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.
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.
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.
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.
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.
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.
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.
Gutes Webdesign? Was ist überhaupt gutes Webdesign?
Nett aussehend? Verkaufend? Dem Kunden gefallend?
Für mich ist ein Webdesign gut, wenn es effektiv ist.
Was ist aber „effektives Webdesign“?
by Dustin M. Wax
August 5th, 2008
Look at what you’ve made. Beautiful, isn’t it? But does it work? For whom does it work? Of course you can use it, but can anyone else? In short, is it functional?
At the heart of every piece of practical design, whether it be a website, product package, office building, manufacturing system, piece of furniture, software interface, book cover, tool, or anything else, there is a function, a task the item is expected to perform. Most functions can be achieved in a variety of ways, but there are some basic elements a designer needs to take into account to create a product that best fulfills its intended function.
These are the elements of functional design, the process of responding to the needs or desires of the people who will use an item in a way that allows their needs or desires to be met. Functional design is both an outcome and a process. As an outcome, it describes products that work well to perform their assigned tasks; as a process, functional design is a set of practices guided by the principles that produce that positive outcome. (Functional design is also a computer modeling technique, but that’s not what we’re discussing here.)
by Vitaly Friedman
April 24th, 2008
Web design has significantly improved over the last years. It’s more user-friendly and more appealing today — and there is a good reason behind it: over the years we’ve found out that design with focus on usability and user experience is just more effective. Modern cut-edge design isn’t filled with loud happy talk and blinking advertisements. We’ve learnt to initiate the dialogue with visitors, involve them into discussions and gain their trust by addressing their needs and speaking with them honestly and directly.