Design Principles: Compositional Balance, Symmetry And Asymmetry

Part 7

A balanced composition feels right. It feels stable and aesthetically pleasing. While some of its elements might be focal points and attract your eye, no one area of the composition draws your eye so much that you can’t see the other areas.

Balancing a composition involves arranging both positive elements and negative space in such a way that no one area of the design overpowers other areas. Everything works together and fits together in a seamless whole. The individual parts contribute to their sum but don’t try to become the sum.


Design Principles: Compositional Flow And Rhythm

Part 6

When someone lands on a page of your site what do you want that person to do? Where do you want them to look? What information do you want your visitors to notice and in what order?

Ideally, you want people to see your most important information first and your next most important information second. You want potential customers to see the copy that will convince them to buy before they see the “Buy Now” button. You want people to be presented with the right information at the right time, and one way to do that is to control the flow of your composition.


Design Principles: Dominance, Focal Points And Hierarchy

Part 5

Has a client ever asked you to make the logo bigger? Maybe they asked that just after you completed their request to make a heading bigger. The new heading stands out, but now the logo is too small in comparison and isn’t getting noticed. The clients wants to make the logo bigger.


Design Principles: Visual Weight And Direction

Part 4

Every element on a web page exerts a visual force that attracts the eye of the viewer. The greater the force, the more the eye is attracted. These forces also appear to act on other elements, imparting a visual direction to their potential movement and suggesting where you should look next.

We refer to this force as visual weight and to the perceived direction of visual forces as visual direction. Both are important concepts to understand if you want to create hierarchy, flow, rhythm and balance in your composition.


Design Principles: Connecting And Separating Elements Through Contrast And Similarity

Part 3

Similarity and contrast, connection and separation, grouped and ungrouped are all ways to describe the varying sameness and difference between elements. Based on the information they carry, we’ll want some elements to look similar, to indicate that they are related in some way. We’ll also want to show that some elements are different and belong to different groups.

Key to showing both is the visual characteristics of elements and their relationships. If two elements are related in some way, then they should show similar visual characteristics. If the elements are different, then they should look different.


Design Principles: Space And The Figure-Ground Relationship

Part 2

If you see graphic design as a process of arranging shapes on a canvas, then you’re only seeing half of what you work with. The negative space of the canvas is just as important as the positive elements that we place on the canvas.

Design is an arrangement of both shapes and space. To work more effectively with space, you must first become aware of it and learn to see it — learn to see the shapes that space forms and how space communicates. This is second part of a series on design principles for beginners. The first part covered an introduction to gestalt; the rest of the series (including this post) will build on those gestalt principles and show how many of the fundamental principles we work with as designers have their origin there.


Design Principles: Visual Perception And The Principles Of Gestalt

Part 1

In 1910, psychologist Max Wertheimer had an insight when he observed a series of lights flashing on and off at a railroad crossing. It was similar to how the lights encircling a movie theater marquee flash on and off.


Synektik – mit Analogien zu neuen Ideen

Die Analogietechnik kurz vorgestellt

Bei der «Visuellen Synektik» überträgt das Kreativteam zufällige visuelle Reize auf die Aufgabenstellung, wodurch sich ihr Blickwinkel verändert und der kreative Prozess gefördert wird. Der Ursprung dieser Technik ist die «Synektik», eine Analogietechnik, die 1944 vom Amerikaner William Gordon auf Basis intensiver Studien über Denk- und Problemlösungsprozesse entwickelt wurde. Beide Methoden eignen sich, um neue Ideen für Produkte, Kampagnen oder Verpackungen zu finden.




Bei dieser Technik wird Brainstorming miteinbezogen. Sie kann sowohl einzeln als auch in der Gruppe angewendet werden. Das Problem wird geschildert und anschliessend wird diese Problemstellung umgekehrt. Dann sucht man nach dem Gegenteil.


The Art of StorytELLING

In 2009, Joshua Glenn and Rob Walker decided to put a price on storytelling. The pair would buy “junk” worth little to nothing and then re-sell it for 300 times its original value. All the proceeds were donated to charity. Why did they do this?

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