Here is a quick overview of what has been covered in this series. Today’s post will conclude the design series.

• The Design Process
• Unity in Design
• Emphasis and Focal Point in Design
• Scale and Proportion in Design
• Balance in Design
• Rhythm in Design (This Post)

Rhythm in design is best explained in one word – consistency. This is achieved by utilizing elements in a composition that are consistent, which creates a sense of rhythm that is understood by the viewer. Typically, rhythm is generally defined as a series of beats in music. Visually, rhythm is created through repetition, patterns, sequences, and textures.

Textures

Rhythm is created in this image by using texture. While the textures vary in size and shape it still identifies continuity as an example of visual rhythm. For example, the clouds are softly flowing in a horizontal form by contrasting value and color.

Shapes and Repetition

In this image, we can see that the shapes are repetitive which, create a juxtapose of repetition in colors and textures within the arrangement of its shapes. This rhythm is also known as Legato. Legato is defined as a connecting and slowing repetition through the use of shapes.

Patterns and Sequences

The repeating pattern of light columns against the darker negative spaces is clearly known as an alternating rhythm. Alternating rhythm is the use of consistent anticipated patterns. This expected quality of the pattern is not created on purpose, unless the repetition is fairly obvious. This aerial view of the city portrays a sequence of forms that not only, alternates in dark and light areas but also, regularly shifts back and forth as the figure and ground alternate for our attention.

There you have it - this concludes our series on ‘The Fundamentals of Design.’ We have covered everything from basic form and shape to techniques related to an emphasis in design. So take our series and show off your creative and intelligent solutions.

Here is a quick overview of what has been covered in this series and what we will be covering next week as the final post within this series.

• The Design Process
• Unity in Design
• Emphasis and Focal Point in Design
• Scale and Proportion in Design
• Balance in Design (This Post)
• Rhythm in Design

Balance is a simple concept that we see abundantly. Simply stated, balance is the distribution of visual weight within a composition. When one views a pictorial, the center vertical axis is always assumed. At this point, the individual judges the visual weight distribution on either side of the composition. Let’s take a look at the quick example below.

The axis functions as a fulcrum on a scale or seesaw, and the two sides should achieve equilibrium. In the image on the left, we can see that equilibrium is achieved through the use of the palm tree. What makes this image balanced is the visual attention placed on the jet in the sky. The Palm tree with its diagonal sweep is subtly balanced by the radiation of its leaves.

Horizontal and Vertical Placement

Sometimes equal distribution of visual weight is a universal aim of composition. Artists consciously balance the vast majority of pictures we see. However, this does not mean there is no place in art for purposeful imbalance. An artist may choose to create imbalance because of a particular theme or topic, where the picture may raise uneasy, disquieting responses in the viewer.

The equal distribution of visual weight is the universal aim of composition. Artists consciously balance the vast majority of pictures we see in the market today. However, this does not mean that there is no room to place an art piece that purposely portrays an imbalance An artist may, due to a particular theme or topic, expressly desire that his/her piece raises an uneasy or disturbing response from its audience. At first glance this image seems rather balanced. The image does not relatively cause any discomfort or uneasiness to the viewer. However, if we examine this image further, we find there is a certain level of imbalance. The image is split into five sections within a grid. The sky, mountains, lake, trail, and shrubbery make up the five elements of the image. If we analyze it further, we find the image becomes heavier on the bottom and lighter on the top. Do you see the height of each proportion increase, as we look at it from top to bottom?

How can we forget Symmetry?

This is a concept that was ingrained into our minds since pre-school.

In the image above, balance is achieved utilizing similar elements of equal weight — symmetry. The fishing boat in the background, combined with the fence helps to illustrate the use of symmetry.

In the image above we see the use of asymmetry. Asymmetrical balance is achieved with dissimilar objects that have equal visual weight or equal eye attraction. The only reason this image is asymmetrical is because of the contrast between the white headlight trail on the left and the dark pavement on the right. Both the light trail and dark cement have visual appeal and are equal in weight – functioning as two separate elements.

There you have it, design through balance. Next week we will be covering Rhythm In Design, which will conclude our design series.

I would like to address the many comments that were raised on our previous post for ‘Emphasis & Focal Point in Design.’ Currently, there has been a lot of discussion amongst designers, photographers, and artists alike in regards to the ‘amateur boom.’ Today’s web technology combined with pre-fabricated plug-in driven software has turned our business into penny profits. Regardless of all this technology, I do believe as professionals we will always win this battle. While many prospects do not understand the importance of great design work – we as a company can only do so much to change the point of view.

However, large organizations and those with industry experience understand true creative work. Billboards, and TV ads surround us where the creative work is at its best. Organizations are pumping billions of dollars into our industry to make their brands stand out.

If you are outraged about this ‘amateur boom’ I say that you be thankful. It is yet another way for you to show off ‘your competitive advantage.’ But, before I end this post let me also say that I am in no way against new and emerging talent. Sometimes in order to get your feet wet you must start with simple software and work your way up. In fact, I believe that new talent is what creates new design trends. Everyone has the right to express their creativity, and many companies such as Adobe empower artists who are seasoned and novices. I find nothing wrong with that other then we have more people to find inspiration from. After all like many of you, I too was new and emerging talent at one point. ☺

Before we begin here is a quick overview of what has been covered in this series and what we will be covering in the coming weeks so that you may reference any previous post.

• The Design Process
• Unity in Design
• Emphasis and Focal Point in Design
• Scale and Proportion in Design(This Post)
• Balance in Design
• Rhythm in Design

Scale and Proportion are terms that refer to size. We reference size by describing something as ‘big’ or ‘small’ or also known as ‘large scale’ and ‘small scale’. I am sure that you have heard someone strike up a conversation by proclaiming, “That house is so big!“ By definition what is big? Scale and Proportion is relative to other elements around it. Therefore, that house can be ‘large scale’ in comparison to an average-sized house.

Proportion

Proportion refers to relative size that is measured against other elements or against some mental norm or standard. As designers we must consider the size and scale of elements within a design or pattern. To say an element is ‘out of proportion’ within a composition can evoke a negative emotion. However, it is possible that this reaction is precisely what the artist desires. Let’s take a look at the example below.

In this example, we see three of the same shapes applied differently within their respective compositions. All three reflect a different use of proportion, creating different visual denotations. The image in the far left denotes movement towards the top left corner. The second image (in the center) reflects greater meaning within the square. The visual relationship of the triangle creating an arrow allows the box to have great importance. The last image (on the far right) visually engages the viewer to maintain focus on the left side, which brings out the importance of the arrow.

Scale

In this image the proportion of the model’s hand is equivalent to the proportion of her face. Neither the hand nor face is drastically larger than the other. Welcome to the concept of scale. Scale is defined as the usage of proportion through the context of what the designer believes will attract attention.

Scale can also be achieved through exaggeration. For example, you would increase the size of an object that would otherwise be small or you can create the visual of a small object that would otherwise be considered large.

We know that in nature most tree trunks are large. In the image above, the tree trunks appear to be small, which places focus on the rock. In this instance the trees are considered small-scale by acknowledging the ‘norm’ size.

In this scenario the viewer is introduced to three elements that have commonality. The viewer understands that a slice of lime is not half the size of the martini glass. The lime and ice are substantially larger in scale then the martini glass – denoting a different visual effect also known as large-scale.

By utilizing scale and proportion within your designs you can evoke a emotional response. Lets take a look at a couple more examples with the use of typography. My college professor used to always say that ‘type is art’ – so I decided to use that phrase in the examples below.

Please leave your comments on both of these solutions on why they both are great examples of scale and proportion. Feel free to use terms from the other posts within this series. I will of course, post the most viable comments along with my own. Of, course. ☺

Tune in next week when we discuss Balance In Design.

In 1827, Joseph Nicephore Niepce created the first photographic image. Thereafter, pictures were rare, so if an artist created an image it was guaranteed to grab anyone’s attention. Today it is quiet different, we have mass media, and tools that allow every household the ability to own a camera and create what is deemed as individual art. The downside is that the artistry has also lost its touch. Let’s be honest, anyone can pick up a camera - shoot a lot of pictures and find some luck. The playing field has changed it is far more difficult for a designer to get noticed today. That is why understanding the principles on ‘Emphasis and Focal Point’ is one of the key ingredients in creating a captivating image that will engage and communicate your message effectively.

Here is a quick overview of what has been covered in this series and what we will be covering in the coming weeks.

• The Design Process
• Unity in Design
• Emphasis and Focal Point in Design(This Post)
• Scale and Proportion in Design
• Balance in Design
• Rhythm in Design

As a designer you must strategically find a creative process that will allow you to simultaneously create a composition. When you are going through the process of creating structure for your composition, it is really imperative to evaluate your focal point. In other words, the primary purpose is to emphasize an element that will attract attention while engaging the viewer to take a closer look. There are three ways to achieve this type of emphasis:

1. Contrast
2. Isolation
3. Placement

We will be evaluating these concepts above to give you a better understanding of what we are talking about.

Emphasis by Contrast

The easiest way to understand emphasis through contrast is when one element differs from another. Often you will find an interruption of the overall feeling of a pattern. For example, imagine elements in the background that are dark, while in the foreground there is a use of a light object – this is a focal point. Another approach is when elements are muted and soft-edged it is combined with bold contrasting patterns that results in a focal point. Let’s take a look at an example below.

Notice in this image how we use contrast to keep the eyes in the center of the image. The blue background combined with the blue rivets helps the white icons, for lack of a better term, stand out and keep the image interesting – even though they are tiny pieces of plastic. We have just created a focal point by utilizing a dark and light icon (contrast) in the foreground.

Couple More Examples

Emphasis by Isolation

This technique is rather simple. By isolating an element in an image it creates an attraction that meets the eye. Here is an example to help you better understand this powerful technique.

By placing the red rivet farther away from the four blue rivets we create another focal point. To the viewer it creates an abstract image and allows for the person who is viewing the image to form a certain train of thought. This type of image lures the viewer to understand that there is something unique about the rivet that stands alone.

Another Example Of Isolation

Emphasis By Placement

A focal point can easily be created by the use of a technique addressed in the previous post, ‘Continuation.’ If elements within a composition point to one item, our attention is directed to that item which results in a focal point.

Here is an example to address this placement technique.

The leading lines of the blue rivets moving upwards helps the eye to focus on the red rivet. Our eye continuously lures towards the red – no matter how many times you may try to look away.

Another Example Of Emphasis Through Placment

There you have it, three ways to create emphasis in design. Next week we will cover Scale and Proportion.

- Have a great rest of the weekend! Happy Designing!!