Elements and Principle

of Design

UNIT 6: PRINCIPLES OF DESIGN

Structure
Introduction
The Principles
Balance
Symmetrical Balance
Asymmetrical Balance
Radial Balance
Proportion
Check your Progress – 1
Rhythm
Repetition
Gradation
Radiation
Check your Progress – 2
Emphasis
Contrast
Placement
Isolation
Check your Progress-3
Harmony
The Principle of harmony in Garments
Check your Progress – 4
Let Us Sum Up
Keywords
Answers to Check your Progress
References and Further Reading

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INTRODUCTION

This unit explains the principles of design and its components with examples. It relates
these principles to fashion by showing their applicability to garments.

THE PRINCIPLES

Principles of design guide the ways in which design elements may be used. While the
elements form the basic vocabulary of visual design, the principles constitute its
broader structural aspects. In other words, the principles establish the relationships
among the elements used in the design and organize their placement in the
composition. They are the tenets used by designers to organize

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the elements of design in all visual design fields such as graphic design, product design Elements of Design
including fashion design, industrial design, architecture and even fine art. A designer
incorporates the use of elements and principles to create desired results for successful
design.

There principles of design vary with different approaches to modern design among
different schools of design thinking and individual design practitioners. These principles
are not rigid but may be directed by intent. The designer‟s purpose and creative vision
drives the decisions in order to achieve appropriate scale, good proportion as well as
harmony among the elements. The concepts of elements and principles drive all
intentional design strategies. Therefore, the awareness of the elements and principles
of design is the first step to create aesthetic and visually pleasing garments.

The principles of design are categorized under five components:

1. Balance
2. Proportion
3. Rhythm
4. Emphasis
5. Harmony

The description and explanation of each of these five principles are given below.

BALANCE

Balance is a state of equilibrium between different visual aspects of a composition. In

other words, the visual elements need to be balanced in order to make a design look
stable. While some elements may be the focal point which attract the eye, the
concentration is not on one area to subdue the other areas. Balance in design results from
the distribution of the elements of colour, texture and space so as to maintain
equilibrium between the visual weights of different parts of the garment design. A
designer can achieve this balance in three ways – Symmetrical balance, Asymmetrical
balance and Radial balance.

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Elements and Principle
of Design

Figure 26: Balance

Symmetrical (formal) Balance

Symmetrical balance, also known as formal balance, is a mirror image balance. As in

nature, the average human body is also visually symmetrical. Symmetrical balance in
design is achieved when the elements are equal in visual weight and composition on
either side of a vertical or horizontal axis. This implies that the focus of interest is visually
balanced on both sides to keep the viewers engaged with the composition or design.
Formal balance tends to be dignified though it is also static.

Figure 27: Symmetrical Balance

Asymmetrical (informal) Balance

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Asymmetrical
balance, also
known as
informal
balance, is
achieved when
the elements of
design on both
sides of the axis
are not
identical; yet
they are
arranged so that
there is a sense
of balance. The
varying
elements on
both sides

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 of a visible or implied division makes asymmetrical balance more complicated and By Position
difficult to achieve than symmetrical balance. Although as the name suggests that The placement of two
informal balance may be less planned, it is actually more challenging for the designer to elements of different
plan the space to create visually appealing design. Every part of a designed product or
sizes can create
garment has visual weight which requires stability. Balance may be altered by adjusting
balance by position. A
the size, visual weight, density and distance of the constituent parts from the central
larger element in the
axis. The components of the garment form a visual balance with the application of
central position can be
colour, value, shape, texture, position and design elements such as pockets, seams,
gathers and so on. These guide the viewer‟s eye to comprehend and appreciate the balanced by a smaller
aesthetics of the harmonious design of the item of clothing. element

Figure 28: Asymmetrical Balance

By Colour
Our eyes are attracted to colours. Vibrant colours can be used in smaller quantity to
balance out the larger areas of neutral colours.

By Value
Value is depicted with the darkness or lightness of objects. Black against white creates
a stronger contrast than gray against white. To create a balance between the two, a
larger spread of gray is required against the stronger value of black.

By Shape
Larger areas/spaces with minimal detail can be balanced by smaller, irregular spaces
with intricate details.

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Elements of Design

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Elements and Principle placed off-centre. Achieving symmetrical balance is difficult as it requires more evolved
of Design sense of design aesthetics.

By Texture
Smaller areas with interesting and intricate textures can balance larger areas with
smooth, untextured surfaces.

By Eye Direction
Elements may be arranged in a way with details of shapes, colours and style details
which can balance a heavier side by guiding the eye to follow a certain direction
towards the lighter side by altering its visual importance. This effect can be also be
attained by outlining an object or with directional lines. For example, the same colour
on opposite sides of an image can cause the eye to be led from one side to the other.

Radial Balance

The third type of balance is Radial balance. This is the arrangement of elements and
spaces around a central point where all the elements radiate out from a central point in
a circular manner. This is attained the focal point leads the eyes towards the centre. A
wheel with spokes is an example of radial balance.

Figure 29: Radial balance

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 PROPORTION

Proportion is the representation of the relative size and scale of the various elements in
a design. It is the relationship of various parts to each other and to the

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whole shape. Proportion is determined by distance, size and degree. It plays an important Elements of Design
role in art, architecture, textile and clothing. All designs are seen in the context of
proportion of the human body.

The Golden Mean, also known as the Golden Ratio, was developed in the western
world and based on the mathematical ratio that was found to occur in nature as well as
in the human face and body. The Golden Mean can be applied to geometric shapes
through multiplication in the ratio of 1:1.618 and by making a logarithmic spiral known
as the Golden Spiral. When applied to design, the Golden Ratio creates compositions
that are aesthetically pleasing through harmonious and balanced proportion.

Figure 30: Proportion of balance

Check your progress-1

1- Use different shapes to create a Balanced composition. Reflect on your composition

and write your observation in the given space.

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Elements and Principle of
Design

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2. Use different shapes to create a proportionate composition. Reflect on your composition

and write your observation in the given space.

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 Elements of Design

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RHYTHM

Rhythm refers to the patterned repetition, recurrence and organized movement of the
elements. Visual rhythm is achieved by means of repetition, progression and radiation.
Any changes in the hue, value or chroma of colour in a recognizable pattern, is also an
expression of rhythm. Space may have different rhythms. The rhythmic effect becomes
stronger when a pattern is repeated; any change in

rhythm causes visual disruption. Rhythm reinforces the functional, structural and 43
Elements and Principle decorative aspects of garment. It has communicative ability that enables easier
of Design comprehension of the viewers through its visual beat. Visual rhythm is the regularity
and continuity that smoothly guides the eye from one detail to another until the entire
composition is viewed.

Figure 31 Figure 32

The rhythm in the wall paper pattern (figure 7) is created by wavy lines in a two-
dimensional composition. A similar rhythm takes the form of a design feature on the
skirt (figure 8) where the straight lines are actually pleats. Rhythm can be achieved in
three ways:

i. Repetition
ii. Gradation
iii. Radiation

Repetition
Rhythm can be achieved through repetition. This means that the same or similar
elements can be used more than once in the design. Repetition of certain design
elements such as line, shape, space, value, colour and texture can cause a sense of
unity, consistency and cohesiveness. Repetition with variation is interesting; repetition
without variation can be monotonous. There are two types of repetition:

Regular repetition: Regular repetition occurs when the elements or the interval pattern
between the elements are similar in size, length, or in other aspects. Generally, both
the interval as well as the elements of design such as line, shape, texture or space
remain similar and consistent throughout the design, though one or more of these
elements could vary. The rhythm of regular repetition could appear monotonous if
there is no variety to break the repetitiveness.
Nonetheless, a repeat pattern can be made less monotonous by incorporating Elements of Design
elements of interest that break the regularity. To add interest to a monotonous
pattern, you can vary the interval (space), which changes the pace of the rhythm. In
figure 8 the pattern formed by repetition of rectangles creates interesting textures to
break the monotony.

Figure 8:

Irregular repetition occurs when there are variations in the repeats in terms of the
elements of design and the spacing. If the repeating elements do not have specific or
regular intervals, the uncertainty in the design creates random rhythms.

Figure 9

This focuses attention on the central core as well as the outward lines and edges. The
repetitions in figure 9 have irregular gradations of sizes and shapes to incorporate
variation and break the sameness of the repeats.

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Elements and Principle Repetition in Garments
of Design
The principle of repetition is applied to garments too. Just as the
human body is symmetrical, the garment too would normally
have features that may be repeated.

The sleeves, collar, trouser hems and other details are often similar and convey asense of
symmetry. However, asymmetrical design features may be built in to create newness.

Figure 33: Regular Repetition (symmetry) Figure 11: Irregular Repetition (asymmetry)

The principle of repetition is applied to a garment by adding symmetrical design

features such as layers of equal length in the skirt (figure 11) and the formation of
pleats in the skirt (figure 12) respectively.

Gradation
Gradation occurs in design in a similar way as repetition, so as to emphasize the gradual Elements of Design
change in the elements of design such as line, shape, space, value and colour. The
components are generally identical except for a minor change with each repetition in
increasing or decreasing order. Unlike the principle of contrast which emphasizes
unexpected or visually strong changes in the elements, gradation refers to a gradual
change in the elements. This includes change in linear perspective caused by the gradation
of size and direction. Gradation of colour from warm to cool, and values of tints and tones
from dark to light can produce the perspective of depth. Gradation can guide the eye to
move along a shape in a certain direction and is therefore used to emphasise the design.

Figure 34: Linear gradation of line Figure 13: Tonal gradation of line

Gradation in garments
The patterns of lines in the dress (figure12) are graded from thick to thin creating depth
and movement which adds interest to the silhouette of the garment. Tonal gradation in
the skirt (figure13) can be achieved by patterns on the fabrics, varied density of fabrics
or layering of the fabric in tiers. It conveys an impression of increased density on the top
layer and reduced density in the subsequent layers.

Radiation
The third type of balance is Radial balance. This is the arrangement of elements and
spaces around a central point where all the elements radiate
Elements and Principle outwards from a central point. The movement is known as radiation. This is easy
of Design to achieve as there is a focal point which leads the eyes towards the centre.
Radiation is limited in use to lines, space and shape. A wheel with spokes is an
example of radial balance.

In the composition below (figure 14) the principle of radiation is demonstrated by

the lines moving outward from a central focus. The centre creates an area of
interest and as the lines move towards the periphery of the frame creating
dynamic movement.

Figure 14: Circular radiation

Radiation in
garments
In a garment, the placement of details needs to be considered carefully. Radiating lines
can create the illusion of enlarging effects or slimming effects, which if placed on the
wrong part of the body, can be very unflattering.

Radiation works best when used in limitation and against a simple background. It is
mostly used in draped and clinging designs because the folds drawn into a cluster that
mould well to the shape of the body. Used in this way the radiation would be the
dominant feature of the design. Radiating lines focus the attention

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 and direct the eye towards the centre which is further softened by the support of the Elements of Design
yoke in the dress

Figure 15: Balenciaga dress

The folds of the skirt in Figure 16 drape softly from the waist band of the skirt, drawing
attention to the waist. Such features can be used cleverly to attract or divert focus from
certain areas on the body. For instance, for a figure type which is heavy at the waist, the
garment style could feature radiating lines at the neckline or sleeves to deflect the focus
away from the waist. On the other hand, if the figure type has a trim waistline, then the
design feature can include radiating lines at the waist.

Figure 16: Radiating lines at the waist

Check your progress-2

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Elements and Principle 1. Use the concept of repetition to create rhythm in a composition. Reflect on
of Design your work and write down your observations.

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2. Use the principles of Gradation and Radiation to create rhythm in a

composition. Reflect on your work and write down your observations.

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 Elements of Design

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EMPHASIS

Emphasis is a strategy where the purpose is to draw the viewer‟s attention to a specific
design element. Emphasis therefore, is the component that is the focal point that
demands the most attention from the viewer. For an element, form or space to be
portrayed as the focal point in a composition or design, it must be made strongly
visible. Rhythm and movement may guide the eye around the design but ultimately, it
will return to the focal point of emphasis. Emphasis can be achieved in design by
placing the element in a precise position where it distinctly stands out by using the
other principles such as asymmetrical balance, contrast, isolation, and movement also.

Figure 35: Emphasis

As emphasis is an effective tool to attract the attention of the viewer, the designer
needs to leverage the knowledge of this principle. Two important aspects of emphasis
are Dominance and Subordination.

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Elements and Principle Dominance
of Design
Dominance creates interest in the design or composition by counteracting confusing
aspects. In other words, dominance can be applied to one or more of the elements to
create emphasis on that which is more important or more noticeable than its
surroundings. It becomes the focal point of interest of the composition supported by
other features in the design. It can control the attention of the viewer to determine
what will be noticed first, what is dominant in an image, and its direction to the next
step. A well-designed garment has a single strong feature which becomes the focus or
dominating detail. This detail can be structural such as a pocket, placket, yoke, or visual
such as shape, texture or colour. The dominant black edged detail on the Chanel suit
(figure 17) draws attention. The white handbag with the Chanel logo in black colour
stands out on the basis of this principle.

Figure 36: Chanel suit and bag

Dominant qualities advance visually because they are more noticeable. Sharp, thick
lines dominate delicate thin lines, shiny textures dominate matte textures, and brighter
colours are more noticeable than muted colours. Other details can be
„played down‟ in order to supplement and re-enforce the dominant feature. Any
feature which does not make significant, positive contribution to the design should be
omitted.

SUBORDINATION
When there is dominance there must also be subordination. Subordination is defined
as minimizing or toning down other elements of a composition in order to draw
attention to the focal point. While some compositions have strong visual dominance
that directs the viewer‟s attention to the focus area, a subtle emphasis of other aspects
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leads the eye to a secondary focus point. The designer should be able to use different
components or details to attract and retain the viewer's

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attention. This includes design details that may not be noticed at a glance but are Elements of Design
gradually detected with delight.

Creating emphasis
There are three main ways to create emphasis in design - Contrast, Placement and
Isolation.

Contrast

Contrast refers to the difference that distinguishes an object or an image from other
objects and the background. It is an important design principle that shows which parts
of the design are more important and then guides the eye to focus on
those aspects. Contrast creates visual tension in a design and breaks the monotony
when a component is repetitive. It does so by the juxtaposition of opposing elements
e.g. angular and curvilinear, large and tiny, complementary colours on the colour wheel
e.g. red with green, blue with orange, yellow with violet and so on. Contrast may be in
terms of the tone or value e.g. light/dark, or there may be contrast in direction e.g.
horizontal/ vertical.

The focus of contrast in any design needs to be located at the centre of interest. The
principle of contrast draws attention to the visual differences. Too much contrast
scattered across the composition may disrupt unity. Therefore, unless a design is aimed
to purposefully create feeling of chaos, it is important to carefully plan where the
designer would like to place maximum contrast. Any interesting design uses contrast
elements such as diversity of shapes and sizes. In figure 18, the circular and rectangular
shapes are placed to form a composition to draw attention to the circle.

Figure 37

The effect of contrast utilizes various elements to achieve a dramatic yet balanced
effect. The careful placement of contrasting details in a garment is

necessary to avoid drawing attention to those parts which are not the focus. 53
Elements and Principle Fashion designer Yves Saint Laurent's „Mondrian dress‟ (figure 19) inspired by artist
of Design Piet Mondrian, has thick black dividing lines against a white background filled with
asymmetrical blocks of colour that contrast with each other and yet are balanced. The
striking visual appeal has made it an iconic dress in fashion history.

Figure 38: YSL’s Mondrian inspired dress

It is important to learn to determine the amount of contrast before applying it, failing
which the effect may either not appeal to the aesthetic sensibilities, or else not
emphasize anything at all. Contrast can be achieved in different ways – colour, size and
shape.

Colour contrast: Colour is used extensively for this purpose. One of the most prominent
contrasts is the difference between black and white (Figure 20).

Figure 39

The contrast in value of colours also affects the visual impact e.g. bright colours attract
more attention than neutral, dull or dark colours. To grab instant attention, you can
use a strong value contrast e.g. the use of bright colour against a dull background
(Figure 21).
 Elements of Design

Figure 40

Size contrast: Each attribute in design whether small or large, dark or light, is a relative
measurement on some scale. Just as each quality exists in contrast to the other, the
contrast in size is also relative and takes place on a scale. Bigger and bolder elements
are more noticeable than smaller and subtle elements. The reason is that the larger size
of the main detail draws the viewer in and emphasizes its significance over the other
details.
Shape contrast: Shape can create contrast but may not be as strong element as size or
colour. One way to make details noticeable is by creating difference in their physical
shape as compared to other details e.g. square buttons on a polka dotted blouse.

Placement
The central focus of a composition is the typically placed at the strongest location for
emphasis. The further from this location that an element is placed, the less likely it is to be
noticed first. Placement of a garment detail can enhance the design and attract the eye.
Elements and Principle
of Design

The position where the garment detail is placed in relation to each other, can
affect the emphasis.

The most important point of emphasis in the format of a composition is at the

centre; therefore, anything placed in this dominant position is likely to be noticed first.
The further from the center, the less noticeable a detail becomes. Once the primary
focal point is established, proximity, similarity and continuance can be used to ensure
that the specific element or detail is noticed. Proximity with the primary detail in focus
through overlapping or touching, emphasizes the successive focal accent. The more
visible an object is, in terms of contrast, the likelier it is to be noticed. Therefore, it is
important to place details and elements in the most effective positions.

When making an image through collage technique, try different placements of the
visuals to achieve the desired effect before gluing them.

Proximity Similarity

Figure 42: Proximity and Similarity

Similarity: An object that has the same color, texture, size and shape will form a group
with the primary object and be noticed successively. The more alike the two objects
are, stronger is the link.

Figure 43: Continuance

Continuance can guide movement by directing the viewer's attention to the secondary Elements of Design
object or detail by ensuring that the primary object or detail points at or faces it.

Isolation
In a composition the position of an object in relation to other objects, can affect the
emphasis. Isolation is a mode of emphasis that attracts attention when a detail or an
object is placed separately from its surroundings or from the group. It draws the eye
because the detail is not unified/ merged with the rest.

Check your progress-3

1. Create a composition by using the concept of contrast and placement to
depict the principle of Emphasis. Write your reflections in the given space.

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2. Click pictures of your surroundings that depict the principle of Emphasis.

Identify the different aspects that control the emphasis in the images. Write
your reflections in the space provided. 57
Elements and Principle of
Design

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2.7 HARMONY

Harmony is the visually satisfying effect of combining similar, related or contrast

elements. A design is said to be harmonious when one or more qualities of a design are
alike. These similar features are repeated throughout the design to create a feeling of
consistency. Harmony results when adjacent colours on the colour wheel e.g. red and
orange are used. Different combinations of colour and shapes that are in contrast to each
other can also be harmonious. The principle of harmony involves the careful
combination of design elements that share common characteristics such as shape,
texture, colour and other design elements.

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In the example of the shirt (figure 25) the colours red and blue are different being
warm and cool colours respectively. Nonetheless their colour value i.e. the lightness or
darkness, are similar. The solid colours of red and blue yarn have an

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intermediate colour merging both colours. These are the common factors that create Elements of Design
harmony in the design.

Figure 44: Shirt

Harmony in garments

Shapes created in terms of pockets, collars and cuffs will harmonize if they are soft and
curved, or straight and angular according to the main form of the garment. Contrasting
elements or complimentary colours can also harmonize w h e n an intermediate
element is used e.g. in a composition with red and green, the introduction of brown
which is a combination of red and green can be harmonious. The same principle would
apply to other elements. To achieve harmony in a garment design, the three aspects of
functionality, structure and decoration need to be synergized with each other. This
means that the gender, age, personal colouring, size, lifestyle and season would need to
be considered.

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Elements and Principle
of Design

Figure 45: Harmony in ensemble

The ensemble (figure 26) has a harmonious interplay of colour and pattern. The jacket
and skirt suit in gray derived from the combination of black and white, is teamed with
an overcoat in black and white houndstooth pattern which is the highlight of the
ensemble. The styling with accessories reflects and reinforces harmony.

Check your progress-4

1. By repeating harmonious elements draw two pictures with an identifiable

flow of action

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 Elements of Design

2. Create a composition by using any 3 principles of design. Write a few lines to

explain the composition.

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Elements and Principle of
Design

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Keywords

Balance, symmetrical balance, asymmetrical balance, Radial Balance, Proportion,

Rhythm, Repetition, Regular Repetition, Irregular repetition, Gradation, Radiation.
Emphasis, Dominance, Subordination, Contrast, Placement, Isolation, Harmony

LET US SUM UP
The Elements and Principles of Design are the foundation, or the building blocks for any
design. The principles of design may be more difficult to differentiate from one
another, as compared to the elements of design. A harmonious and balanced design is
created when the principles and elements of design are applied. With the
understanding and application of selected elements and

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principles in a composition, you can create a balanced design. This can direct the Elements of Design
viewers‟ attention through well-planned and effective visual rhythm through the
composition to the centre of interest.

ANSWERS TO CHECK YOUR PROGRESS

Check your progress 1

1. Refer to figure 1,2,3,4
2. Refer to figure 5
Check your progress 2
1. Refer to figure 10 and 11
2. Refer to figure 12,13,15 and 16
Check your Progress 3
1. Refer to Section 2.6
2. Refer to section 2.6
Check your Progress 4
1. Refer to section 2.7
2. Refer To section 2.3,2.4,2.5, 2.6 and 2.7

REFERENCES

• The Fashion Design Manual, Pamela Sketcher, Chapter- 6, The Principles of

Design
• https://graf1x.com/solid-design-principles/
• http://etad.usask.ca/skaalid/theory/cgdt/balance.htm
• http://nwrain.net/~tersiisky/design/principles.html
• http://daphne.palomar.edu/design/emphasis.html
• The Fashion Design Manual, Pamela Sketcher, Chapter- 6, The Principles of
Design
• Fig 15-16 Source: http://www.modcloth.com/shop/skirts/moonlighting-
skirt?ufm_medium=share&ufm_source=pinterest&ufm_campaign=pdp_share&redirect=fal
se
• Fig 26 Source: http://ecstasymodel.com/post/81482613332/zhanna-bianca-rue-de-varenne-
paris-by-easy

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