspect of contrast in the painting and serve
several crucial purpose. Extreme light and shadow. The most striking element
is the sharp division between intensely
illuminated area and deep. Enveloping darkness, a strong raking light source and seen but implied to be
coming from the upper right, dramatically highlight
specific figure and part of the seed, while the rest remain
shrouded in the shadow. Focal point creation. The bright light is
strategically used to eliminate the key figure
and action to the seed. In the calling of
the St. Matthew, the light typically falls on Christos stretched
hand and Matthew, who is often despite pointing to himself in a surprise
or counting coins. The star contrasts immediately
draw the viewer's eye to this crucial element of the
narrative. Modeling and form. The strong contrast between
light and shadow creates powerful sense of
three dimensionally and volume and the
figure and the object. The highlight define the
contours and the surface, while the deep shadow sculpt the form and
give them the weight. Dramatic tension and
mood, the high contrast, evoke a sense of drama, mystery, and even the miracles, the sudden appearance of
light in the darkness, can be interrreted as divine intervention or a moment
of a profound revelation. The shadow create an
atmosphere of secrecy and the everyday world from which is divine breaks in
operation of the figure, the use of the light
and the shadow helps to separate the figures within
the crowded composition, making it easier
for the viewer to distinguish them and understand
their roles in the scene. The illuminated figures
stand out against the darker background and
surrounding individuals. The image, the calling
of St. Matthew is an exceptional example of contrast design
principle at work. The dramatic use of Chiao Scio, the intense interplay
of the light and shadow creates
a focal point, models forms, building
dramatic tension, separate figure, and emphasizes key gestures and expression. All serving to powerful convey the narrative and
the mood of the scene. Another example is the poster
of the movie polder gaste. Is powerful employed
to create sense of enemies, mystery and focus. Is primary work through the dark juxtaposition
of light and dark, as well as the contrast in size and detail. Light against dark. The most dominant
aspect of contrast is the bright light
emanating forum, the television screen against the overwhelming darkness of
the surrounding environment. The high contrast
immediately draw the viewer's eye to the television and the
figure interacting with it. The darkness creates sends of annoying fear and
isolation while the light source
become a point of intense interest and
potential danger. Figure and light
surrounded by dark. The small figure of the child is partially illuminated by
the televisions glow, making her stand out
against the deep shadows. This contrast in light emphasize her vulnerability and isolation within the potentially
threatening darkness. Her bright hands pressed
against the screen are a key focal point due
to this stark contrast. This poster also has
another kind of contrast, which is the size contrast and the detailed contrast
and the text contrast. And the size contrast the relatively small
size of the child, compared to the large dark space surrounding her creates
a contrast in scale. This emphasizes her helplessness
and overwhelming nature of the NC and forces at play. And the detailed
contrast here is the television screen and the child form have
a degree of detail, even if somehow
obscured by the glow, while the surrounding darkness
lacks distinct feature, this contrast in
details further directs the viewers attention to the center action and
subject of the poster. In the text contrast,
the bright white title, Poltergast and the
tag line below stand out sharply against
the black background at the bottom of the poster. This high contrast ensure
that the movie title and key message are easily
legible and impactful. In general, the
Poltergaze poster masterfully uses the
principle of contrast, through the stark juxtaposition
of light and dark, the size difference between the figure and the environment, and the contrast in detail and text against the background. This effective use of contrast create visual compelling
and settling image that effectively communicate
the horror genre and the central
theme of the movie. Another example you
can see here in the work of Andy Warhol,
is number three, color contrast is the most immediate and
impactful contrast is the use of vibrant
saturated colors placed next to each other. The red background vis black hair, intense
red background, create a strong contrast with the solid black of
Lis Tyler's hair, making her silhouette
pop dramatically. Tell I shadow, the
bright tell A shadows stand out vividly against
the more muted pinkish. Of her skin and the deep
magneta of her lips. This unexpected
color combination create a jarring and yet
visually arresting effect. The bold magneta
of her lips also contrasts sharply with
the lighter skin tones, drawing attention to her mouth, and the bright background and
makeup colors contrast with the deep black of her hair and the areas of
shadow on her face, defining her features
and adding depth. The flowing curves
of her hair and facial feature are rendered
with a relatively sharp, define edges creating
a contrast between the organic subject and the
stylist representation. This number three is an
excellent example of the effective use of
contrast through bold color, juxtaposition, strong value, different simplified shapes,
and implied texture. This contrasting element
work together to create a visually striking
iconic portrait that is characteristic of
the pop art movement. Here more examples. I want you to try to find out how contrast work
in each of them. Try to example this
poster into the fold. Try to understand how the contrast work in this
poster into the fault. What draw your eyes to? What is the value contrast, What are the size and
scale of the contrast. You can see this poster also from two colors,
the Daxi drive, why the color contrast
work very well here, and what makes its simplicity very appealing
with the contrast. You can see more
example here for the good use of contrast,
like in this art, try to practice
yourself again how the contrast work in
all of these images, and you will know
how to use unpacked fully in your designs. And that will make your design stand out and more appealing.
5. Learn About Emphasis Design Principle : Visual communication
rely on a set of fundamental design
principles that serve as guidelines for creating composition
that are not only aesthetically pleasing but also effective in
conveying a message. Among these principles, in
faces play a crucial role. Ifaces in its essence
is the principle that highlights specific parts of the visual composition
to make them stand out. It's about creating
a focal point that immediately draw
the viewers attention, ensuring that the most
important elements are noticed before
anything else. This principle is fundamental in establishing a clear visual
hierarchy within a design. By strategically making
certain elements more permanent than others, Impaces guides the
viewers eyes and facilitate and understand
of the intended message. At its core, emphasis
in visual design, an art refers to the
creation of a center of interest or a focal point that attract the
viewers attention. It involves using various
visual element to make certain parts of an artwork or design more
permanent than others. The primary purpose of efaces is to guide the viewers
either through composition, ensuring they first notice
the elements that are most important to overall
message or artistic intent. While a composition might not contain several
areas of interest, effective efaces
typically establish a dominant focal
point that serve as the main subjects or a
key piece of information. This does not preclude
the existence of secondary areas of efaces that support the
main focal point, creating a visual hierarchy
that lead the viewer through the artwork
and deliberate manner. Complementary to the concept of emphasis is subordination, a technique where less
important element in composition are
intentionally de emphasized. By reducing the weight of
this subordinate element, the focal point is allowed to
stand out more distinctly, ensuring that the
viewers attention remain direct toward
the intended area. The degree of a
visual difference or contrast between the
focal point and its surrounding directly influences the strength
of the emphass. A significant contrast
in color size, sharp or a texture will create a strong focal point immediately capturing
the viewer's gaze. The primary purpose of
emphasis in both art and design is to direct
the viewer attention, as we said before, to the most scriptural aspect
of the visual work. By creating a focal point, emphasis ensure that
the key information or the remain subject
of the artwork is immediately apparent
to the audience. This is fundamental
in establishing a clear visual hierarchy
within composition. Emphass help to organize the element in a
way that indicate the relative importance guiding the viewer from the
most significant to the less significant
part of the design. Consequently emphasis
plays a vital role is effectively communicating
the intended message or narrative of the
design or artwork. When the focal point clearly
convey the core idea, the viewer is more likely to understand and engage with
the visual communication. A well placed a
vocal point can also significantly enhance the viewer's engagement
with the visual work, creating interest, and drawing
them into the composition. In marketing and web design, Ipsize became
particularly crucial for guiding user toward the desired actions
by making call to action button or keep promotional information
visually permanent. Designer can increase
the likehood of user interaction
and conversion. Furthermore, the strategic
use of emphass can evoke specific emotion or create a desired atmosphere with
in the visual composition. For instance, bold color and central placement might
convey a sense of urgency, while a more subtle emphasis
through isolation and negative space could create a feeling of cones
or contempllation. Various techniques
can be employed to create efaces in
visual design and art, each with its unique way of attracting the
viewers attention, one of the most
straight word methods is manipulating size and scale, making a particular element significantly larger
than its surrounding. Counterparts instantly
establish it as focal point. Conversely, a very
small element emit its large ones can also create efaces through
contrast in scale. Color and contrast are powerful tools for
quitting in faces, using bright colors against
a muted background. Employing contrasting
hues, isolating a single color within a
monochromatic scheme. Or even the absence of color is a specific area can
effectively draw the eye. The placement and position
of an element within a composition also significantly
impact its emphass. Element to place it in
the center of the frame, not only attract attention, while those
positioned off center can create more dynamic emphass. Isolation and negative space involve separation an element from other element in
the composition or surrounding it with a significant
amount of empty space. This isolation make the element stand out and become
the focal point. Creating also a strong
contrast in texture and shape is another
effective technique. Juxtaposing smooth
and rough texture or placing a unique
shape among a series of similar shapes will
draw the viewers eyes to the element
that is different. You can use line and direction, particularly through the use
of a leading lines can guide the viewers gaze toward a
specific point of emphasis. Introduction unusual
or unexpected element into composition can also
create strong point of emphasis by distributing
the viewer expectation vary on the level of details
and focus with a sharp, clear area in otherwise
loose composition can also act as a focal point. And finally, breaking
a repetition and a rhythm within
a design can draw attention to the element that deviate from the
established pattern. Good use of accretin
emphass size and scale, making an elementificantly
larger or smaller. Large headline, tiny
figure in a landscape. Color and contrast using bright contrasting
isulated or absent colors, red button on a
neural background, single colored object
in a gray scale. Placement and position,
place an element in a central of center
or isolated location. Central image of
center text a block. Iulation and negative space, separating an element
or surrounding it with empty space like single
object on a blank page, text frame by white space. Contrast in a text and shape, juxtaposing different texture
or using unusual shape, rough texture against a smooth, circle in a group of squares, unusual unexpected elements. Introducing novelty or
bricking established pattern, asymmetrical element in asymmetrical design
and expected color. Effective application of faces, and faces serve as
a powerful tool for creating visual path
within a composition, directing the viewers eyes
in specific sequences by strategically placing and manipulating
elements of I faces. Designer can control
the order in which the audience perceive
different parts of the work. In graphic design and faces is crucial for highlighting
key information. Headlines are often made larger and bolder to
immediately grab attention, while calls to action may use contrasting color and
permanent placement to encourage user interaction. Important data or statistic
can be emphasized through the use of distinctive
typography or isolation within the layout. In art, emphasize is
fundamental for establishing focal point that guided
the viewers gaze to the main subject
or area of interest. Artists may use a
variety of technique, such as contrasting colors, dramatic lighting,
or central placement to ensure the viewers
attention is drawn, what they deem most important. And web design and faces play a critical role in shape
and user experience. By highlighting
navigation menus, key content sections
and calls to action. Designer can improve
website usability and guide user to word
desired conversation. For instance, a permanent button with a contrasting color and a clear label will effectively draw the user attention to
the next step in the process. Effective efaces not only draw attention but
also facilitate understanding by creating
a clear visual narrative and hierarchy of information. The application of efaces
can vary significantly across different art
movement and design styles, reflecting diverse artistic intention and
communication goals. Avoiding visual clutter. While emphasize is
powerful design principle, its misuse can lead to visual clutter and a
breakdown in communication. One common mistake is
overusing in faces. When too many element
emphasize it equally, nothing truly stands out, result in a busy and
confusing composition. This lack of a clear
focal point can overwhelm the viewer and dilute
the intended message. Another pitfall is emphasizing
the wrong element. Drawn attention to unimportant
or irrelevant parts of the design or artwork can distract the viewer from the
key message or a subject. Composition that
suffer from a lack of a clear focal point often
feel scattered and aimless. Without a definite area emphass, the viewer's eye may wander
without a sense of direction, making it difficult
to understand the artist or the
designer's intent. And consistent efaces throughout the design can also
be problematic. Having a competing
focal points with equal efaces can prevent the viewer from knowing where
to focus their attention. On multiple elements,
V for dominance, the intended hierarchy is lost, and the overall impact of
the composition is weakened. An effective use of efaces
often stems from the lack of a clear communication goals or a failure to prioritize
information within the design. Or the artwork. When
Equitor is unsure about the primary message or what element are
most important, they are more likely
to overuse in faces. Even works by learned artist can suffer from poor
composition due to effective efaces
demonstrated that mastery of design principle requires constant attention and
critical evaluation. Best practice for applying
the principle of efaces. Applying the principle of
efaces effectively require careful consideration
of the design context and the intended message. In graphic design, best practice include establishing a
clear visual hierarchy with a dominant focal point using contrast in color
size and typography to highlight key
information such as headline and calls to
action is essential. Employing white space
strategically to isolate sized important elements can also improve clarity. In web design, inf Ss
should be used to guide user throughout the interface
and toward desired actions. Key navigation elements, call to action and important
content should be visually permanent through the use of contrasting colors. Large font size and
strategic placement, maintain consistency
in in faces, through the website
helps users understand the visual hierarchy and
navigate more effectively. For art composition, best
practice involve in defining the main subject or idea and
use technique like contrast, placement and isolation
to draw the viewers eyes. Artists should aim for a clear focal point
while also considering secondary areas of interest to create a balance and
engaging composition. Across all design context, some general guidelines apply. It's crucial to prioritize information and use emphass
intentionally and sparingly. Not every element
should be em faces. Doing so will diminish the
impact of all the composition. Numerous example in
graphic design and art demonstrate the effective
use of emphasis. In graphic design, a
classic example is a poster where the
headline is significantly large and use a
contrasting color to immediately convey
the main message. Website often employ faces by making a calling
to Action button. Stand out through color
size and placement. Guiding user toward conversions. Logos frequently use a
unique shape or a color to create a memorable
focal point that represent the brand. Let's take a look about the
good use of emphasis in art. In this painting by Claude
Monet and Precien Sunrise, the emphasis is primarily
achieved through the use of color contrast and the placement of the
most vibrant element. Color contrast, the
most striking element that draw the viewer's eye, is the height is
the bright orange, red sun compared to the
predominantly muted blues, grays, and purples of
the surrounding water, sky and industrial elements. The suns and tense hue
tends out dramatically. The strong color contrast immediately establish
its focal point. Placement. The sun is
positioned slightly off center, which is often more visually engaging than perfectly
centered element. It is a placement near
the horizon line, reflecting intensely on
the water surface in a vertical strike of a warm color further
emphasize its presence. This reflection acts as a visual anchor leading the eye back to the
source of light, brush stroke and texture. While the entire painting employ loose visible brush stroke characteristics
of impressionism, the area around the sun
and surfecting may have slightly more concentrated
or distinct strokes. Further highlighting this area throughout subtle
textural variations. Light source, the painting
depicates a sunrise, making the sun the natural
analogic source of light. Our eyes are naturally drowned to the light
source within a seam. Now, despite the
overall atmospheric and somewhat hazy
quality of the painting, the bright sun is undeniably the element that first capture and hold the viewers attention. Effective use of contrast. The contrast in
color is primarily to used to emphasize
demonstrating how small area of
intense color can dominate in composition
of more subted tones. Impression Sunrise
effectively use the principle of emphasized by employing a
strong contrast in a color to make the rising sun the dominant focal point
is strategic placement and the natural human tendency to notice light
further reinforce these empaces creating a powerful visual
impression of the down. Here another example in the
artwork by Camille Pizarro, the Bolivar Muma at night. The emphasise here is skillfully created through a combination of light and color contrast, along with density of detail. Light and color contrast. The most permanent area of
faces are brightly lit, storefront and street
lights that punctuate the predominantly dark blue and purple hues of
the night scene. The warm yellow, orange, and whites of the
illuminated area stand out sharply
against the color. Darker surroundings this
contrast in both value. Lightness, darkness,
and the color immediately draw the viewers
eyes to this point of light. Density of details. The area where the light sources are concentrated also tend to have a greater density of visible brush stroke
and implied details. The reflection of the
light on the wet boulevard further contribute to
this visual activity. Making this area feel more
dynamic and important than the more broadly painted
and less detailed area of the building
and the night sky. Repetition of light. The repeated pattern of bright lights along the
bolvar create a rhythm that guide the eye
and emphasizes the bus lane nature of
the nighttime scene. Each individual light
source contribute to the overall emphasis on the illuminated part
of the cityscape. Clear focal points here, despite the overall
impressionistic and somewhat hazy depictions, the bright lights
clearly stand out as point of interest guiding the viewer's gaze
throughout the scene. Also, the effective
use of contrast, the dramatic contrast
between the word light and the cool darkness is the primary tool for
creating empaces, showcasing how light can define key area in nocturnal setting. The way light is
emphasized contributes significantly to
the overall mood and atmosphere of the painting. The boulevard martyr
at night effectively used the principle of emphasize by
contrasting the bright, warm lights with the cool
darkness of the night. Concentrating details
around these light sources and utilizing the perspective of the boulevard to guide
the viewer's eye. This creates a compelling
visual experience that captures the demonism of
the night times cityscape. Another example by Joanne
WermerGirl with a pearl earing. Emphasis is masterfully achieved through several interconnected
design principle. Most notably, contrast
and isolation. Contrast of light and
dark value contrast. The girl face and the
luminous pearl earing are brightly illuminated against a deep, almost black background. This dramatic contrast in value immediately draw the viewers
eyes to the lighter areas, making the face and
earing the focal point, the darkness of the
background serves to isolate the subject pushing
her forward visually. The color contrast, while the overall palette
is relatively muted, the subtle colors
of the girl's skin, the blue and yellow
of her turban, and the white of
her colors stand out against the
monochrome background. The soft glow of the
pearl also contrast with the darker tones of her
clothing and the background. Isolation. The girl is
the sole subject of the painting set against a
vast and defined darkness. This isolation
inherently emphasize her presence and every
detail associated with her, particularly the striking Pearl. And the pearl urn
is strategic place near the center of
interest, the girl face, specifically near her eye, which also a natural point of a focus when looking
at the portrait. Is proximity reinforce
the urine importance. In conclusion, girl with pearl earrings is an
excellent example of how the faces design principle
primarily through the effective use of
light and dark contrast, and the isolation of a subject can create compelling
and iconic image where the central figure and a single striking detail command the viewers complete attention. Here more example,
you can see and figure out how the in faces
work in each of them. Like example, in this art of Carvagio Judith
BhadenHloFerns. The infaciz is very
powerful achieved through masterful use
of dramatic lighting. Try to figure out all kind of in faces used in this image. You have another artwork, you can also take a look and practice your vision
about emphasis. Emphasis is a fundamental
design principle that play a critical role
in visual communication. It involves creating
a focal point within composition to guide
the viewers attention, establish visual hierarchy, and effectively communicate
the intended message. Try to understand more
about it by practicing the images I gave you or seeing another
images on the web. Then try to apply
on your own work.
6. Learn About Scale Design Principle: The scale design principle refer to the relative
size of the element within the composition
in relation to each other and the
overall layout. It is fundamental concept
in graphic design and art. It uses it to create
a visual hierarchy, emphasize focal point and
establish proportion that enhance the both
aesthetic appeal and readability of the design. Define scale as
the relative size of the design element
compared to another, emphasizing its role in guiding viewers focus and
creating visual journey. Skill help make
designs clear and engaging by making
important things bigger. For example, on a poster, a big title grabs
attention first. While smaller text
explain details. It can also show
depth like making a character larger than the
background to seem closer. In art, scaling if
you go larger can show its import like in
Ancient Egyptian art, where fern were depicted
larger than others. The scale design principle
is a firsttile tool in a graphic design art for
creating visual hierarchy, emphasizing focal point and conveying meaning
when used well. You always try to avoid if
everything is the same size, it's hard to know
what's important. Like a flyer with
no big headline, making things too big or too small without reason
can look messy. Like website with a tiny
logo next to huge text. Ignoring scale can make design feel balanced
or confusing. To use well, the scale
design principle. Clean which element should be big to show importance and make sure sizes fit together nicely like keeping text and
image in proportion. Test your design on
a different screen. You sure, it looks good. Use a scale to
highlight key parts, but don't overdo it to
keep the design balance. Let's analyze some posters to understand more about scale. In this poster by
Joseph Mueller Brockman for Automobile Claub D Suisse, the scale design principle
is employed with a dramatic effect to convey a powerful message
about choice safety. The effectiveness of the poster relies heavily on
extreme contrast in size between the looming
motorcycles wheel and the small figure
of the child. The motorcycle wheel
is depicted as enormous dominating the
majority of the frame. Is size is significantly larger than it would
be in a reality. Then it would be in reality
compared to a child. This is exaggeration,
create a sense of overwhelming power,
danger, and imminence. In stark contrast at the child is rendered
as a very small, appearing vulnerable and door
filed by the massive wheel. This contrast in
scale immediately communicate a sense
of threat and danger. Highlighting the
potential consequences if precaution are not taken. The perspective of the
image looking up to the massive wheel and down
to the small child further enhance the difference
in scale and reinforce the feeling of the child being in a
precarious situation. On general, this
poster brilliantly utilized the scale
design principle by contrasting the overwhelming
large motorcycle wheel with a tiny figure of the child. This dramatic
difference in the size effectively communicate
the vulnerability of the child in the traffic and underscore the urgent
need to protection, making it an
excellent example for the power of the scale and
the visual communication. Another example of a scale also by Joseph Muller Brockman, given the style and the subject
mirror or traffic safety, the scale conveyed the same
message in the previous post. Now, this is just
a little example of how scale work
in art and design, and hope you understand
it better now. Now, it's all about you to
practice it with your artwork.
7. Learn About Movement Design Principle: The movement design principle
refer to the technique of a guideline the viewers
eyes, through composition, creating a path or a flow that leads from one part of
the design to another, often toward a focal point
or a call to action. This principle is crucial in graphic design art,
and user interface, where it can be achieved through the arrangement of elements
like lines, shapes, colors, and forms, or through actual animation in
digital context. Movement is about
directing attention to predetermined paths
starting from focal points which align with the viewers natural
scanning behavior. Movement adds
dynamism and life to sttic images and can
elocate emotional response, pushing viewers towards
specific actions such as clicking a call to actions
button in a web design. This principle is one of
several including in faces, balance, contrast,
and repetition and so on, and white space. Their role all the same is creating effective and
interactive compositions. Effective use of movement
involves several strategic to enhance the design
purpose and user engagement. Guiding the viewers eyes, movement should
create a logic path leading from one
element to another, often starting at focal point. Line and shapes
and forms such as diagonal line inherently
suggest movement, guiding the eye, through
the composition, supporting the visual hierarchy. Movement should enhance
the design hierarchy, emphasizing important elements. Focal point can guide
viewer through the design, ensuring that notice
key information first. This is particularly effective web design where movement can lead user from headers to main content to call
to action buttons. Creating flow and narrative. Movement can create a sense
of narrative or flow, making the design feel dynamic. Anticipated movement
with the subject in emit action pose, such as a denser, leaping suggests imminent action engaging the viewer emotionally. In motion design for digital design, movement
involving time, spacing and easing to
create a natural animation, emphasizing that proper timing enhancing impact and easing. Ensuring smooth
transition, making animation feel
epic or confident, especially when synchronized
with audio rhythm. Bad use of movement. Conversely, poor
use of movement can detract from the design effectiveness and
user experience. Pitfalls to avoid
overuse of a movement. Too many moving
elements can overwhelm the viewer causing
distraction for intents. A website with queues of
animation may confuse users, making it hard to focus on
a content. Ilogical path. Movement that doesn't guide the eye logically can
lead to confusion. If line or shapes
direct attention, hafazorly viewer may struggle to understand the
design message. She stressed the importance of predetermined path,
distributive animation. In motion design, jerky
or unnatural animation can distribute the
user experience. The lack of easing can make
animation feels jointed, affecting perceived
naturalism, Ignorant movement. Failing to incorporate
movement can result in statetic
and engaging design. Without movement, design
may lack dynamism, potentially reducing
viewer interest. An example of bad use might be poster with too many
competing animations, where the viewer eye jump between element
with a clear focus, leading to modulate composition. Best practice of a movement, planning visual hierarchy,
ensure movement aligned with a design hierarchy
emphasizing key element. Using movement sparingly. Avoid clutter by using
movement intentionally, and advising against
combining too many elements, which can result
in mod design and suggest focusing and
purposeful movement. Following motion design
principle in digital context, use time spacing and easing
for smooth animation. Control rates of changes, enhancing neutralism
and continuity. Asymmetrical balance
with the movement. The Nick logo used a swoosh
that suggests movement, creating asymmetrical balance
by the uneven distribution. The design feels stable
and dynamic balance and simplicity with energy. Guiding the eye for
balance the movement. The movement design principle is powerful tool
in graphic design, enhancing flow, focus and
engagement when used well. It should be applied
with intention, aligning with the
visual hierarchy and tested for effectiveness. Poor use such as overuse or logical path can
detract from the design. Best practice include
planning testing and use motion design principle like easing example like
the Nike logo, and Hokusai works demonstrate how movement
contributes to balance, ensuring stability and
harmony in compositions. Now let's look at some of the examples for good
use of the movement. The principle of movement
used in this poster, implied motion of the hair. The shaggy texture hair is despite with the numerous
individual strength, radiation, outward,
and downwards. The variant length,
slight curves, and the way some strength
overlaps suggests a natural somewhat told
quality that imply movement, as in the head has just been
shaken or it's in motion. The yellow highlights within the brown hair further
accentuate the sense of dynamic, texture and direction.
Directional text. The band's name Royal Trax is permanently displayed
with the sunglasses, the slightly curved nature of the text as the follow
the shape of the lenses, and a subtle sense of a visual flow,
overlapping elements. The way the hair overlap, the sunglasses and the forehead, create a sense of depth and layering which
can contribute to feeling of visual activity and prevent the image
from appearing flat. Contrast and visual rhythm. The contrast between the dark
hair and the lighter skin, as well as the
different color used Kuti visual rhythm that can lead the eye around
the composition, applying movement from
one element to the next. The movement design principle in this royal tracks poster is effectively achieved through the implied motion
of the shaggy hair, the slightly curved text
within the sunglasses, the overlapping elements, and the overall direction and
flow of the visual element. This technique combined
to give the image a sense of energy and guide the viewers eyes through the composition. Another example
from Royal stintin in the car movement
design principle is primarily conveyed
through implied motion in the directional line that suggests speed and
the passage of time. Applied motion of the car. Although the figure are static, the context of being in the car inherently
suggests movement. We understand that the car is a vehicle designed
for transportation, so the scene, implies travel. Horizontal lines suggesting
passing scenery. The most permanent element conveying movement
is the series of parallel horizontal
lines visible through the car window
behind the woman. This line are a visual shorthand for blurred scenery seen
from a moving vehicle, our brain interrupt the streaks as the result of object
passing quickly. The directional
look of the figure. The woman is looking
intentily to her left, seemingly focused or
something outside the car. The man is glancing
slightly to his right. His expression somewhat tense. Their directed gaze
imply that they are moving through our space and
reacting to what they see. Overlapping elements. The layering of the
figure, the car frame, and the implied scenery creates a scene of
a depth and further reinforces the idea
of being within a moving vehicle and
observing the surrounded. In the car effectively use the movement design principle through the implied
motion of the setting, the visual shorthand of a
horizontal line representing passing scenery and the
directional gaze of the figure, this element combined to create a strong sense of being
a moving vehicle, even though the image
itself is a static. Now one of important examples in movement design in Vincent
Van **** the stereo knight. The movement design principle is of awaren conveyed through the dynamic and swirling
brushstroke that dominate the sky,
swirling brush stroke. The most striking aspect of the painting is energetic
and rhythmetic. Application of the
paint in the sky, the cloud and start are
despiy with a thick. Impasto brush stroke
that curves and spiral, creating a powerful sense
of movement and turbulence, these swirling patterns
visually pull the viewers eyes in a circular and following motion
across the canvas. Directional line.
The cypress tree in the foreground also contribute
to the sense of upward, flame like movement
with this dark gestural stroke reaching toward the sky. The line of the hills
and the rooftop of the village have a more
horizontal direction, provide a contrast to
the dynamism above, but even these contain energetic stroke that suggests a sense of life and texture. Contrast in a texture
and direction. The thick swirling and pasto
of the sky contrast with the more controlled and
somewhat shorter stroke used for the village below. This contrast emphasizes the turbulent energy
of the night sky, the different direction
of the bro stroke, swirling in the sky vertical in the Cypress horizontal
in the land, create a visual flow and guide the viewer's eye through
different areas of the painting. The stirring knight is
an exceptional example of the movement design
principle in action. The swirling and past brushstroke
that dominate the sky, create a powerful
and unforgettable sense of dynamic motion. You can see more example
about the using of movement in design
and try to figure out yourself how it's
being used in each of art you like or
a graphic design.
8. Learn About Repetition Design Principle: I Repetition is a
fundamental principle of design that involves
repeating elements, such as color shapes, lines, fonts or patterns throughout the composition to
create inconsistency, unity, and visual rhythm. Repetition help organize
element into a cohesive whole, making the design feel more
structured and harmonized. Can also add a texture,
highlight specific element, and create a soothing
or a predictable feel, which is particularly useful in a branding and user
experience design. It can also convey
messages effectively and driving attention by
creating familiarity and rhythm. Repetition is one of several core design along
the others that play a critical role in equating effective and attractive
composition across graphic design or
website or art. If you repeat too much like using the same
pattern everywhere, it can feel boring
or overwhelming. Mixing up repetitions,
like changing phones for a similar heading
can confuse viewers. Not using repetition at all might make the
design feel scattered, like a flyer with no
consistent style, making it hard to understand. The repetition design
principle is powerful tool for creating cohesive engaging and balancing design when used well. It enhances clarity
organization and Brandon, while guiding the viewers eyes, however, overuse it also like the other design principle
can lead to bad outcome. The best practice to use proximity is to plan which
elements to repeat like colors or a logo to keep the design unified.
Don't overdo it. Balance repetition with a varie like using different
shades of the same color. Test your design, especially for website to ensure
it's easy to use, combine repetition
with other designs or like alignment
for a great result. Now we're going to
take a further look about repetition to
understand it more. As you see here in this art by Pete Mondurans composition
in blue, yellow and red, the repetition design principle works throughout the
consistent use of a limited set of
geometric elements, color and orientation. The image is
entirely composed of rectangles of variant
size and proportions. This consistent geometric shape is repeated throughout
the composition, creating a sense of
order and visual rhythm. The use of the primary
colors, red, yellow, and blue is repeated across
different rectangular areas. This limited color
palette creates a strong visual identity and reinforce the overall
structure of the piece. Thick black, horizontal
and vertical lines are consistently used to
define the boundaries. This repetition of line
weight and color provide strong underlying grid structure that ties all the
elements together. White rectangular areas acting
as a natural background or a negative space within the grid are also repeated in various
sizes and placement. This repetition of
achromatic element is crucial to the balance and the visual clarity
of the composition. All lines are strictically
horizontal or vertical, and all rectangles are
aligned with this axis. This consistent orientation
is a key aspect of the visual language
and contribute to the sense of the order
and intentionality. This consistent repetition
of geometric shapes, primary color and
line work together to create a strong sense
of unity and coherence. These artists
effectively utilize the repetition design
principle through the consistent application of the rectangle primary colors, black horizontal
and vertical lines and white rectangle areas. This repetion visually unified ametic and structurally
clear composition that is characteristic of the abstract geometric style pioneered by artists
like Pete Mondurio. Now another kind of example this artwork by Andy
Warhaol Marlene Di Tisch. The repetition design
principle is absolutely fundamental to the artworks
unpacked and meaning. The image features a grid of
a 50 silk screen portrait of Marin Morrow repeated multiple times with a variation
in color and intensity. The most obvious repetition is the repeated image
of Marlene Morroe. This emphasize her status as a mass produced icon and ubiquitous image in
a popular culture. By presenting her
likeness numerous times, Warhor highlighted the nature of celebrity and its
saturation in the media. The arrangement of the
portrait in a grid format reinforces the idea of mass
production and seriality. The regular order repetition
of the square contributes to the overall visual structure
and impact of dip Tish. While the image is repeated, Warhol introduces a
significant variation of colors across the
different portrait. One side feature brightly
colored background and screen printing. While the other side is largely monochromatic in a shade
of gray and black. With some fading or
misregistration, this repetition with a
variation explore them of fame artificially and the
fading of an image after death. On the right side of the diptus, the intensity of the
black ink diminish across the road suggesting a fading
or degradation of the image. This repetition
of the image with decreasing clarity
can be interpreted as commentary mortality and the ephemeral
natural of the fame. This artwork is an
example illustration of the repetition
design principle, the repeated image of
Marin Moreau arranged in a grid and subjected to variation
in color and intensity. Service to emphasize
her iconic statue, explore them of mass, culture, and mortality and create a visual powerful and conceptually rich
artwork characteristics of the pop art movement. This different artwork by Au kozama the repetition
design principle is the most permanent and
defined characteristics creating an immersive and
visually striking experience. The entire space including the inflated sausage
like form and the floor, it's covering a dense pattern of a yellow or orange polka dots
against a black background. Or vice versa. This is the most obvious and
overwhelming form of repetition in the artwork. The consistent use of dots unifies all the elements
within the installation. The sauce like or tubular shapes themselves are repeated
throughout the space, varying in size and orientation, but maintaining
similar basic form. This repetition of
organic elongated shapes add to the overall pattern and rhythm of the installation. The intense and all
incompasent repetition make the artwork highly memorable and leaves a strong visual
impression on the viewer. In general, this installation
powerfully demonstrate the repetition design
principle throughout the consistent and pervasive
use of polka dots, the repeated sausage like form, the consisting color contrast, and the repetition of a scale. This element work
together to create a unique and immersive
artistic experience. Now, as always with
each principle, try to see more artwork
and try to figure out how each artist play with this principle to demonstrate
a great visual impact.
9. Learn About Proximity Design Principle: The proximity
design principle is a fundamental concept rooted
in Gestalt psychology, which is study how
people perceive a visual element or
organized pattern or a hose. Proximity state
that design element near each other are
perceived as related, while elements spaced apart are seen as belonging
to separate groups. This principle is crucial
for organizing information, creating visual hierarchy, and guiding the viewers
eyes through a composition. Proximity establish
intuitive connection between text graphic
and other elements, Diveraging the brain tendency to perceive near
element as related. Proximity also is one
of the key principle of design alongside contrast,
hierarchy, alignment, balance, and the other is particularly vital in graphic
design for creating coherent structures in
art for composing element that convey narrative
automatic relationships. It's one of several
design principle and it's one of the important. Emphasize its role in creating effective and
attractive composition. Proximity helps make
designs easier to understand by placing related
items close together. For example, on a poster, grouping the event dame, date, and venue together
shows they are connected. Making the information clear, it can also guide your
eye like in website, where navigation menu are
near each other at the top, helping you find that
you need quickly. In art, proximity can group figures in a painting
to show they are interacting like
placing two people close to suggest a conversation. Bad use of proximity if you place unrelated items too close. I can confuse viewers like mixing up labels and
images on a form. To a little space between group can make
everything look crowded. Like a cluttered flyer
with no breathing room, ignorant proximity
altogether can make a design feel chaotic with elements
scattered everywhere, making it hard to follow. The best practice in proximity is to plan
your layout first, deciding which element
should be close together. Use wide space to separate
different groups, given the design
room to breathe, test your design, especially for website to ensure
it's easy to use. Adjust proximity based on
whether it's for printing or digital and combine it with other design ideas like
alignment for a polished look. The proximity design principle is a powerful tool
in graphic design, an art enhancing
clarity organization and balance when used well. It should be applied
with intention, aligning with visual hierarchy and tested for effectiveness. Try to avoid poor use, such as scattering related
elements or overcrowding. Use wide space and
test for usability. Proximity can be achieved a
good balance by organizing element into meaningful
groups while maintaining harmony
across the composition. Let's take a look at some
example of good proximity. In this image, the proximity
design principle is used in a powerful and conceptual
way to create the form of a human figure from a
multitude of individual birds. The individual black
bird silhouette are strategically placed
close to one another. Our visual system naturally
perceive elements that are near each other as being related or belonging
to the same group. In this case, the
close proximity of the birds causes
us to see them, not as ultd element, but as a part of a larger
whole, the shape of a woman. The artists use the
density and arrangement of the bird to define the
contours of the human figore. Where the birds are
tightly packed, we precede solid areas of the figore like the
torso and the legs, where they are more spread out, it suggests the edges or more translucent
part of the form. Even though the
birds are distinct shapes with the
space between them, their closness
imply a connection and a visual relationship. We mentally group them together to construct a larger
image of the woman. Some birds are shown flying
away from the main figore increasing the sense that the figor is being
formed or dissolving. Decifuration of these birds emphasize the proximity of the other is defined
in the center for. This image demonstrate
how proximity can be strong visual cue for grouping disparate elements
into a cohesive whole. It makes an excellent example of the proximity
design principle by strategically placing numerous individual
element close together. The artists create a recognizable and conceptual
interesting human figure. The principle of proximity is the primary tool that
allows our brain to perceive unified form from a collection of separate parts. Let's take a look
about another example. In this image, the
proximity design principle is employed to
create the illusion of a complete airplane from a series of
disconnected black bars. The individual black
rectangle bars are strategically placed
close to one another. Our visual system naturally interrupts elements
that are near each other as being related or belonging
to the same group. In this case, the close
proximity of the bars lead us to perceive them as the
distinct parts of an airplane, diffuslage, wings, and tail. Even though there are
significant white gaps between the black bars, our brain tend to bridge these gaps and mentally
connect the nearby element, which allow us to see
the overall shape of the airplane despite its
fragmented representation. We have a strong
cognitive understanding of what an airplane looks like. The arrangement of
the black bars, even though incomplete, provides enough visual cues for our brain to recognize it. In summary, this image
effectively utilize the proximity design
principle by arranging disconnected black bars
close enough that they are perceived as
the distinct parts or a complete airplane. Our tendency to group
nearby elements allow us to visually fill in the gaps and
recognize the familar four, making it clear and consists example of this design
principle in action. Now, try to look on the Internet for more examples and
try to figure out how the artist use the principle of proximity to make
an interesting art.
10. Learn About Rythm Design Principle: A different kind of
a principle which is rhythm in design refer to the visual or auditory
pattern created by the repetition of
elements such as the shapes, colors, line or a textures, often with some variation
to maintain interest. It is fundamental principle
as other principle that helps guide the viewer eyes through composition and
create a sense of a movement. It establish a mood or a
flow much like music does. Rhythm is about using
repeated pattern to create an organized movement that can lead the viewer
to a focal point, closely related to repetition by introduced variety
to avoid monotony. There are four main type of rhythm alternative using
two or more element in repeating sequences
like chessboard. Flowing flowing curves or organic shapes to suggest movement similar to latin waves. Progressive, gradually changing
the characteristics of repeated elements such as the size or color to
show the progression. Random. Using irregular
repetition to add unpredictably interest
quitting sense of energy or a chaos. Rhythm is very
important principle of the core design principles. It's also play a crucial
role in creating cohesive engaging and
balancing composition in both graphic design and art. It can help make designs
feel likely and easy to follow by repeating
things like shapes or a color with
the same changes. For example, using a pattern
of waves that get bigger or smaller can guide your
eye smoothly across poster. It can also set a mood
like a column flow or a spa website or an energetic
beat for a music festival. Also you can use it well if you repeat elements exactly
without any changes. It can feel boring, like Monotons pattern that
doesn't catch attention. Mixing too many
different rhythms like random and
regular together, confuse the viewers making
the design feel chaotic. The rhythm design principle is a versatile tool for
creating engaging, balanced and functional
designs when used effectively, I guide the viewers eyes
and establish a great mood, and it also enhance the clarity. Choosing the right
type of rhythm for the design purpose and
testing for usability can make you achieve good balance
by organizing elements into meaningful pattern
while maintaining harmony across the composition. Try to balance repeating
elements with some variety, choose the right rhythm type, regular or formal designs, flow and for a movement or progressive for
show and changes. Test your designs to
ensure guide attention well and mix rhythm with
other ideas like a contrast. Some of the great example
of using the rhythm in art, like in this one by
Katsushika Hokusai, the great waves of Kanagua the
rhythm design principle is masterfully employed to convey the immense power and
dynamic movement of the sea, while also contrasting it while the relative stability
of Mount Fuji. The most permanent
rhythmtic element is the repetition
of the wave shapes. The large cresting
wave in the foreground is echoed by smaller
waves in the background, creating visual
cadence that suggest relantless and cyclical
nature of the ocean's motion. While the waveform are repeated, they are not identical. The large wave dominant
the foreground, creating a powerful peak
in the visual rhythm. The subsequent waves
decrease in size and intensity as they recede
into the distance, establishing a sense of perspective and a
diminision rhythm. The fluid curving lines that define the waves create a
sense of emotion and flow. These lines rise and
fall rhythmtically, guiding the viewers eyes
across the turbulent water, the sharp clo like crest of the main wave introducing a contrasting more
abrupt rhythm. The boats tossed about the waves are repeated element that contribute to the
rhythm of the sense. Their placement and
orientation within the waves emphasize the scale
and power of the ocean. Acting as a small
repeating motifs, curve in the larger rhythmtic
pattern of the sea. Moten fugi in the
background provide a stable triangular form of the contrast with the
dynamic rhythm of the waves. Its co presence as a visual anchor and me dist
at the turbulent motion, highlighting the rhythmtic
activity in the foreground. The use of similar
shades of blue and white in the waves with a
darker blue in the troughs, lighter whites in
the crest and foam. Creates a tone rhythm that reinforces the
visual movement. The great wave of Cagua
muster fully employ the rhythm design
principle through the repetition and
variation of waveforms. The placement of the boats, the fluid lines, and
the tonal contrast. This rhymtic structure
is crucial in conveying the dynamic and
powerful nature of the scene, making it an enduring example of this design
principle in art. Another example by Pete
Mandurian composition with red, blue and yellow, the rhythm design
principle operates through the repetition and variation of simple geometric
element and color, cretinisens of a
visual balance and dynamic equilibrium rather than flow or sequential movement. It's equated throughout
the deliberate, repetition and variation
of rectangular, primary colors, black
lines, and a white space. The structure rea dynamic
arrangement establish a visual cadence
and a balance that is characteristic of
this abstract style and a key aspect of the
painting during visual power. Another example of good use of the rhythm principle is the artwork by
Henry Mattis Dance. The rhythm design
principle is powerful conveyed through the circular
arrangement of the figure, the dynamic poses and the flow on lines
that connect them. The figure are arranged in a ring holding hands and seemingly moving in
continuous dens. The circular form create
a strong visual rhythm, suggesting in go
and cycle movement, the eye naturally follows the flow of the figure
around in the circle. While each figure
has a unique pose, there is a repetition of
the human from in motion. The outstretched
limbs, bent knees, entitled heads, quitter
rhythmtic sequences of the movement and energy. The repetition of
the nude figure itself become a motif within
the rhythmic pattern. It's an outstanding example of the rhythm design principle, the circular arrangement of the figure, the dynamic poses, the flowing lines, and
the bold use of a color, all work together to
create strong sense of the visual rhythm and convey the joy and energy of the dance. Another example
also by Keith Hern, the rhythm design principle is conveyed through
the repetition of simplified human figure in various dynamic poses and the energetic lines
that surrounding them. The artwork feature numerous
styled human figure that are repeated
across the surface. This repetition of
a basic motifs, create a strong visual beat and a sense of overall movement. The figure are repeated. They are depicate in
variety of energetic poses, Dancing, jumping, reaching,
and seemingly interacting. This variation within
the repetition added a dynamic and a lively
rhythm to the composition, preventing it from
becoming statetic. This image effectively employed
a rhythm design principle through the repetition
of dynamic human figure and varied poses, an energetic line that's
surrounding them. Discrete lively all over
composition that visually convey a sense of a movement and rhythm characteristic
of the Keith Hen work. This is also another
example to look for, which is the Claude
Monet, the four trees. It's part of his popular series. The rhythm design principle is established through
the repetition and vibration of the
vertical forms of the poplar trees and
their reflection, as well as the pattern of a color and light
across the canvas. It's exemplify the rhythm
design principle throughout the repetition and variation of the vertical popular trees
and their reflection. The pattern of the color
and light created by his brush strokes and the horizontal layering
of the landscape. This rhythmetic structure
contribute to the painting the visual harmony and its evocative portrayal
of the Natural world. I'm going to let
you also to figure out yourself this
poster of the Beatles, how the rhythm principle
work in this image. Try to figure out yourself and understand more
how it been used.
11. Negative Space Design Principle: Negative space, also known
as white space or airspace, refer to the empty areas around and between the
element of a design. It is the space that
is not occupied by the main subject or
objects in composition. Negative space is a key element
for artistic composition, provide balance and in place to rest for the viewers eyes, which is enhance the overall
appeal of the design. It is analogous to
silence in music, where the absence of sound can be just as impractul
as the sound itself. In graphic design,
negative space plays a crucial role in defining the boundaries and
relationship between element and proving readability and creating visual harmony. For example, in typography, the use of negative
space between letter and line make text more legible as seen in the preference of lowercase letters over all caps due to their very
negative space. The term negative
space is sometimes used interchangeably
with the white space, though the letter can imply
plain and colored area, while negative space can include colored or
textural background. Clarifies that negative space
does not need to be plain. It can be in any color
or have pattern, servant to frame, organize, and highlight elements
in the design. This principle is one of
several design fundamentals, including in faces, balance, contrast, repetition, and more. Using too little
negative space can make design feel crowded
and overwhelming, making it hard to
focus on key element. For instance, a poster with no breathing room between text and image may confuse viewers. Conversely, too much negative
space can make element, feel disconnected
like website with vast empty areas that
disrupt the flow. Ignoring negative
space entirely can result in a cramp
and inviting design. While unclear use for hiding message might confuse
rather than enhance, such as ambiguous logo that viewers struggle
to interrupt. Improper distribution
of negative space can result in a design that feel unstable or disjoint where elements appeal is connected
or overlay dominant. Using a negative space to create hidden image
or message can backfire if the result is unclear or confusing
to the viewer. Rather than enhancing
the design, for instance, an ambiguous
logo may confuse the viewers. An example of bad use may be poster with too many
competing elements and non negative space where the viewer's eyes jump between elements
without a clear focus, leading to modern composition. Negative space, when
used effectively, can make design more
appealing and functional. It helps guide the viewers
eyes by providing a clear path through the design
such as highlighting a call to action
button on a website. It's also improve readability by giving text and image
room to breathe. Making content easier to
understand, for example, Apple's minimalist website use ample negative space to
focus attention on products. Creating a sense of elegance, additionally negative
space can be creative, like in the FedEx logo, where the space between E and X forms an arrow adding meaning
without extra element. Best practice of negative space. To use negative
space, effectively, plan your layout to
ensure balance and focus. Use it to guide
the viewers eyes, throw a logical flow. Like the Z layout in web
design, keep designing simple, avoiding overcrowding, and mind spacing around text and
images for readability. Incorporate both micro small
scale and macro large scale, negative space for cohesive
test design with users, specifically for
digital interface. To ensure usability, consider the medium as print and web design may require
different approaches. Use negative space to
contrast with positive space, ensuring visual
interest and harmony. Contrast for visual balance, such as in a business
conference poster. Wrench element in a
logical flow such as the ZL to guide the viewers
eyes through the design. The negative design principle is powerful tool in graphic design, enhance and balance with ability and engagement
when used well. It should be applied
with intention, aligned with visual hierarchy and tested for effectiveness. Poor use such as overcrowding or ignoring negative space can
detract from the design. And best practice
include planning, testing and using both micro and macro negative
space for harmony, like the example we
gave is demonstrate how negative space
contribute to balance and ensuring stability and
harmony in composition. Let's take a look at some of the examples that show
very good negative space. This poster for frozen
the Broadway musical, the negative space
design principle is used effectively
to define shapes, create visual interest, and enhance the
overall composition. Defining the
snowflakes and figure, the bright white snowflake and the silhouette profile of Elsa and Anna are clearly defined by the surrounding
deep blue background. This negative space act
as a strong contrast, allowing the intricate
details of the snowflakes and the distinct outline of the character faces
to stand out sharply. Creating visual interest
with the snowflakes. The negative space carved
out within the arms of the snowflakes is just as important as the white
shapes themselves. These blue areas secret
patterns and contribute to the overall complexity and visual appeal of the
snowflakes design. They prevent the snowflakes
from appearing as a solid and
indifferentated mass. Enhancing the
silhouette profile. The negative space between the two phase and profile
of Elisa and Anna, create a distinct separation, allowing each phase to
be clearly perceived. This space also subtly hints at a connection or interconnection
between the sisters. Providing contrast for text. The blue background serves as the negative space that
makes the white frozen and the boardway musical text legible and permanent at
the top of the poster. The contrast between the
text and the background ensure that the key information
is easily readable. Creating a sense of depth. The variant shades of a
blue in the background, create a subtle sense of depth, the darker blue at the top
and the lighter blue around the snowflakes make the white elements appear
to come forward, utilizing the negative
space to enhance the three dimensional
of the design. Why the negative space in
this poster is very great. First of all, clarity
and definition. The negative space clearly
define the positive shapes, ensuring that the main elements
of the poster, the title, the characters, the profile, and the snowflakes as easily recognizable
and visual hierarchy. The effective use of
negative space help to establish a visual hierarchy, draw attention to the
most important elements. And also the distribution
of positive and negative space contribute to
the overall balance and harmony of the design. The center snowflake
surrounded by the blue negative space feels well integrated into
the composition. The Broadway's musical
poster is a strong example of how negative space can
be used to define shapes, create visual interest,
enhance lesibility and contribute to the
overall aesthetic and thematic resonance
of the design. The interplay between the
bright white elements and the variant shades of
the blue negative space is crucial to its effectiveness. Here another example
by ShigoFukuda. The negative space design
principle is employed in a clever and visually
engaging way to create a go rounding, reversal, and optical illusion. Figure ground and reversal. The design play with our
perception of what is figure, the object we focus on, and what is a ground,
the background. When focusing on
the black shapes, we perceive a series of legs
and feet pointing downwards. The white areas become the negative space
surrounding these figures. However, when we
shift our focus and perceive the white
shapes as the figure, we see a series of
hands painting upwards, the black areas, then become the negative space defined
these new figures. At cretin, the genius of this design lies
in its ability to simultaneously present
two distinct images through the strategic use of
positive and negative space. Neither the hands nor those
legs are fully outlined. Instead, their forms are completed by the surrounding
space of the opposite color. Symmetry and repetition. The repeated arrangement
of the shapes contribute to the
effectiveness of the illusion, the symmetrical replacement
of the element, make it easier for our eyes to flip between the
two interpretation. The poster itself provide a textbook example of how
positive and negative space can be interchangeable and how our perception can shift
depending on what we focus on. Also, the unexpected
appearance of two different images
within the same design, make it visually urogen and
encourage active viewing. This image by ShigoFukoda is an excellent example of negative
space design principle. Cleverly uses the
interplay between the black and white
areas to create visual puzzle where
both legs and hand are simultaneously present to demonstrate the power of negative space and defining form and creating
optical illusion. Another example by East Asian in Quash painting traditions. This negative space play a
crucial role in defining form, screening atmosphere, and contributing to
overall aesthetic. Dark white background provide a strong contrast against
the darker ink brushes, use it to depict the mountain, the bow the figure, the tree, the branch, and the sun. These contrasts allow the
shapes of this element to be clearly defined without
the need for hard outlines. The vast expanses of white space around distance mountain and the sun contribute to a sense of a distance
and atmosphere, the lack of details
in this element, combined with the
surrounding emptiness, suggests that far away, shrouded in mist or haze or common characteristics of traditional East Asian
landscape painting. The negative space in this image is not merely
empty background, but an active and essential
element that defines forms, create atmospheric perspective,
emphasize simplicity, directs the eye, enhances
the brush works, and contribute to
the overall serene and spastious aesthetic making it strong example of the effective use of
this design principle. Another example here and
you can try to figure out yourself is the
poster of the Batman. It has negative space
design principle employed with exceptional
cleverness to create a double profile or figure ground reversal leading to visually engaging and
memorable design. Try to analyze it by yourself and see how
the negative space, use it with details and to create a visual
compelling poster. Another example to practice is the lobster and to
try to figure out how they use the negative space to create this beautiful poster. Try practice all of this, to understand more about
the negative space and how to cheat our brain
to render the empty shapes.
12. Learn About Simplicity Design Principle: The simplicity design
principle is about reducing unnecessary element
in design to create a clean, straightforward and
effective composition. It emphasized clarity,
functionality, and aesthetic appeal by
eliminating complexity. Simplicity, it's not
just about minimalism, it's about ensuring that every element in
the design serve a purpose and contributes to the overall message
or a user experience. Simplicity, it is the discipline of minimizing refining or editing back a design to the general consensus
that less is more. Simplicity sometimes defined as a freedom from complexity, intricacy or a division into
parts and the absence of pretentiousness or ornament emphasizing
directness of the expression. It's not just about minimal
colors or a white space, but about understanding
user need to design products that read themselves
or inconsequential element. It's very important design
principle that plays a cultural role including effective and
attractive composition across graphic design and art. If you move too much like a website with only a
logo and no navigation, it can confuse user
and lack needed info. Overly simple design
may feel boring, failing to engage or misuse or needs like a design too
basic to be useful. Start always by focusing on what the design must do like
apples, I just works. Approach design for a mobile first to keep
essentially clear, remove extra, hide
less important feature, group related items. This design principle
is a powerful tool for creating clear functional and aesthetic e pleasing designs. Try always to use it well
to enhance your artwork, like strengthen
the brand identity and ensure design are
easy to understand. Comprehensive understanding
and knowledging of the complexity and the
potential controversy in balancing simplicity with other design principle can
lead to outstanding artwork. In this minimalist line round strongly reminist of
Pablo Picasso later work, simplicity design principle is the core of this effectiveness. It's conveyed a sense
of the dog with an absolute minimum
of lines and details. The image is created using a single continuous black line or a very small number
of connected lines. There are no shading
texture or complex detail. This extreme reduction of element is the foundation
of its simplicity. The drone does not aim to
photorealistic accuracy. Instead, it captures the most recognizable
characteristic of the dog. A elongated body, short legs, pointed snout, floppy ear, and a tail in highly
abstracted form. The simplicity forces
the viewer to focus on the essential
element that define the dog silhouette by removing
all non essential details, the core visual
information is amplified. The lack of complexity
makes the image instantly recognizable
and easily digestible. There is no visual clutter to
distract from the subject. The dog is drawn on a plain white background with ample negative
space around in it. The lack of additional
element further emphasize the simplicity of the subject
and prevent visual noises. The drone successfully convey the subject with an incredibly
economic use of lines. This artwork is an
excellent example of simplicity design principle
by using minimal number of lines to create an abstract
yet recognizable form of a dog against a
stark background. The image achieves
clarity, immediacy, and a powerful focus on the essential characteristic
of the subject. Now in this example, we have
different kind of apostle this collection of
minimalist poster represent various
television shows. The simplicity design principle is the cornerstone of
their effectiveness. Each poster use a minimum
number of visual element to evoke the essence or key aspect of the show it represents. It boil down the
representation of the show to its most basic geometric
shape and forms. For example, the Simpson
is represented by a simple yellow background
shaped black line suggesting Homer's
mouth and hair six feet under uses the
black silhouette of a crow. Each poster employ a very
restricted color palette, often using only two or
three dominant color. This lack of complex color
schemi contribute to the clean and straightforward
aesthetic, for instance, sex in the city uses a
pink background with a minimalist martin glass and a lighter shade of
a pink and red dot. The chosen shape and
color often represent an iconic symbol or a core theme associated
with the show. The martini glass for
sex and the city, grab, potentially blood or oil for A Dallas and the
Lollipop for Kozak are instantly recognizable and strongly linked to their
perspective series. This poster deliberately
avoid unnecessary details, texture or complex illustration. The focus is solely on the most crucial visual cues
needed for recognition. The simple shapes are typically represented against
a solid background, creating a clear distinction between the figure
and the ground, which enhance the
visual clarity. This collection of minimalist
television show posters is an excellent example of the simplicity
design principle. Each poster effectively
uses basic shapes, limited color, and
iconic symbolism, devoid of unnecessary detail
to represent the essence of complex television series in a clear and papful
and memorable way. Another example of simplicity can be used also
in a book cover. I designed it for
George Orwell's 1984. The simplicity design principle is employed with a
striking effectiveness to create a visually arresting and conceptually resonant image. The design utilize
star quite background and only a few black
elements and number 1984. Stack it vertically
and two large style is coma like shapes position
horizontally in the center. The author's name George
Orwell is also presented by render it in a small unobtrusive type
face at the bottom. In summary, this book cover for 1984 is an exceptional
example of the simplicity design principle by using a minimum number of starkly contrasting element and significant amount of
the negative space. It creates a visual powerfully and conceptually
rich design that effectively represents
the theme of the novel in a memorable
and timeless way. This is a few examples of how the simplicity can
be used in design or a cover book or a website design or a logo or whatever
any artwork you like. Keep on practicing with
all the design principle, and yet try to use only the simple shapes and see what the
outcome is going to be.
13. Learn About Texture Design Principle: Now, this also is
very important in the design principle,
which is the texture. In design refers to the surface quality or
a feel of an object, which can be actual tactical or implied visual in
graphic design and art. Texture is primarily visual. Use it to create illusions of depth at interest
and evoke emotion. A surface quality or
a feel of an object, and in graphic design
it generally visual, creating a physical illusion. Using it alongside the
other principle design, it can enhance your work, and it creates a
visual tone and can influence the look and
feel of the design, attracting or repelling and the rest depending
on pleasantness. There are two main type of texture in design,
image texture, generate from combination of organic or geometric
shapes and color, often appearing random to create a particular
look and feel. Example include natural
texture like wood, sand or water can create a
very good visual experience. Pattern texture,
more structured and repetitive often create by repeating elements
of shape and colors, such as a fabric pattern
or geometric designs. This also can give a depth to your artwork and make
it look more ntable. Texture play a crucial
role in enhancing the aesthetic appeal and
functionality of the design. From poster and website
to packaging and artwork, however, it must
be used truthfully to avoid overwhelming
decomposition. Over using texture like layering too many patterns can make a design look cluttered
and hard to read. Using texture that
don't fit like a playful texture in a
series core pure design can confuse the viewer. Ignoring functionality such as texture background that obscure
text can hurt usability. Texture can make design
feel more engaging by adding depth,
like using a rough, gritty texture for a ragged
outdoor or a smooth, silky one for a luxury branding. It helps highlight key areas such as texture
background that makes text pop and can evoke emotion like nostalgia with
a vintage paper texture. Best practice of using
the texture artwork is using it purposefully
to enhance mood or depth, not overwhelm, balance it
with colors and shapes. Consider the medium
print for tactic feel, digital for visual impact, tests designed to ensure
texture don't hinder readability and keep them
subtle for a clean look. The texture design principle is very powerful tool
in graphic design, and art for adding depth, interest and emotional
resonance when used it well. Example like a concert poster with a septedGrange texture, a website with a light
paper background, and a landscape printing with a texture brush
stroke demonstrate how texture can achieve good balance while serving
the design purpose. Let's analyze this album art for joy division, the
unknown pleasures. The texture design
principle works in a unique and impactful
way primarily through the visual
representation of a data rather than a literal
depiction of surface field. The image texture is implied by the abstract line and
their variant density. Numerous jagged
white lines against the struck black
background create a visual texture that
feel rough and uneven. The variant heights
and frequencies of the line suggest a complex and potentially
chaotic surface, even though it is flat and
two dimensional image. The sharp contrast between
the bright white lines and deep black background intensifies
the perceived texture. This darkness make
its line distinct and emphasize the overall
jaggedness of the pattern. The using of the texture
design principle in this album artwork through the implied roughness and
variation of the data driven white lines against
a black background, the contrast density, variation, and the abstract nature
of the waveform, or contribute to
unique visual texture that is both striking and
thematically relevant. This is one of a great way of
using the design principle, texture, and the artwork. Try to use it always in your artwork if it
adds to your artwork, and if not, no need to use it.
14. Learn About Unity Design Principle: Unity in design refer to the principle
where our element of design work together cohesively to create a harmonized
and balanced whole. It involves ensuring
that every part of the design contributes to
the overall message of them. Creating a sense of
completeness and coherence. Unity can be achieved
through consistency in elements such as color
shape, texture, typography, and layout, as well as through the colorful arrangement of this element to support
the design purpose. Unity is about
creating harmony by ensuring that all parts of the design complement
each other, even if the design a
symmetrical or smarly random. It's essential for
creating designs that feel organized
and professional. It's also bringing together
all design elements. It incorporate in
other principles like repetition,
proximity and alignment. Unity helps make
designs we complete and easy to understand by making
all parts work together. For example, using the
same colors and font across the website make it look professional and
easy to navigate. It can also strengthen
Brandon like nags consisting such
logo and colors. Making it memorable in art. Unity can be seen
in painting where all elements like bro strokes and colors support
the main theme, creating a balanced,
engaging piece. If elements don't match like using too many different
phones in poster, it can look messy and confuse the viewer and
ignoring unity might make design feel scattered like a poster with related
image and text, making it hard to
follow the message. The best way to use
unity is by defining the design purpose then use consisting colors and layouts. Repeat key elements like logos or shapes and group
related items together. Unity work by ensuring that all elements work together
in harmonious design. It can enhance clarity, reinforce branding, and
improve user experience. Let's learn more about unity
by observing some art. In Fernando Bios the musician, the unity design
principle is achieved through a combination of
a stylistic consistency, color palette, and
thematic coherence, despite the individual element of the musician and
their instrument. The artwork feels
cohesive and unified. The most prominent
unifying element is Boo's distinctive
artistic style. All the figures, instruments, and even the surrounding
environment are rendered with artistic
characteristics exaggerated. Voluminous forms, the
consistent stylistic treatment, ensuring that all
elements belong to the same visual work and create
a strong sense of unity. The painting employs
a relatively limited and harmonious
color palette, dominated by muted blues, green, brown, and creams. With the touches
of red and yellow, this color work together
without clashing, contributing to overall visual
coherence of the scene. The consistent application
of these colors across the figures instrument in
background ties them together. The central theme
of the painting, a group of musicians performing, provide a strong
unifying narrative. All the figur are engaged
in a related activity, contributing to a sense of a purpose and connection
within the scene. Their shared focus on the music, they are playing, bind them together visually
and conceptually. The arrangement of
the musician within the confined space will
also contribute to unity. They are clustered together, creating a sense of a group
and a shared activity. The overlapping of the
figure and instrument further integrate them into
a single visual entity. The consistent lighting
and overall soft, somewhat muted tone of the painting contribute
to its unity. The arent star
contrast or arrant shifts in light that will
distribute the visual harmony, disrupt the visual harmony. The repeated use of rounded inflated forms
throughout the painting, create a visual echo and
reinforce the stylistic unity. The characteristic shapes
appear in the figure, body, their faces, and even the instrument
to some extent. The musician
effectively demonstrate the unity design
principle through the consistent application
of his signature style. Harmonious color palette, the unifying theme of
the musical performance, a cohesive compositional
arrangement, and consistent
lighting and tone. These elements work together
to create a painting, feel intrinsically, connected and contribute to
unified artistic expression. Another example called
Sunday afternoon on the island of La Grande Jad. This work by George at the unity design principle
is achieved through the mticolors and
consistent application of the pointless technique, a carefully structured
composition and harmonious color palette. The entire image is
constructed from thousands of tiny distinct dots of a pure color that are
applied side by side. This consistent application of the pointless technique is
primarily unifying element. It creates a unique
visual texture and a sene of overall cohesion. As very part of the painting is rendered in the same manner, the colors optically blend
in the viewer's eye, creating unified and
a shimmering effect. Despite the seemingly
casual scene of people relaxing in a park, the composition is
carefully structured with a strong horizontal empaces any deliberate arrangement
of a figure and object. The placement of
the main figures, the line of the paths,
and their river bank, and the vertically of the
trees all contribute to a sense of order and visual
unity within the scene. Sunday afternoon on the
island of La Grande Jet, achieve unity throughout
the consistent application of the pontlis technique, a carefully structured
composition, a harmonious color palette, consistent light and atmosphere,
and thematic coherence. These elements work
together to create a cohesive and iconic
representation of leisurely park scene. Now this is a different example as seen from the movie here. Just in summary, the
unity design principle in this image is achieved through the harmonious
color palette, the atmospheric lighting, the centric
composition and focus on the figure and technology, the implied narrative, and the consistent level of detail. This element work together to create a unified and
evocative scene. In this oxygen branding, the artist effectively utilize the unity design
principle through the consistent
application of its logo, color palette, typography, and recurrent graphic element
across various media. This cohesive visual
language creates a strong and recognizable
brand identity. Now it's on you to work with the unity principle
design to find out how to make it work with the other principle
in your artwork.
15. Learn About Variety Design Principle: Now, variety is very simple. It refers to use
different elements such as color shape,
texture, size, and typography to create
a visual interest, engage in viewers,
and prevent monotony. It's one of the core principles of design alongside unity, balance, contrast,
and the others. Variety can be achieved through color using
different hues, shades or tints to
add visual diversity, shapes like incorporating diver geometric or organic
forms to brick monotony. Texture to add in
varied surface quality, such as rough or smooth
to enhance depth. Size, scale and
element differently, treat hierarchy or emphasis. Typography using
different fonts, weights or style to
differentiate text elements. Variety can make design
more engaging by using different color
shapes or texture to catch the eyes and
keep things interesting. For example, an
infographic may use varied box colors to
highlight different sections, making it easier to follow. It can also guide your
attention like using large text for headline
and smaller for detail. Or mixing smooth and rough
texture to add depth. The key is make sure these different support
the main message, like using bold colors for
important button on a website. If you use too many different
elements without a plan, it can also look
messy and confusing. For instance, a poster with ten different phones and clashing colors may
be hard to read. Always balance variety with unity by keeping some
element consistent, like a color palette, while varying others
such as shape or size. Variety design principle
is versatile tool for creating engaging
and dynamic design in graphic design and art. When use it well, it enhance visual interest and guide attention and support
the design purpose. We're going to look at one of the example to explain
further variety. In this word, Roy
Stinsin crying Girl. The variety design principle
is employed to create visual interest within a relatively limited
stylistic framework. While the overall style
is consistent with Lichtinstein pop art aesthetic, volties introduced to
throw several elements. The image utilize a limited
but distinct color palette, bright yellow for the hair, bold red for the lips, blue for the background,
and some outlines. And black for the
thicker outline and details like eyelashes
and the pupil of the eye. The skin tone is suggested by the Bande dots on a white base. The variety in color
draws the eye to different areas of the
composition and quid contrast. There is variation
in thickness of the lines used to define
different elements. Ticker black lines outline the major forms, face hair hand, while thinner line define internal details like
eyelashes and creases. The use of both solid line and the patterned Bandal dots add another layer of the visual
texture and variety. In detailed form, cry
and gil demonstrate the variety design principle by effectively using
variation in color, line weight, and
style, shape and form, implied texture,
implied movement, and emotional expression. Within the artist's
signature pop art style, the variety prevent the
image from being monotonous and enhance its visual impact
and emotional resonance. Like in this example, also, it's very excellent example of a variety design
principle through its deliberate and effective combination of diverse shapes, textures, colors, scales,
line, and subject matter. This high level of variety is central to its visual appeal, and it's a cole aesthetic. Now, try always to
use variety with a balanced way to make
your visual appealing.
16. Mastering Visual Hierarchy : Visual hierarchy at
its core represent the fundamental
principle of arranging design element to demonstrate their relative significance. This strategic
organizations serve as a roadmap for viewers, directing their attention to the most crucial
information first before progressively
leading them through the remain content. The essence of visual
hierarchy lies in establishing a clear
and logical structure that empower users
to effortlessly navigate and comprehend
the presented information. By thoughtfully structuring
visual characteristics, design or facilitate specific
order of importance, easy understanding for
the intent audience. The principle acts as a
guide for the viewers gaze, ensuring that the content is proceeded in a specific
order of importance. Ultimately leading
to the correct interpretation of the design, the foundation of visual
hierarchy is often attributed to the
Gestal principle, a psychological
theory positing that the human mind inherently
seek order within complexity, naturally forming pattern and unifying disparate element
into cohesive whole. This innate human tendency
to organize visual input underscore the effectiveness and intuitive nature of visual
hierarchy in design. The implementation
of visual hierarchy is not merely an
aesthetic consideration. It's a corner and stones of
effective communication and a pivotal factor in
sharpening user experience. Designing the effectively
employ visual hierarchy are often described
as simply working. Highlight its essential role in successful design outcome. A well defined visual
hierarchy is indispensable, acting as the conductor of
the user experience when a layout lacks a discriminable
visual hierarchy. Individuals often struggle to identify where to
focus their attention. As noted by the Nelson
Norman group, conversely, a robust visual hierarchy
proves invaluable in capturing attention within
competitive environment, conveying messages with
clarity and efficiency. Fostering immediate trust and guiding viewers toward
desires actions. In the realm of user
interface design, a strong visual
hierarchy service to inform and press
and pursue users, effectively mitigating
uncertainty and fostering a sense of empathy. Furthermore, visual hierarchy
play a critical role in enhancing the functionality and accessibility of the
digital platform, such as website by strategically organizing
visual element, designer can significantly
improve the ease with which users can navigate and interact with the content. The perceived size
of an element play a pivotal role in establishing
visual hierarchy. Larger element command
attention more readably than their
small counterpart. This inherent tendency for a larger object to
capture our focus is fundamental aspect of how our brain processes
visual information. Indeed, our cognitive
processing often equates physical greater significance
beyond mere size, the concept of a
scale which refers to the proportion of one element
in relation to others. Is equally important. Effective design often involves a deliberate variation
in scale across different elements
with the aim of establishing a clear focal
point within the composition. Designers actively manipulate as a means of assigning
visual weight to different components. By enlarging essential element, designer can ensure the standout prominently signal their heightened
importance of the viewers. This direct correlation between sight and the ease with which an element is noticed and score the impact of a
scale on visibility. While the principle of making
one element considerably larger to achieve focal
prominence strategy is widely adapted strategy. The specific context and
intended purpose of the design can sometimes warrant a
departure from this norm. A notable example is the
poster for Little Women, where the silhouette of
the four main charac will render at the
same large size. This deliberate choice while seemingly breaking the
conventional rules, effectively communicate
the narrative where all four characters held equal
weight in the story line. This illustrate the
design principles serve as available guidelines, but deep understanding of the message and the target
audience can sometimes justify deviation in pursuit of more effective communication. Color and contrast
are potent tools in the designer's arsenal for
establishing visual hierarchy. Bright colors possess
a great ability to attract attention compared
to more mute counterparts. The strategic use of color
is not merely decorative. It serves as a crucial communicative function
within the design. Furthermore, the use of dramatically contrasted
color proves more effective in capturing
the viewers eyes. A high degree of contrast
between element can significantly
contribute to creating a clear visual focus. As contrast inherently
separate elements distinguishable and did contrast itself play a role in
creating hierarchy by placing strikingly different
elements in juxta position. Typography, typography
encompassing font size, weight style and case is indispensable for establishing
visual hierarchy, particularly in the
text heavy designs. Typographic hierarchy involves the intentional
parent fonts and the use of variant
type face size to emphasize text
based information. It represents for visually
organizing information based on its importance using different
typographic attributes. Ideas intended for faces should appear in a
larger or a bolder text, ensuring that visitors
interact with them first, while supplementary
texts should be rendered in a smaller or
a less dominant font. A common approach involves
a three tied system, starting with a large headline, followed by mid sized sub headen and concluding
with a smaller body copy. This can be further
refined into primary, secondary and tertiary
styles of a text. The largest and
most permanent text typically serves as
the primary heading. The weight of a typeface
specifically its boldness, tended to draw attention
before thinner typeface. Employing bolder or
thinner typeface within the same font family is an effective way to create a visual hierarchy that
is readily apparent. Space and layout play a crucial
role including structure, clarity and visual flow
within the design, increase the space
around element often referred to as a white
space or a negative space. Not draw the eye
toward those element, providing generous
breathing room around Importes element is a common
and effective technique. White space not only
adds legibility, but also contribute to the overall balance of
the visual hierarchy. Now, most of the core
principle of the design, the construct the visual
hierarchy of the overall design. But also visual hierarchy is used mostly in the
layout and the text. Understanding common
reading pattern can significantly inform the design of the visual hierarchies. In many cultures, including
with Steran societies, the natural tendency is to
read from top to bottom, and often from left to
right for text heavy pages, such as article 0R a blog post. The F pattern is a
common reading behavior. User tend to scan
across the top of the page and then move down
and scan across again. But for a shorter distance, cretin shape reminence
of the letter F and contrast for more visually oriented design
with a less text. The Z pattern often emerges. Here, the viewers eyes typically moves across
the top of the page, then diagonally down to the opposite corner and
finally, across the bottom. Designers frequently
structure their pages to align with this
established reading pattern, strategically placing
important information in the corner or along the top and bottom edge of the Z pattern to
maximize its visibility. Recognizing these common
reading behaviors allow designer to strategically position key information in area where users are most
likely to look first. This alignment with
natural reading habits optimize the flow of information and effectively guides
user attention. Principles such as proximity, similarity, closure, continuity, figure ground, and
common fate are fundamental to how we perceive
and group visual elements. We saw this in the design
principle of proximity. Now visual hierarchy
in the website design. The structural organize
of a content on website through the use of a headline
H one, H two, H three, and subsequent levels is
a fundamental example of visual hierarchy employing
a clear hierarchy of a heading allow for the
establishing of importance and provide a logic framework for
the information presented. The primary title of
the web page should be designated with
the H one tag defying the most important topic
of the page and typically render in the larger font size to immediately capture
the reader attention. Subsection are then
structure using H two, tag and H three, and so forth, creating a discernable
outline of the content. This hierarch
arrangement not only aids users in understanding
the organization of the information but also
assists search engine and interrupting the
relative importance of different content sections. The visual prominence
of the heading, particularly the H one tag serves as an initial
point for focusing. Guiding the users to the
main subject matter consists the styling of the
heading across a website include
font size weights, such as bolding and font choice, further reinforce
the visual hierarchy and contribute to
cohesive brand identity. Subheading, H two,
H three, et cetera, play a crucial role
in breaking down website content into more manageable and
scannable sections. They provide an additional layer of structure and organizations, allowing users to quickly grasp the main points without
needing to read every words. Subheadings support the main
headline by elaborating on a key concept and guiding the reader through the
subsequent information. Visually subheading should be distinct from the main
body text and also differentiate from each other to indicate the respective
levels within the hierarchy. Typically they are rendered in font size smaller than
the primary heading, but larger than the body text. This visual distinction often achieved through variation
in font size and weight, enable users to efficiently scan the content and locate the specific
information they seek. Catering to the common
online reading behavior of a scanner rather
than in depth reading. A well defined subheading
hierarchy creates a multi layered
structure allowing user to understand the
content organization at a glance and negative form, board to pick it to more
specific detail with the Es. Several website
effectively demonstrate strong visual hierarchy through their strategic use of
typographic spacing and layout. Mail chaM for instance, employ adjustment
in size, color, and take position to guide the user's eyes
through their webpage. Consistency in the placement
of navigation buttons coupled with overall alignment
foster predictability and simplify
navigation for users. Proper alignment contribute to visual harmony across the page. Furthermore, mail him prioritize content by using eye catching
heading and subheading, which improve user
comprehension. Apple website is a prime example
for a site that leverage large high quality image
paired with a minimal text to effectively direct
to visitor focus towards their feature product. Dropbox utilize prominent call
to action buttons that are visually distinct and stand out from the
surrounding content, ensuring that the key
actions are easily indefinable by making sign up and login options
readily accessible. Trap books facilitate
effortless navigation contributing to higher
conversion rate. In the realm of the news
and editorial content, the New York Times employ a large and bold headline to
draw immediate attention, complemented by subheading
and body text that are clearly differentiate
in size and weight. Vogue magazine is liberated for its elegant and
sophisticated typography, which effectively
guide reader through its editorial content
with a bold headline and a clear hierarchy maintained
for subheading and body text while adhering to consistent typeface
and layout principle. Similarly, the guardian relies on SEF typeface for
its bold headline, coupled with the
logical hierarchy for its subheading
and body text, contributing to contemporary and reading friendly presentation
of a news content. This example illustrate this
practical application of visual hierarchy
principle in creating user friendly and
effective website design. Visual hierarchy
in graphic design. In the realm of a
graphic design, particularly in
poster and fliers, the manipulate of
size and scale is fundamental technique for
establishing visual hierarchy. Making one element significantly larger than all the others is a straightforward and highly effective way to
immediately create a focal point and indicate the primary message or
element of importance. For poster design,
the largest element often hold the highest visual. Especially considering
that poster are frequently viewed initially from a distance with a less focused gaze. For instance, in
a movie posters, the variant size of a
text element can clearly delineate the importance of
a different information, such as the film title
being significantly larger than the actors
names or the release date. The sheer scale of an
element can make it the immediate point of
attraction interestingly, even when conventional
design rules may suggest otherwise. The strategic use of
the scale can still effectively communicate
the intended message. The strategic application
of color and contrast is another powerful method for establishing visual hierarchy
in poster and flyer design. Color can be used
intentionally to dry the viewers eyes to specific
area of the design, guiding their attention
in a desired sequence. Bright or bold colors inherently poses a greater
ability to attract attention. And in this context,
warmer colors like red, orange and yellow are often
particularly effective. Creating a strong contrast
between colors can further enhance the ability of certain design
element to stand out. For example, using a
limited color palette with a sudden impactful pop of a contrasting color can
effectively narrowing the viewer attention to
that specific element. Black, due to its high contrast
with many other colors, often stand out most
prominently and should therefore be
used for emphasis. The interplay of warm and
cool colors can be also liberated to create contrast and direct the viewers gaze
toward the warmer tones, which are typically
perceived as more important. The effectiveness of
color and contrast in establishing hierarchy is
evident in a numerous example. A poster may feature a
vibrant red for its headline against a color blue background immediately round the
eye to the main message. The GDQ's use of a
limited color palette, where contrasting
color is used to highlight a call to
action or a key piece of information can be far more impactful than design with a numerous equally
vibrant color, which can lead to visual clutter and lack of a clear hierarchy. Visual hierarchy in mobile
application user interface. In the context of mobile
application user interface, the design establishing a clear visual hierarchy
is paramount for guiding user effectively through the application's
feature and content. Visual hierarchy, UX design, refer to strategic
arrangement and presentation of element within the interface to guide
user attentions, facilitate understanding,
corsion interaction. This is achieved through
the thoughtful use of visual cues such
as the size, color, typography, and
spacing to create indiscriminable
order of importance among the onscreen element. An effective visual
hierarchy and mobile app ensure that users are directed towards the
most important element, such as call to action
and navigation menu, simplifying the decision
making process, and helping them focus
on their intended tasks. The homepage and lending pages
of mobile application are particularly critics area of application of a strong
visual hierarchy principles. To prioritize
information effectively, designers often employ bold
typography and contrasting colors to make primary
action, standout and perenly. Important button, for example, should be rendered in large
size and utilize colors that contrast sharply with
the background to immediately capture
the user's focus. Placing the most
important content toward the top and in center of the screen is
another key strategy of establishing visual
weight and guidance. The user initial attention, tablishing visual weight, and guiding the user
initial attention. Button hierarchy and
placement are crucial for fostering intuitive
user interaction with a mobile application. Primary button would represent the most important
actions a user can take on screen are typically filled with a solid color to make them visually permanent. This button are designed
to immediately catch the user's attention and guide them toward the main
action available. Segundory button which offer alternative or less critical
actions are often styled as outlined to provide
visual distinction without competing with the
primary button for attention. Try buttons, representing
the least important action may be represented as
field tonal buttons or simply as text links. For optimal usability, the primary action button should always be
clearly visible and it's often positioned
in the top area of the screen or in the button
corner of easy thumb access. When multiple
buttons are present, they can be grouped either
vertically or horizontally, depending on the available
interface space. In mobile interfaces, vertical grouping is often preferred due to the
limited screen width. If the button scroll
along with the content, the primary button
should ideally be placed at the top of the
vertically arranged group. Conversely, if the button are fixed at the bottom
of the screen, primary button should be
positioned at the bottom, making it easy to reach
a ball with a thump to further reinforce
the hierarchy. Color and size can
be used to reduce the visual permanence or
less crucial buttons. Ensuring that the
user attention is primarily drawn to the
most important action. A single screen
should idely have only one main action to
avoid user confusion. Optimal button placement in a mobile app often follows
the Gutenberg principles. Suggestion that the
button should be placed at the end
of the user network scan Path to maximize their impact when the user
is ready to take actions. Numerous mobile application effectively guide users through their enter face by employing clear visual cues and establishing a strong
visual hierarchy. On Ecommerce product page, key information such
as the product title, price and buy now or add to card bottom are typically emphasized through
larger font size, bool tex and high
contrast colors, often placed permanently at the top of the screen or in
easily accessible areas. Mobile banking application often highlight critical action
like transfer money, view balance, and pay bills. On the main dashboard using
permanent button or icons, while secondary features are
relegated to navigate menus. Social media feeds, Pritize
the latest post from followed accounts along with
the key interaction buttons. While older content
profile navigation are accessible through
scrolling or separate tabs. While structured
navigation menu, mobile apps often places the most important section
in a visible button. Navigation bar for
easy access with a less frequently used section located is more tap
or side drought. Botifi mobile app feature permanent play button and organized playlist in a
visually clear manner. While AirBNB mobile experience utilize clutter free
grids to showcase the striking
photography and employ strategically placed search and navigation icons at
the top of the screen. Slack's mobile app demonstrate thoughtful use of
alignment proximately and color to create
visual cohesion with related icons and label
aligned in a tidy column. This example underscore
how mobile application across various domain effective deliverge Visual hierarchy to streamline user experience and facilitate text complement. Visual hierarchy in
editorial design. In editorial design, particularly for
magazine and newspaper, the organization of
content flow is heavily reliant on effective utilization of layout and grid system, predetermined grids, which
divide the page into column provide the
fundamental structure for arranging texts and images. Newspaper often employ
multi column grid system to accommodate the large volume of information they present. Layout and editorial design frequently adhere to
established reading pattern, such as the F pattern, which is commonly observed on the text heavy pages
like newspaper. The strategic use of white space is crucial
for separating different article 0R section and for grouping related
content together. Enhancing the overall
clarity of the design, proper spacing not only
improves readability, but also adds faces
to key element. Guiding the reader's eyes
through the NDD sequence, alignment play a significant
role in creating order and visual connection between various elements on the page. Consistent alignment
contribute to sense of a visual harmony and make it easier for reader to follow the flow
of the information. Grid system provides
a framework for the effective combination
of typography imagery, ensuring a cohesive
and organized presentation of content. Typography is a cornerstone for editorial design in the careful
selection of font size, and choices and weight is
essential for creating a real visual hierarchy
within the text itself. Headline in magazine
and newspaper typically utilize
larger bold font to immediately capture
the reader attention and convey the main
subject of an article. Newspaper headline
in particular are often rendered in
a large font size to ensure the standout. Subheading while smaller than the main headline are
still designed to be visually distinct
and serve to organize the article
into logical sections, breaking up large blocks of text and guiding the reader
through the content. They help to structure the design into groups
of related information. The main body text of
the article is usually set in a readable font
that's a smaller size. Design for comfortable
reading over extended period. This level of
typography is where the detailed information of the story is
typically presented. Variation in font weight, such as using bold
or light phones, as well as stylistic
choices like Italics, can be employed to emphasize specific words or a
phrase within the text. Bold phones, for example, tend to demand
attention furthermore. Combining different typeface
with a layout can create visual interest and help to reinforce the hierarchy between
different level of text. Well defined
typography hierarchy ensure that reader
can quickly identify the important information
and navigate through the supporting detail
and structured manner. Examining the layout of established magazine
and newspaper reveal several common strategic for achieving effective
visual hierarchy. New York Times, for Instance, is known for its clean
and effective use of typography hierarchy feature
enlarge bold headline, clearly differentiate
subheading and easily readable body text, vogue magazine employ an elegant and sophisticated
approach to typography, utilize and bold headline
that command attention, along with the subheading
and body texts that maintain clarity
and readability. All while adhering consistent typeface
and layout principle, visual hierarchy in
data visualization. In the realm in
data visualization, visual hierarchy play a
critical role and enable a clear efficient interpretation
of complex information. This is achieved through the strategic use of various
visual cues, including size, color, shapes, and
labels to emphasize key data points and guide
the viewer understanding. The perceived size of element in a card directly
influence attention. Larger element tend to be notice more quickly,
for example. In Parito cards, the most
significant variable are often represented with a larger and bolder
visual element. Similarly, in a bar cards, the lens of the bars
corresponds to the data value. Naturally drawing the eye to the longest bar which
represents the highest value. Color is another powerful tool for highlighting important data. Bright or contrasting
color can effectively draw the viewers eyes to specific
data points or trends. Hit maps, for instance, utilize color saturation
to represent data, density and magnitude with
a more intense color, often indicating higher
values in a bar card, contrasting color can be used to distinguish between
different categories. Making comparison
easier, while less commonly used for
primary hierarchy. Distincti shape can
be also employed to differentiate
various data points within the visualization. Clear and strategically placed
labels are essential for providing context and guiding the viewers understanding
of the data. Techniques such as using
bigger and bolder fonts for a labor associated with the key data points can
further enhance emphass. In three maps, for example, clearly labeling each rectangle, ensuring that the
viewer understand the category represented
by its size. Numerous examples of data
visualization effectively communicate in sit through the application of visual
hierarchy principles. Paritu cards which combine
bar cards and line graphs emphasize the most
significant variable by displaying them with
larger and bolder bars. Now, analyzing real world
examples across various design displaying provide
compelling evidence of the effectiveness
of visual hierarchy. Like the site we
always use as example, the Apple site or
the Apple homepage. For instance,
strategically employ large high quality
image coupled with a minimal text to
immediately direct the viewer focus toward
their featured product. In conclusion, visual hierarchy is fundamental design principle that dictate the order in which viewer perceive and
process information. The essential
principles that govern visual hierarchy
includes size and scale. Where the larger element command greater
attention, color, and contrast, which are used to attract the eye and
create focal point. Typography copaalfont
size, weight, style, and case to structure
textual content, space, and layout,
including white space, proximity and alignment, to organize element and
improve readability, reading patterns such as the
F pattern and the Z pattern, which inform the strategic
placement of key information. And another principles like repetition, texture, direction, and perspective,
which can further enhance visual
organization in faces. This principle work
in a concert to guide the viewer's eye and establish a clear sense of importance
within the design. To implement effective
visual hierarchy across various design contexts, several actionable
recommendations can be followed. Clearly defining website
goals and understanding the priority of content
are crucial first steps. Strategic use of size and scale should be employed to emphasize the most important elements. Typography should be
chosen wisely to establish a screenable hierarchy through
variation in font size. Weight and style incorporating
significant white space is essential for
improving readability and focusing attention
on the key areas. Mintaining consistency in design element
through website or application is a
vital for creating a cohesive and predictable
user experience. When placing important
information, designers should consider
common scanning pattern like the F and the Z pattern
to maximize visibility. The purposeful use of
color and contrast can effectively draw attention to key areas and highlight
important information. It is also important to align the visual hierarchy with
the underlying information, hierarchy to ensure that the visual permanence of element reflect their
actual importance. Priortizing key content by
placing it upfront and making primary action
visually permanent are crucial is effective
user guidance. Finally, leveraging color and contrast attentionally
can further enhance the visual distinction between different element and guide
the user eyes effectively. Achieving optimal
visual hierarchy is often an interactive
process that requires ongoing
testing and refinement based on user feedback
and analytics. User testing can provide valuable insight into how
user perceive and navigate the visual structure
of the design by continuously iterating
and improving design based on
user interaction, and data designers can optimize the visual hierarchy to achieve the best possible user
experience and ensure that the intended message
is communicated clearly and effectively. Now let's look at
this example by the great Pablo Picasso Gernic the visual hierarchy
design principle is complex and powerful guiding
the viewers eyes through this chaotic scene of suffering and destruction
in deliberate way. Where there isn't a
single clear focal point in the traditional sense, Picasso used several
techniques to establish a hierarchy of importance
among the figures and element. The most permanent figures such as the screaming horses in the center and the ball on the left are larger
than other element. Their central placement also
draws immediate attention. This figore can be considered high in the visual hierarchy. The stark black, white, and gray palette create strong contrast area
with a high contrast. Like the white horses against the darker tones
tend to stand out, the intensity of the screaming
mouth of the horse and the anguished face of the
figure also draw the eye. Sharp angular lines and the directional threat of
element like the spear person, the horse, and the
reaching arms of the figures guide
the viewer's gaze. The implied lines of the sight and the gesture
of the figure create pathway for the eye to follow establishing a flow
through composition. Certain figures or element are isolated within
the chaotic scene, drawn attention to their
individual suffering. For example, the figure holding the dead child on the left
and the falling warrior at the bottom are given
permanent through their distinct drawn attention to their individual suffering, for example, distinct placement
and emotional intensity. The symbolic nature
of the element also contribute to
the visual hierarchy. The screaming horses often tripartd as representing
the innocent victim of the violence command
attention due to its central position and
peaceful deception of agony. The ball, which is
ambiguous symbolism also hold a significant
place in the composition. This visual hierarchy
Picasso Gernka is achieved through a complex interplay of a scale placement, contrast, line, isolation,
symbolic weight, and the use of
light and a shadow. These techniques work together to guide the viewer through of devastation and
suffering key figure and team within
the chaotic scene. This is another example of a visual hierarchy
by the Raphael, the School of Athene expertly
uses central placement, light, adjuster,
perspective grouping, color, and implied lines of a sight to establish a
clear visual hierarchy that emphasize plateau and Aristotle as the focal points of this
gathering of a great thinker, the surrounding figures and architectural elements are
carefully arranged to support the central focus and
guide the viewers understanding of the scene's
intellectual significance. Another example also in Henri de Toluse at
the Moulin Rouge. The visual hierarchy
established through a combination of figure
placement, scale, color, and the implied
direction of gaze and a movement guiding the viewers eyes through the bustling scene. The dancer in the center
with her raised leg and a swirling skirt
immediately draw attention due to her dynamic pose and center and placement. Her action is the most energetic and visually
arresting in the scene, placing her high in
the visual hierarchy, the figure in the foreground, particularly the woman
in the pink dress with the elaborate head and the artist himself often
identify in the foreground, are larger and closer
to the viewer. Their scale and proximity
give them visual prominence. Inviting the viewer to
observe them more closely. At the Moulin Rouge,
employ visual hierarchy, throw the central placement
and action of the denser, the scale and proximity
of the foreground figure, color contrast, imply
lines of sight, and the spetual
arrangement of the crowd. These techniques work together to guide the viewers
eyes through the lively scene and emphasize the key element of
the performance and the individual present. Now as you so master
and the design principle and the
visual hierarchy, working together
will make you create amorable and effective
designs that will be always remember
the great art or great graphic design for
other artists to follow. Try practice all these
core principles and the visual hierarchy on your work and see how to
apply them effectively. You can work with a two
or three design principle and organize visual hierarchy. It's enough to create
a compelling art. You don't need to use all the principle design in one piece. You can use only one or
two or three or four. Any principle you
can use in harmony together will give you the greater outcome
you are looking for. Keep a practicing to ensure
your design standout.
17. Class Project: For your project,
create single poster for a fictional event
like a music festival, art exhibit or a product launch, and intentionally apply at least to design principle,
for example, balance and contrast or aligning a negative space to strengthen its visual
hierarchy and impact. Use your interactive HTML files to experiment with
layout variation, then delivered a final
poster file along with a brief half page explanation of which principle you choose, how you apply them and
how they work together to guide the viewers eyes and communicate your
message clearly.
18. Final Thoughts And Tips: Okay, guys, in this lesson, I will show you how to use the interactive design
principle systems. I quit for the class, so it can help you
understand more about on this principle by
interacting with them. Okay? So example, this
first one we have here. As you see, we have
bought in with balance, and it shows you the shape. Here, you can see the tips, you find good example
and poor example, and you can make
cut asymmetrical, create balance, radio, we
can do also for contrast. You can use the color, use the size contrast. Sample here, click, show the size contrast,
shape contrast. Same. You see the example, the tips, and everything. Same for faces. You can click example
and faces with contrast. You can use example
contrast with efaces. You can create efaces
with contrast, faces with isolation,
with the scale, direction, rhythm and
pattern, the same. You can use all the option here. So here you can find
the explanation, regular rhythm, rhythm, progressive rhythm,
render them rhythm. You can use them here, okay? As you click example on
repetition, the same, you click Pet colors, pet shaves, Bit pattern
repeat with variations, and you can find the
explanation, okay? Second one we have here. Also, it's another one. Reset Canvas first, we can rest Canvas here. Example here. When you click on Balance, you click Demonstrate principle. I show you, an example
make randomized color, demonstrate principle, click on contrast,
demonstrate principle. I can move the shape paces. Demonstrate principle. Okay. Term, give me straight
principle, rhythm. Demonstrate principle. Movement. I can move
the shapes also. Well, this is how it works. But the most
important here also, I like to show is you can
tackle the shapes, change, o and the Me coder for sure. I think we're going to go
to set Canvas at element. I can move the element here. So as you see here, guys, if I click on Balance, I click at element. Okay, I can move the
shape, put it here. Here it gives me X
means it's wrong. It's a design
principle, it's wrong. I can add another element, and I'm trying to
make correct one. So as you see here, it appeared green take
means I did correct, okay? Another thing, if I want
to change the shape, I can just scroll the
wheel to make the shape bigger or smaller, okay? So is that the Canvas. This is a Boho balance
design principle. I just quitted to show you a little bit how can
the balance work in the Bojos example? So if I click, give
you some explanations, symmetric, radio, mosaic. This is a little system just
to understand about how the balance example
can be used in something big like the Bhas
Interacting with this one, you can understand
each principle, how it works, same as balance. Now we have another one here, you can write anything. Now, the idea behind this is
that with the same shapes, we can create different
kind of a principle. So if I click for example, he gave me contrast. Click again, balance and give you some
little explanation. Same shapes, also alignment,
here, proximity, repetition, movement, places,
hierarchy, rhythm, space, unity, pattern, then
we back to original design. This is just a little experiment to see how we can create
with the same shapes, a different kind of
design principles. Okay? This is to understand
the visual hierarchy. As you see here, you can have
all the tips here, okay? Okay? We go outside. Se color contrast, highlight
important, monochrome, Z, position and space, enter a space, combine
multiple principle. Real world example. Now here you can build
your own hierarchy by example, adding circle. You can move square You can add triangle and you can experiment like that, guys. You can choose any
color here example. Choose the blue and add square. It's going to
become blue square. You can experiment
guys with this square. So this is a simple
interactive system to understand a little bit
about visual hierarchy. Now here we have a
design principle quiz. We can just answer the quiz, and then you see how
many points you made. So to know if you understand
it well or not, Okay. Example, if I say contrast, here, that's the correct
one, go to next. Here it asks me what design
principle is primarily demonstrated by these
nested rectangles. You can say texture, visual hierarchy,
simplicity or pattern. Okay, so you can find
the answers and say texture because it demonstrate
kind of texture, color. I say next. Here emphasis or movement
or variety, the same thing. Okay? So I made four of 16, and then you can keep on guys, answer all the questions, and you see how many
points you made. Okay? This is the
interactive quiz you will practice before you
do the PDF quiz, which is the one here. You're going to answer
all about this question and then you submit
to the course page, so I can see all your answers and how you understand
this class. It's not complicated just to help you understand
more the class. So try to answer as much as
you can of these questions. That's it, guys.
I hope you liked the class and everything
was clear for you. By applying all you learned in this class and practicing with all the
elements I gave you, you will become a
great graphic designer by applying all this principle. Thank you for taking the class,
and I hope you enjoy it.
Belhadj Ramzi, concept artist, concept designer, vfx ar
