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PROFESSIONAL DIPLOMA IN
GRAPHIC DESIGN
SUMMARY NOTES

MODULE 1
LESSON 2: THE ELEMENTS &
PRINCIPLES OF DESIGN
BREAK THE RULES IF YOU KNOW THEM
 TABLE OF CONTENTS:
3 FOUNDATION OF GOOD DESIGN

4 ELEMENTS OF DESIGN

SPACE

LINE

5 SHAPE

SIZE

TEXTURE

VALUE

6 COLOUR

9 HOW THE ELEMENTS ARE APPLIED

10 PRINCIPLES OF DESIGN

FOCAL POINT

11 CONTRAST

BALANCE

12 MOVEMENT

13 PATTERN

14 UNITY

15 GESALT

PROXIMITY

16 SIMILARITY

CONTINUITY

CLOSURE

17 BONUS PRINCIPLE: HIERARCHY

THE DESIGN CYCLE

BRIEFING

RESEARCH & BRAINSTORMING

18 THUMBNAILING

PRODUCTION

PRESENT

RECAP OF LESSON 2

BIBLIOGRAPHY
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Foundation of good design

Today, we will focus on the foundation of good design.

We refer to this foundation as the elements as well as the

principles of design and how to combine them into a visual
unity.

The elements of design are the building blocks of your design

and the principles are how you apply these building blocks.

To put it into simpler terms: imagine that you are in charge of

a large building project.

As the project manager, you will need the necessary building

material as well as a team of builders and architects to
construct your client’s dream home.
The building material we refer to as the design elements.

The team of people you will be working with we can refer to as

the principles when it comes to graphic design.

What this means is that the elements are the physical

ingredients or building blocks we use to construct our design.
The principles refer to how we apply these elements in an
effective manner.

The end result of successfully applying the elements (our

building material) and principles (our team) is a successful
building project which we refer to as an effective visual
hierarchy. Neither can exist without the other so both are
equally important.

As you are familiar with the elements we discussed in lesson 1,

can you recall what they are? Remember we had 7 elements
we referred to…they are space, line, shape, size, texture, value
and colour.

We will also focus on how to successfully apply these elements.

The principles of design consist of focal point, contrast,
balance, movement, pattern, unity and the very important
theory of gestalt.

Now, what happens if we do not successfully apply our

elements and principles of design?

We will have a failed building project. At the end of the day, it

doesn’t matter how well you know any of the design programs.
If you do know have a strong foundation (elements and
principles of design), your designs will not be effective and
won’t convey the correct message and that’s exactly why this
lesson is so important!

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OF DESIGN
Lesson two is about the elements and principles of design and how to apply them. Starting with the elements of
design, which you are familiar with by now as I introduced them to you in lesson 1. Note that the elements might
differ from source, and you might get more or less elements, but at the end of the day, they all come down to
the same foundation.

1. Space
We will discuss all our elements and principles in
more detail starting with our very first element, space.
As implied, space is the area we use to design, it is
resembled by the empty areas on your design, which we
refer to as white or negative space. Note that we refer to
it as white space, since it resembles the white of a page.
I however prefer the term negative space as it is not
always white.

The elements that actually fill your page like images

and text are referred to as positive space. The closer
elements like images and text are to each other on a
design, the more difficult it is for your viewer to make
sense of. Space also helps to guide your viewer and will
make a piece more legible and comfortable to read.
Space is essential for legibility as well as aesthetics. It Figure 1: The elements of design
thus allows your design to breathe and provides your
viewer with a visual rest.

2. Line
We can refer to line as the primal element since all
other elements consist out of some sort of line (except
for space, of course). A line can be straight, curved, or
broken up, thick or thin, vertical, horizontal or diagonal.
As mentioned, lines are the basic forms of all designs,
but combining them creates a sophisticated design and
the illusion of an image.

We can even go as far and say that line can also be

implied, meaning that we do not necessarily need a
physical line to be present but consider that we type on
an imaginative line to make sure that all type lines up
horizontally. Even shape, which is our next element is
in fact line in a closed form! The type of lines used will
even evoke different emotions and convey different
meanings.

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Think about strong diagonal lines. What comes Think about text columns that is an implied
to mind? I bet you it is definitely not a sense rectangle and the order they bring to a design. A
of calmness but rather a sense of urgency and rectangle or square is also more masculine than a
excitement. Diagonal lines are dynamic and will be circle.
mostly used to convey motion, agility and strength.
A triangle on the other hand can have different
A thin, horizontal line will convey a sense of meanings depending on the direction it points. A
elegance and sophistication. It will probably be used triangle can even be an arrow and create a sense of
with a more formal approach. Consider where you direction.
have witnessed thin horizontal lines and the reason
why they were used. If a triangle however points downwards, it creates a
The same can be said about thin vertical lines, but sense of tension, alertness and aggression.
unlike horizontal lines that resembles calmness,
vertical lines would much rather convey a message 4. Size
of success and excellence. The next element is size, also known as scale or
mass. Size is relative with regards to other elements
By simply adjusting the space and thickness of your and the proximity of those elements. It is important
lines, you will be able to convey yet another type of in that it draws attention to larger elements on a
emotion. Thick vertical lines can convey a sense of page and thus plays a significant role when it comes
growth and stability, just like a pillar. Even using a to creating emphasis as well as hierarchy. It also
specific colour will also change the meaning of your aids in making less important elements on a page to
line. not be emphasised.

3. Shape 5. Texture
As mentioned, shape can be defined as a closed Texture does not need to be physical or tactile but
form of line. Shape can also be referred to as form. can be implied or visual too. We are able to create
We have three kinds of shapes, organic, inorganic implied texture in 2Dimensions by making use of
and abstract. the design elements.

Organic shapes, like the name implies are natural Texture is created by simply repeating shapes or
and usually found in nature. They convey a sense of lines in a continuous manner to form a texture.
spontaneity and are pleasing. Depending on the project at hand, texture can be
used in different ways. For example, when creating
Inorganic shapes are geometric in form and usually a logo however, keep texture to a minimum as it
man-made and can resemble squares, triangles makes your logo difficult to view and resize.
and circles. These shapes convey more order add
structure. It actually helps to keep things relative by creating
a sense of depth and making items seem more 3
Abstract shapes are simplified forms of a real object, dimensional. Textures can create a more three-
like the sign to indicate a male or female restroom. dimensional appearance on this two-dimensional
surface and also acts as a secondary element giving
Thinking about the stick-figured icons find at public support to the main image, reinforcing the visual
restrooms; they do not resemble a human perfectly concept.
but it conveys the message perfectly – this is a great
example of abstract shapes. 6. Value
Value, refers to tones of light and dark and also
A circle, which is an inorganic shape resembles plays an important role in the element of colour.
eternity, grace, is more feminine and also resembles The tones in between light and dark can be referred
a sense of power and protection. to as shades of grey or greyscale.

A rectangle or square conveys a message of stability, In the same way as when making use of colour, we
honesty, and order. make use of value to place emphasis on certain

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aspects of our design. If you are making use of value and there is no colour
present in your artwork, it is important to have a lot of contrast between these
shades of grey in order to create emphasis – the use of only one colour with a
different values, is known as a monochromatic colour scheme.

A handy tip I would like to share with you is that when you are designing
something, try and visualise what it would look like in greyscale. It you can’t
see a lot of contrast when it is done in greyscale or if the items you wanted to
have emphasised does not stand out anymore, reconsider your use of colours,
especially when it comes to logo design.

This logo seem very sophisticated, modern and classy but when converted to
greyscale, you can immediately see there is almost no value difference between
the navy background and bronze logo.

Image 1: Low contrast logo concept converted to greyscale (value)

However, simply changing the background gives the logo more contrast and thus.
When converted to greyscale, the value quality is preserved.

Did you Image 2: High contrast logo concept converted to greyscale (value)

know fun We are drawn to high contrast and would much rather prefer a design with a lot
fact: of contrast and thus, understanding value is very important.
As with most cultures,
the colour white is 7. Colour
a symbol of purity, Colour is one of the design elements that is so vast we will actually spend quite
innocence, goodness some time on it. It is probably one of the most powerful elements a designer can
and light. It normally make use of to convey a message, thus understanding it is crucial.
has a positive
connotation. It not only involves the visual aspect but also a psychological aspect, When it
But did you know comes to colour, the actual tone and value can also change the mood, and colour
that white resembles can also mean different things in different cultures. It is a topic that needs to be
mourning in the researched intensely before just combining a variety of colours, especially when
Chinese culture? It it comes to designing something for a culture you are not too familiar with. Good
is associated with design should work in the absence of colour and should enhance the features of
death and can be seen the design. It should not simply be used as the design itself. Again, as with value,
quite a lot at Chinese desaturate your design and if it doesn’t work, you should reconsider your use of
funerals. colour.

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Colour also aids in creating contrast and certain colours can complement
each other very well, whilst others don’t look good together at all. If it
exhausts you and you really need to focus to read or view the image,
don’t do it!

Figure 2: Good contrast vs bad contrast

Colour has the ability to group and organise elements together, it creates
impact and also evokes emotion. But in order to achieve all these, you
will need to understand colour theory. We will have a look at the colour
wheel and how to combine colours using this feature.

Colour has the ability to group and organise elements together, it creates
impact and also evokes emotion. But in order to achieve all these, you
will need to understand colour theory. We will have a look at the colour
wheel and how to combine colours using this feature.

The colour wheel can be broken into 12 colours that consist of the
primary colours which are red, yellow and blue; the secondary colours:
green, purple and orange as well as the tertiary colours: blue-green,
blue-purple, red-purple, red-orange, yellow-orange and yellow-green.

Figure 3: The colour wheel

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These colours can

be combined in
numerous ways which
we like to refer to as
colour schemes.

These include:
complementary
colours which are
colours opposite each
other on the colour
wheel; tetradic or
rectangular colour
scheme which
uses two pairs of
complementary
colours; analogous
colours which are
colours next to each
other on the colour Figure 4: Colour schemes
wheel - please be
careful with combining
too many colours Splitting the colour wheel in half between yellow and purple will actually divide
when it comes to this the colours between warm and cool. Have you noticed that when combining
colour scheme. colour schemes that most of them include both warm and cool colours? When
making use of a colour scheme it is important to have one dominant colour and
We have the triadic one submissive colour. If you are not sure how to determine this, note that
colour scheme which warmer colours tend to be more dominant.
uses three colours
spaced evenly around
the colour wheel;
there is the square
colour scheme which
uses four colours
evenly spaced around
the colour wheel Figure 5: Warm & cool colours

and then last but

not least, the split Moving on to the colour properties, we have hue, saturation and value. Hue can
complementary colour be defined as the type of colour you are choosing, in other words, a synonym for
scheme which, similar hue can also be the word “colour”. Saturation refers to the intensity of a hue/
to the complementary colour and value refers to the lightness or darkness of a colour.
colour scheme, uses
colours opposite each
other on the colour
wheel but instead
of two colours will
split the one colour
and use two adjacent
colours from this split
colour.

Figure 6: Hue, saturation and value

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Understanding the colour properties allows you to be even more creative when it comes to designing. Remember when
we mentioned that the warmer colours on the colour wheel are more dominant? Now, imagine that you would much rather
want the cool colour to be dominant? You guessed it, you would simply apply colour properties to downscale the warm
colour. An example would be to bring down the saturation of a warm colour to make it more subtle. We will actually look at
practical examples a bit later in this lesson.

How the elements are applied

I would like to show you an example of how colour has been successfully applied to a composition. This example boasts with
a tetradic colour scheme of red, orange, blue and green.

Image 3: Bonsai tree photo manipulation artwork - colour scheme

Let’s look carefully… We’ll start with the easiest first. Green bonsai tree in the centre, the value has decreased, meaning
is very obvious in the grass as well as blue in the night sky. that white has been added to the red.

But where do I get orange and red from? What happens to red if you add white?
Remember the colour properties we just spoke about? Yes, it changes to pink. You will also notice that the cooler
Orange is visible in the big trees outlining the smaller bonsai colours in this example is dominant creating a nice balance.
tree in the centre. The value of orange have been increased After explaining the use of colour on this image, can you see
by simply adding black to form an almost black/orange. what I mean?
But where do I get the red from? Again, looking at the

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Principles of
design
Having discussed the elements of
design, we will now look at how to
apply them – we refer to this as the
principles of design. The principles
of design consist of focal point
or emphasis; contrast; balance;
movement; rhythm or pattern and
unity and also the theory of Gestalt.

Figure 7: The principles of design

1. Focal point
The first principle we are looking at is focal point or emphasis.
The focal point is the most important visual on your artboard
- it is the visual that draws your attention first. But how can we
make this visual stand out? By simply applying the elements of
design effectively! Think specifically in terms of using colour,
size and value to place emphasis on your most important
element. A rule when it comes to focal points is to only have
one per page. You can’t have two focal points competing for
attention. If you have either no focal point or more than one, it
will not be a focal point any more.

Which part on this poster do you consider as the focal point

and why?

You most probably saw the pizza first. The reason being that
the texture is quite different from the rest of the advert. Also,
the use of colour as well as it’s size in relation to the other
elements makes the pizza stand out too. The pizza is the only
element that deviates from the colour scheme and style.

Did you also realise that there is only one focal point? We do
have a secondary focal point which, in my opinion is the Pizza
shop sign but it does not compete with the actual pizza.
Image 4: Pizza shop pamphlet - focal point

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2. Contrast
Contrast can be applied in almost any way. Simply using the
elements of design in opposing ways will add contrast. Texture
vs smooth; small vs large; dark vs light; positive space vs
negative space. Even combining different patterns or textures
can also create contrast. The options are literally unlimited.

Contrast allows us to emphasise key elements and without it,

your design will look uninteresting. We can even go as far and
say that if there is no contrast, chances are that you do not
have a focal point.

Image 5: Silhouette of man’s face - Contrast

3. Balance
Balance can be achieved in two ways, symmetrical balance and asymmetrical balance as long as each side carries equal
weight. As the name implies, symmetrical balance is when the two opposing sides are reflections of one another.

Asymmetrical balance on the other hand is when the two opposing sides are unequal but still form a balance - this is usually
visually more pleasing.

Image 6 is an example of symmetrical balance. If we had to divide this composition vertically, both these halves would be
mirrored versions of each other.

Image 7 is an example of asymmetrical balance. By dividing this composition either vertically, horizontally or diagonally, none
of the sides would mirror each other however they still form a balance due to the abstract repetition of elements.

Image 6: Symmetrical balance Image 7: Asymmetrical balance

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4. Movement
Movement refers to the principle that
good design controls the eye’s flow
through a composition. This means that
the most important element should lead
to the second most important and so
on. Movement also however needs to
be balanced. Too much movement will
exhaust your viewer so learn to use it
sparingly.

Interestingly, due to the fact that we read

from top to bottom and left to right, we
tend to view items as such.

You will notice a lot of designs will have

big bold headings at the top and the least
important elements will be at the bottom
due to the way we read and view things.
It is not a good idea to have your most
important element at the top, your
second most important element way
at the bottom and then the rest of the
information scattered throughout your
composition. Image 8: Movement

Image 8 is a great example of how movement have been applied by not

This causes too much movement and only making use of the composition but also by making use of elements like
your viewers won’t know where to look. arrows. This composition is thus viewed from top to bottom by the help of
the arrows.

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5. Pattern
Pattern is also known as rhythm. A continuous pattern can also create movement
- this is linked to repetition that eventually forms a unity the whole design fits
into; it brings the whole design together. Think of it as following a theme by
combining the elements and principles. The repetition of certain elements will
form a rhythm or pattern.

Pattern can have two meanings, whereas the first is simply the repetition of
elements. As seen in image 9, the use of dialogue bubbles creates a pattern that
has been applied to all the pages of this brochure along with the use of repetitive
colours and textures.

Image 10’s example of pattern is linked to the standardisation of elements in a

consistent manner. Think about the use of a website. You know that the menu
bar is at the top of the website since this has become a standard feature for
websites. This is thus linked to the user-friendliness of the design.

Image 9: Pattern by using dialogue

bubbles & colour

Image 10: Pattern by using the standardisation of elements in a consistent manner

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Image 11: Design containing no unity

6. Unity
Unity also known as harmony, refers to all elements
and principles on the composition working together and
communicating with one voice. It relates to the consistency of
the design and making sure all the elements relate with one
another. Unity helps to create order and hence this is why the
theory of Gestalt links well with unity. At the end of the day, if all
your elements and principles do not form a unity, you will need to
reconsider your design approach.

Unity can also be applied to various designs or compositions

within a project. I like to refer to unity as the theme of the
project. Think about a corporate identity and the same elements
that are applied to the letterhead, email signature as well as
business card.
What do you think about the unity in this example? Does it work
for you?

Absolutely nothing in this design is unified. Firstly, you have

a diagonal gradient, with a repetition of black dots then some
striped gradient lights. This is an excellent example of how not
to use the elements of design in conjunction with one another.
Every single element on this design screams for attention and
there is no theme or unity that flows.

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Figure 8 & 9: Proximity put into practice

Figure 10: Proximity put Figure 11: Proximity put

into practice into practice - combining
the icons in figure 10 to
form the Unilever logo

7. Gestalt to other objects, the more they seem to be related or

Our brains will form a pattern in what might seem as unified.
visual chaos and this is where the four laws of Gestalt
guide us, specifically in graphic design. These four laws Having a group of circles, we can all agree that it seems
consist of proximity, similarity, continuity and closure. as though they belong together. But if we move 3 of
The Gestalt principle is based on the theory that the brain the circles to the right, it seems as though we have two
automatically arranges and simplifies objects to make groups of circles. We still have the same circles but due
things easier to understand. to the distance between them, they seem to not belong
together any longer.
7.1 Proximity
Proximity relates to the distance between elements or Looking closely examine the icons in figure 10. I’m sure
objects. The closer objects are to one another in relation you can identify some of the shapes. You’ve probably
to other objects, the more they seem to be related or identified a bee, we have a beetroot in the form of a heart,
unified. a fish, a dove and so on. But my question is actually
where have you seen these icons before?
Having a group of circles, we can all agree that it seems
as though they belong together. But if we move 3 of Still don’t know (if you did, good on you!) but most of us
the circles to the right, it seems as though we have two will only realise when I change the proximity of these
groups of circles. We still have the same circles but due symbols.
to the distance between them, they seem to not belong
together any longer. Have any of you ever seen this logo? Yes, this is the
Unilever logo and we can all clearly identify that it forms
Proximity relates to the distance between elements or the letter U by simply changing the proximity of each icon.
objects. The closer objects are to one another in relation

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7.2 Similarity
Another way our minds group Figure 12: Similarity - the orange circles
things together is based on seem to be unified and the blue squares
similarity. If design elements or forms another unity. However, both
objects are similar in size, shape or these circles and elements are the same
even colour, our minds perceive it distance but due to their differences, they
as being unified. seem ununified

7.3 Continuity
Continuity links to the principle of movement we spoke about earlier. Our minds will follow a line instead of breaking it
up. Think about a cross: we don’t see it as four separate lines but instead we view it as one vertical line overlapping one
horizontal line.

The same principle can be applied to the official Olympic games logo.

If someone asked you to describe the Olympic logo, how would you describe it? Five multi coloured circles joined together.
Well, this is exactly what the principle of continuity is about. We don’t view different circles being cut up but rather five
circles joined.

Figure 13: The Olympics logo applying the Gestalt principles of continuity

7.4 Closure Another great example of the Gestalt

Our minds will fill in gaps and principle, closure at play is the FedEx
see illusions that actually does logo.
not physically exist. This is
known as the Gestalt principle of
closure. Closure is a very clever
way of creating logo concepts
nowadays and it makes use of
clever ways in combining positive
Figure 15: The illusion of an arrow between
and negative space.
the e and x of the FedEx logo - Closure

You might think you are seeing

a triangle but in fact, you are Figure 14: Three sliced circles forming the Can you identify how closure plays a
simply viewing three evenly illusion of a triangle - Closure role here? I want you to look carefully
spaced sliced circles. at the letters and think specifically
with regards to the negative space.

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8. Bonus principle: Hierarchy

Can you see it. Let me know by typing As the word hierarchy implies, it is related to the order of elements. The
what you see in Morpheus’ text box. term visual is obviously related to the actual elements on a composition,
the things we perceive or view. To put it into simpler terms, simply ask
yourself what the most important element that needs to be seen first on
this composition is. Then, what is the 2nd most important element and so
on. Identifying the importance of elements will aid you in determining how
to effectively apply the elements and principles of design. Make sure that
your most important element is the main focal point on your composition -
ALWAYS. No exceptions. Kindly note that hierarchy is MOSTLY applied using
typography and we refer to this as type hierarchy but other elements can
also form part of hierarchy.
Figure 16: The illusion of a bear in the
mountain silhouette of the Toblerone logo - Your eyes will automatically try to identify elements in the top left and then
Closure move down and exit in the bottom right since this is the way we read.
Let’s look at another example.
Image 12: Visual hierarchy put into practice
Everybody is probably familiar
with the Toblerone chocolate logo,
Let’s look at how visual hierarchy have been applied. Again, considering
but have you ever witnessed the
that we read from left to right, and top to bottom, the first word or element
Gestalt principle of closure in this
we see in image 12 is “replace”. Not only is it at the top, but it is also way
logo? One you see it, you will never
bigger than all the other type elements. The next element to catch your
unsee it!
eye was probably the light bulb and then the wording underneath replace.
Lastly, you will notice the smaller wording at the bottom of the page, where
your eyes exists the page.

The aim of your elements and principles at the end is to make sure that the
most important element (in other words your focal point) is seen first and
this is exactly what visual hierarchy is about. If you’re not sure what the
most important elements are, it is normally the heading and also perhaps
a related image that might be second in line.

The Design cycle

Before we finish off, I want to briefly introduce the design cycle to you. We
will look into more detail about this process in lesson 3 and then also get
to work in Illustrator! The design cycle or pipeline basically entails a list of
steps to get a design from concept to present phase.

These steps include briefing, research & brainstorming, thumbnails,

production and present.

1. Briefing
Briefing entails the process of meeting up with your client and obtaining all
the necessary information needed to complete the design project. You can
use a client brief, which is similar to interview questions to determine your
client’s wants and needs.

Image 12: Visual hierarchy put into 2. Research & brainstorming

practice The research & brainstorming phase is where you will need to get as much
information about the company, its competitors as well as relevant design
inspiration that will guide you in the creation of your artwork.

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3. Thumbnailing
Thumbnailing entail the process of using reference images and coming up
with your very own unique concept. This is when the design process start
Recap of lesson 2
but there are the rough drawings before you move onto the computer.
To summarise lesson 2, we
examined the various elements of
4. Production
design which include space, line,
Step four is the production phase on where you actually create the artwork
shape (or form), size (or scale),
on your computer making use of the programs you will learn in this course
colour, texture and value. Then we
discussed the principles of design:
5. Present
focal point or emphasis; contrast;
And the last step, present, is when you provide the client with your finalised
balance; movement; rhythm or
design and they either approve or ask for changes.
pattern and unity. We saw how
the 4 laws of Gestalt; proximity,
I would like to leave you with an exercise that we will make use of in our
similarity, continuity and closure
next lesson. This exercise should not take you more than 5 minutes.
creates unity in design.
Let’s pretend that you have a friend, his name is Fred and he wants to
Visual hierarchy is what all your
open a coffee shop. Fred obviously does not have the capital to pay for a
elements and principles should
professional designer with years’ of experience and asked you to help him
create when applied successfully.
out. In return, he will give you a voucher to spend at his coffee shop as soon
as it opens. You agree to this because you simply love coffee and at least
Well done on completing your
you will be “famous” because your designs will be displayed for everyone to
second lesson of module 1! You
see! To top it off, you get exposure as well - this might even open doors for
can any feedback to support@
your design career!
shawacademy.com

What is the first thing that you think Fred will need?... Yes, a logo. Fred has
not come up with a name yet, and simply would like you to provide him with
Bibliography:
logo ideas first.

Carolynne. 2015, The Graphic

Design Process in 5 Steps. Viewed
24 October 2019, <https://
concept9.ca/the-graphic-design-
process-in-5-steps/>

Hagen, R. & Golombisky, K. 2017,

White space is not your enemy: a
beginner’s guide to communicating
visually through graphic, web &
multimedia design, 3rd ed. CRC
Press, Boca Raton, Florida.

Lewis, S. 2015, Design Process: Tips

for an Expert Graphic Designer.
Viewed 24 October 2019, <https://
designers.hubspot.com/blog/
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Image 13: Fred’s coffee shop needs a logo

You can actually think of a couple of ideas and simply want to start creating!
I would like you to write down words, draw concepts and identify colours
that come to mind when you think about a logo for Fred’s coffee shop.
Please don’t be pedantic about your drawings or creative ability - this is not
what the exercise is about. We simply want to generate ideas now. Please
keep these ideas as we will use them for our next lesson.

Professional Diploma in Graphic Design