VISUAL COMMUNICATION DESIGN TERMINOLOGY

DESIGN ELEMENTS AND PRINCIPLES

ELEMENTS

Term/illustration Definition

Design elements

Point
A mark that may be used to indicate position and location.
Point is small in relation to the whole of the design and is not
necessarily circular. It can represent a point of measure or be used
as decoration. It can add texture or tone. Examples of application
include half tone printing, pixilation, dot rendering and map
indicators.

Line

Line represents a single dimension, length, which connects

one point to another. It can be straight, curved or irregular and
combined with other elements. The weight and quality of the line
may vary depending on its intended use and the tool used to
create it, giving it character and meaning. Digitally drawn line can
be clean and precise while one drawn with a brush and ink can be
loose and relaxed. Examples of application include diagrams and
illustration, printmaking techniques and technical drawing.

Shape
Shape is two-dimensional. It is the defined space contained within
lines. It can be organic, geometric, abstract or symbolic and
can be used in conjunction with other elements to create form
or pattern. It can used to simplify complex objects for effective
communication. Examples of application include logo, symbols,
graphic design and stencil work.

Form
Form is considered three-dimensional and can be illustrated
or constructed. It can also be organic, geometric, abstract or
symbolic. Form may be created by the joining of two or more
shapes and enhanced by tone, texture and colour. Examples of
application include packaging forms, interior fit outs, signage,
architecture and industrial design.

Term/illustration Definition

Tone

Tone may be used to describe the three-dimensional nature of

form in terms of its shadows and highlights, created by a light
source. It can be smooth and gradual or built by point or line (dot
rendering and cross hatching), subtle or dramatic, depending on
its intended use. Examples of application include drawing, and
rendering and photography.

Texture

Texture communicates a tactile aspect – it can be real or implied.

It may be achieved using a combination of elements such as point
and line. It may be applied in a realistic or an abstract style to
create an arbitrary pattern or to stimulate the finish of a material.
Texture can be conveyed through media and materials and can be
combined with tone. Applications include drawing and rendering.

Colour

Colour derives from the interplay of objects, light and the human
eye/brain. Colour can communicate mood and emotion; it can be
used to highlight information and establish hierarchy. It can add
interest and excitement to a visual communication. Colour may
be used to specify areas, distinguish form, and help establish
hierarchy. Colour application systems include RGB and CMYK and
colour guides can be sourced in Pantone libraries.

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Type

Type is the visual representation of word, number and character.

It can be manipulated to have an impact on the delivery of the
visual message or reinforce the meaning of a word. Sets of type
or ‘typefaces’ belong to families and can be serif, sans serif,
regular, bold or italic. Type can be sourced from digital libraries,
manipulated and reorganised, or hand generated. Examples
of application include logos, film credits, books and magazine
production.

PRINCIPLES

Term/illustration Definition

Design principles

Figure–ground

Figure and ground work together to establish the importance

of visual information within a picture plane. ‘Figure’ refers to
components that are more visually dominant than the ground on
which they are placed. Figure may also be known as ‘positive
space’ or ‘form’. Ground can be known as ‘background’, ‘negative
space’ or ‘counter form’.

Balance

Balance refers to the arrangement of components in relation to a

visual central axis. It may be ‘symmetrical’ where components are
mirrored along the axis to create a centred and stable composition,
or ‘asymmetrical’, where components of varying size and weight
are placed off centre to create a dynamic composition.

Contrast

Contrast employs the use of oppposite qualities to create visual

tension, separate parts and build hierarchy.

Cropping

An image can be modified by selecting an area of interest to

emphasise, to create dominance or simply to clarify information.

abc The use of cropping can give a dynamic feel to a composition. It

can be achieved by manipulating the borders and/or scale of a
design to increase hierarchy and impact. Examples of application
include highlighting of detailed information or diagrams.

abc

Term/illustration Definition

Hierarchy
Visual information can be arranged in order of importance.
Attention is drawn to the most important information or focal point

TITLE within a composition. Factors determining hierarchy may be the

scale, contrast, colour or the positioning of the visual components.
Examples of application include print media layout such as
newspapers and magazines, website layouts, book covers and
posters.

Scale

Scale refers to the relative size of the figure (visual representation)

to what it represents. Its relative size and scale will determine the
hierarchy of visual components within a composition. Examples of
application include ratio, maps, diagrams, illustrations, technical
drawings, models, mock-ups.

Proportion

This is the comparative relationship between the size of

components or parts of components within a composition.
Proportion can be evidenced, for example, in Fibonacci’s
Golden ratio and the principles of Pallidio’s architecture.

Pattern

Pattern is the repetition or alternation of one or more components

to create a visual unit. Any visual element can be used to create
a pattern. Repetition can be very powerful in creating a sense
of order in a composition. Alternation can create more complex
patterns than those created by repetition alone. Examples of
application include architecture facades and interior decoration;
textile and wallpaper design.

METHODS, MEDIA AND MATERIALS

Methods Media Materials Design Design Final

Refers to Refers to the Refers to elements principles presentation
the technical applications used the surface Components Ways of arranging Potential formats
process used to to make the visual or substrate of visual or organising
make the visual communication that the visual communication design elements
communication communication
is applied to or
constructed from

Drawing

Observational pencil paper point figure– – logo
Visualisation ink card line ground – signage
Presentation marker wood shape balance – flyer
pastel glass form contrast – brochure
Types of drawing
crayon metal tone cropping – poster
include:
charcoal clay texture hierarchy – billboard
2D
acrylic paint stone colour scale – postcard
3D
watercolour plastic type proportion – advertisement
Painting gouache textile pattern – map
dye screen – repetition – diagram
Printing
toner – alternation – symbol/icon
Manual:
film – illustration
monotype
– book/magazine
relief digital
cover, layout
intaglio applications
– CD/DVD cover
silk screen – vector based
– web application
Digital: programs
– exhibition
offset – raster based
screen display
laser programs
– film credit
inkjet
sequences
Photography – 3D model
Analogue – package
Digital – point of sale
display
Computer
– architectural
Collage drawing
– finished
3D Process drawings for a
Construction product
Modelling
Digital

THE DESIGN PROCESS
DESIGN FIELDS AND COMPONENTS OF VISUAL COMMUNICATION

Com m unication Design – presents visual information for communication

purposes and Includes:
• Graphic Design,
• Information Design,
• Digital Design,
• Motion Graphics / Multimedia,
• Web Design,
• Advertising,
• Print and ePublication,
• Book Illustration,
• Typographic Design,
• Package/surface Design,
• Logo Design, and
• Brand Identity.

Environm ental Design – presents visual information to communicate

information about built/constructed environments and Includes:
• Architectural Design,
• Interior Design,
• Landscape Design,
• Set Design, and
• Exhibition/Display Design.

Industrial Design – presents visual information to communicate

information about objects and products, including:
• Engineering / Industrial Design,
• Product Design,
• Lighting Design,
• Furniture, and
• Fashion / Textile Design.

AUDIENCE: (p.174) The audience is the market or target group. Audience

characteristics are often divided into specific data such as:
• Age: ie - Young adults, Middle-aged, Gen X or Y, Baby Boomers etc.
• Gender may determine character traits of the consumer but gender
stereotyping is often interlinked with sexism and should be avoided.
• Interests may refer to professional or personal interests or hobbies, ie.
music, fashion, sport. Subcultures can define the audiences’ interests.
• Location can be remote, urban, tropical, dessert, by the seaside etc.
The location can also effect the socioeconomic status, language used,
appropriate usage of colour, imagery, materials or scale & proportion.
• Socioeconomic status refers to financial and social position of the
audience. Employment status, salary level and educational
background. Salary determines the level of ‘disposable’ income.
Cultural background may influence design decisions based on the
audiences’ belief systems, ie. religious or cultural. It is important to
understand appropriate cultural visual material and to avoid cultural
appropriation. (Cultural appropriation: the inappropriate use of symbols or
elements from another’s culture, especially from oppressed cultural groups.
CO NTEXT: (p.180) The circumstances surrounding the visual
communication such as the physical location. The physical location may
determine:
• Scale (ie. does it need to be legible from a great distance?)
• Format (ie. does it need to fit a standard envelope size?)
• Materials (ie. Do the conditions require durable materials?)
• Design elements and principles used in the design.

PURPOSE: (p.175) The purpose has a major impact on the content of the
appearance of the visual communication. It will determine where and how
the visual communication will be seen, who will see it an how often.
Purposes of visual communication design include:

To advertise: To advertise a product or service. (ie. Poster for commercial

product or service)
To depict: Used when the presentation or illustration of visual
information is the primary concern. There may be no message
other than the visual details of the design itself. (ie. Floorplan)
To guide: Used to assist in establishing and identifying a location or
area. (ie. Wayfinding, mapping and signage)
To identify: Visual communications used to define the visual identity or
characteriastics of a product, place, organization or event.
(ie. Branding /logo design)
To inform: Used when conveying information pertinent to a specific
audience leading to understanding of a process, event,
opinion or concept. (ie. Signage, informational brochure)
To Promote: Used to promote an event, organization, belief or philosophy.
Promotion, unlike advertising, is not commercial.
(ie. Poster for an event, charity or non- profit organization
such as a school).
To Teach: Used for educational purposes aid the explaination of
concepts (ie. Visual diagrams / graphs etc.)

CO NSTRAINTS: (p.180) Creative restrictions placed on a designer, usually

outlined in the design brief, constraints can include:
• Time
• Cost
• Location
• Materials
• Technologies
• Methods
TYPOGRAPHY
The technique of arranging typefaces. Selecting typefaces, point size, line length,
leading, tracking and kerning is known as typography.

Techniques used for production of typographic visual communication can include

letterpress, digital, hand generated, constructed.

To organise the production of typefaces, structural aspects of typefaces include

the anatomy of typography.

Kerning: The adjustment of the space between adjacent characters to optimise

their appearance.

Tracking: The adjustment of the space between the letters across a line or
paragraph of type.
Leading: The adjustment of the space between lines of type.

Serif = Tails (Latin) vs Sans Serif = Without Tails (Latin)

‘Point Size’ is the measurement of type size; distance from the highest ascender to
the bottom of a descender.

‘Typeface’ is the overall design of type characters.

‘Font’ is the means by which the typeface is delivered (e.g. the cast metal or the
software). These terms are now used interchangeably. ‘Font’ can be referred to as
regular, italic, light, bold, bold italic, serif, sans serif, decorative, script etc.

A group of typefaces with a common design in a set of weights and style is

referred to as a family. Any added effects to the original typeface (outlined, three-
dimensional, condensed, extended, kerned, tracked, textured, drop shadow) is a
‘treatment’.
Drawing methods
Drawings can be manually or digitally produced using a range of materials & media.

VISUALISATION DRAW INGS

Drawing from imagination supports the generation of ideas.

These drawings are in the form of quick freehand sketches aimed at conceptualising
and communicating ideas.

Drawings may be developed in two or three dimensions. They may also include
explanatory sketches and diagrams.

OBSERVATIONAL DRAW ING

Freehand drawing that requires direct observation of the object or structure.

These drawings are aimed at effectively representing form, proportion, materials

and textures using rendering techniques.

Observational drawings can communicate structural detail and function.

Observational drawings may incorporate naturally observed perspective.

PRESENTATION DRAW INGS

Presentation drawings present design concepts and final design solutions.

These drawings are refined and finished drawings and may employ either manual or
digital media applications.

Methods of production may include:

Two-dimensional drawing: Three-dimensional drawing:

• Floor plans and elevations • One point perspective
• Orthogonal • Two point perspective
• Packaging net (templates) • Isometric (paraline)
• Planometric (paraline)

Two-dimensional drawing
THIRD-ANGLE ORTHOGONAL DRAW INGS

Each view of an object (front, top and sides) is drawn separately showing only two
dimensions, but is kept aligned and to the same scale.

Combining a view from the top, the front and sides, allows all three dimensions to
be considered.

The third-angle projection symbol refers to the layout of views.

FLOOR PLANS AND ELEVATIONS

Scaled two-dimensional drawings used by architects involving a set of conventions

regarding line types, dimensioning and symbols. Floor plans are views from above,
while elevations refer to views of the side or facade.

PACKAGING NET (Tem plates)

A drawing of a flat two-dimensional shape that when folded becomes a three-

dimensional form. It can also be referred to as a development net. Often a
packaging net will include tabs for stability and fastening.

The drawings are to scale and involve the use of line conventions that indicate fold
lines (broken lines) and cutting edge (solid outline).

Three-dimensional drawing
Perspective drawing: Objects are drawn in a natural manner consistent with the
human vision; receding lines converge towards the horizon (eye level). The
placement of the horizon line determines the location of the viewer.

ONE-POINT PERSPECTIVE

Objects are drawn front on, with receding lines converging to one vanishing point
on the horizon.
TW O-POINT PERSPECTIVE

Objects are drawn with a corner closest to the viewer and side drawn with
receding lines to two vanishing points on the horizon line.

Paraline: Objects are drawn with the receding lines remaining parallel to each
other (hence the term ‘para-line’). Paraline drawings include isometric and
planometric.

ISOMETRIC

Constructed with both sides receding from the corner edge at 30 degrees. The
isometric drawing provides a comprehensive overall view of the object.

PLANOMETRIC

The base (or plan) of the object retains its true form (is not altered) with both sides
receding at 45 degrees (or one side recedes at 30 degrees and the other at 60
degrees).