What is Design Design is the creation of a plan or convention for the construction of an object or a system. It may be an architectural blueprints, engineering drawings, business processes, circuit diagrams or sewing patterns. Design has different connotations in different fields & > Design is what links creativity and 40 innovation. It shapes ideas to become 4 practical and attractive propositions for users, clients or customers. Design | * may be described as creativity I Pd deployed to a specific endPrinciples of Design The principles of design describe the ways an artist use different elements of design ina composition. These ways or principles are “Balance “Rhythm *Emphasis *Contrast *Movement *Harmony *Proportion and scalePrinciples of Design BALANCE Asense of equilibrium. When establishing balance consider visual weight created by size, color, texture and number of objects. Balance is the concept of visual equilibrium, and relates to our physical sense of balance. It is a reconciliation of opposing forces in a composition that results in visual stability. Most successful compositions achieve balance in one of two ways: symmetrically or asymmetrically.Principles of Design BALANCE Symmetrical balance can be described as having equal "weight" on equal sides of a centrally placed fulcrum. It may also be referred to as formal balance. When the elements are arranged equally on either side of a central axis, the result is Bilateral symmetry. This axis may be horizontal or vertical. It is also possible to build formal balance by arranging elements equally around a central point , resulting in radial symmetry. This is called Radial BalancePrinciples of Design BALANCEPrinciples of Design BALANCE Radial Balance / Biaxial SymmetryPrinciples of Design : BALANCE Near Symmetry & Inverted Symmetry ‘iPrinciples of Design BALANCE Asymmetrical balance, also called informal balance, is more complex and difficult to achieve. It involves placement of objects in a way that will allow objects of varying visual weight to balance one another around a central point. It just means that there are no mirror images in a composition. The term, however, is usually used to describe a kind of balance that does not rely on symmetry:Principles of Design BALANCE Asymmetrical balance a th U/ ]Principles of Design BALANCE Asymmetrical balancePrinciples of Design BALANCEPrinciples of Design B ICEPrinciples of Design BALANCE Balance Using Shapes ‘ASYMMETRICAL BALANCE RADIAL BALANCEPrinciples of Design BALANCEPrinciples of Design ws RHYTHM Avisual tempo or beat. The principle of design that refers to a regular repetition of elements of Be art to produce the look and feel of movement. It is often achieved through the careful placement of repeated components which invite the viewer's eye to jump rapidly or glide smoothly from one to the next. Rhythm in architecture is the repetitive use of a group of visual elements, at least three times, to establish a recognizable “pattern.” Simple examples of rhythm are the alternating window and column arrangement of most high rise office buildings. More complex rhythms make use of what in jazz music is called "counterpoint", that is, two or more intersecting or overlaid rhythms. This is seen frequently in classical architecture, where a series of columns and openings are overlaid on top of a series of smaller openings.Principles of Design 1s Wl away TYPE OF RHYTHEM ' ¥ Rhythm by Repetition Rhythm by Gradation Rhythm by Radiation Rhythm by Opposition Rhythm by TransitionPrinciples of Design 1°¢ - v1 ayy v I Rhythm By Repetition 1 = Rhythm created by ii fl a ame duplicating (repeating) shapes, colors, pattern, line, texture. = Repeated Window panes, repeat. Stripes on wall and design and colour of glass.Principles of Design 174 yyy actly Rhythm By Repetition 1 ™ AWy Principles of Design 174 WW, ay Rhythm By Gradation 1 ™ = Rhythm created by a gradual change in size or color. = Carpet on the floor changes gradually in value. = Gradation in lights. bellowPrinciples of Design 1s WI ayy Rhythm By Gradation 1 ™ ) KAY AYPrinciples of Design 174 Wt aly Rhythm By Radiation 1 v = Rhythm created by identical objects coming from a central axis. u The glass frames “radiate” from the center of the path. = The floor design, the windows, furnitures etc in redial rhythmPrinciples of Design wat Ly Rhythm By Radiation 1Principles of Design 1s Wl Rhythm By Opposition 1 = Rhythm created direct placement of lines, shapes or \ colour to create opposition through abrupt visual change. = Contrasting black and white tiles and the lines intersecting at right angles.Principles of Design Rhythm By OppositionPrinciples of Design Rhythm By Transition = Rhythm created by curved lines that carry your eye across a straight surface. = Window treatments that gently swag down, create a soft rhythm by transition.Principles of Design 1s Ve x! ly a Rhythm By TransitionPrinciples of Design EMPHASIS Emphasis creates a focal point in a design composition; it is how we bring attention to what is important in it. It is the the focus of attention and interest within a composition In Architecture it is the feature that commands attention and makes a design visually interestingPrinciples of Design EMPHASIS The main reason in using emphasis is to help you communicate the message that needs to be communicated. Emphasis helps readers determine the important information on your display and allows them to interpret the message faster. This process of arranging the visual elements on a composition according to their order of importance and emphasis is called Visual Hierarchy. Visual Hierarchy is used to guide readers attention to the main places on your composition. You will read this before you read this.Principles of Design How to Create Emphasis EMPHASIS It is the function of Make it bolder Make it brighter in Change Style Add special visual effects. to renew our perception. Add a border or frame Add more negative of positive space What we are Add shadow or lights e e Change the color f ] Change the position a m 1 1 a r Create Focal Points with we cease to see.Principles of Design Guidelines for Creating Emphasis ZL \ The point of emphasis should command attention, but not dominate the overall design. Other features within the composition should not compete for the emphasis or contrast. | — SAPrinciples of Design EMPHASIS In Architecture Zaha Hadid ArchitectsPrinciples of Design Contrast (variety) Contrast is simply defined as difference. Difference between elements or subjects within a work of art or composition. Contrast can be created through variety within the elements of art. (i.e. value, color, texture) Contrast can be used to create a focal point or area of interest in an artwork Contrast is closely related with variety which is usually considered as principle of design. Although some art purist, stick with variety and argue that contrast simply creates variety.Principles of Design Contrast (variety) it is easy to understand how colour can create contrast. For example, complementary colours provide a high level of contrast. Complementary colours are colours that are located directly across from each other on the colour wheel. Red and green, blue and orange, and purple and yellow are all examples of this. But when using complementary colours, we also have to consider value. Value is the darkness or lightness of colour. Without contrast in value, the contrast created by complementary colours is counter- productive. Notice how the red and green vibrate off of each other. The result is aesthetically horrid. The problem lies in the use of value. There needs to be contrast in value along with the contrast in colour. If we change the values, not the colours, the result is more successfulPrinciples of Design Contrast (variety) in Colour¢ oS n oO A Mt oO n oO = 2 ov & MY a 2 i B & S 0 d 2 3 z 3 0Principles of Design Contrast (variety) in Size & ShapePrinciples of Design Contrast (variety) in Space Mi i 7Principles of Design Movement Movement is the visual flow of your Design. I's the path that you intend your viewer's eye to follow. You can create this by purposefully placing art elements in a way that creates a path for the eye to follow ea 8Principles of Design Movement Is a visual flow through the composition. It can be the suggestion of motion in a design as you move from object to object by way of placement and position. Directional movement can be created with a value pattern. It is with the placement of dark and light areas that you can move your attention through the format An art work may incorporate actual motion; that is, the artwork itself moves in some way. Or it may incorporate the illusion of, or implied movement. Art that moves through the effect of natural properties, either its own inherent properties or their effect, is unpredictable. Spatial relationships within the work change continuously, with endless possibilities. One of the delights of experiencing such artwork is the element of change and surprise. It's as if every time we look at it we are seeing a new artwork. Alene CoderPrinciples of Design Movement The Alhambra is a massive complex in southern Spain built by Moors during the 14th century. Its function was two fold: as a fortress for protection and defense, and as a palace for relaxation and luxurious refreshment. Southern Spain is dry and hot, and one of the delightful and remarkable aspects of the Alhambra is that water flows throughout the whole complex in surprising and ingenious ways. All of this was engineered using forces of nature and the qualities of how water moves. Around every corner, in gardens and courts and staircases the water flows. It bestows a profound sense of renewal and rest. Rebecee HornPrinciples of Design es Movement Patterns 2 era —Principles of Design y Movement in Architecture | “ill, | IHN nt | |Principles of Design Harmony Harmony in visual design means all parts of the visual image relate to and complement each other. Harmony pulls the pieces of a visual image together. Harmony can be achieved through repetition and rhythm = There are 2 types of harmony. = Unity = VarietyPrinciples of Design Harmony By Unity sUnity occurs when all the parts of a design or composition are related by one idea. wA unified design has consistency of stylePrinciples of Design Harmony By UnityPrinciples of DesignPrinciples of Design Harmony By Variety = When multiple elements of design are used to add interest to a design. = Variety can be created using different elements and materials, as long as they are compatible to each other. Unity Vs VarietyPrinciples of Design Harmony By Variety Harmony Is achieved when unity and variety are effectively combined. = Carrying variety too far creates confusion. = Alack of unity may make a space smaller. UNITY & VARIETY UNITY=SAME COLOR UNITY=SAME SIZE VARIETY =DIFFERENT SIZES \VARIETY=DIFFERENT COLORSaa: 2S Principles of Design Harmony By Variety v = TTPrinciples of Design Harmony By VarietyPrinciples of Design Proportions & Scales Scale refers to the size of an a object (a whole) in relationship to another object (another whole). Inart the size relationship between an object and the human. body is significant. In * experiencing the scale of an artwork we tend to compare its size to the size of our own bodies.Principles of Design ll Proportions & Scales . Scale relates to the size of a design in relation to the height and width of the area in which it is placedPrinciples of Design Proportions & Scales e Placement of objects determine the size when compared to each other or in other words we evaluate the size from the objects surrounded by objects.Principles of Design Proportions & ScalesPrinciples of Design Proportions & Scales = Relates to the actual and relative size and visual weight of the design and its components. = Furniture and accessories must be in scale to the room GOOD SCALEPrinciples of Design Proportions & Scales = This chairs massive = The chairs light = This club chair ; scale diminishes palate accentuates its panther tiesacalerc! everything around it. _ skinny scale.Principles of Design Proportions & Scales = Center table is over- = Table not only looks = The table is scaled for the sofa. out of scale, it substantial enough to anchor the furniture grouping, yet it leaves room for traffic flow around both ends. functions poorly as well.Principles of Design Proportions & Scales tS gene wrtmo oan 2 ' Scale is very much associated with ergonomics when used in the field of architecture. The space designed for human being is closely related size of body parts and its function. a ROB enPrinciples of Design Proportions & Scales Origins of Measurements In ancient times, the body ruled when it came to measuring. The length of a foot, the width of a finger, and the distance of a step were all accepted measurements. Inch: At first an inch was the width of a man's thumb. In the 14th century, King Edward IL of England ruled that 1 inch equalled 3 grains of barley placed end to end lengthwise. Hand: A hand was approximately 5 inches or 5 digits (fingers) across. Today, a hand is 4 inches and is used to measure horses (from the ground to the horse's withers, or shoulder). Span: A span was the length of the hand stretched out, about 9 inches. Foot: In ancient times, the foot was 11!/42 inches. Today it is 12 inches, the length of the average man's foot. ‘Yard: A yard was originally the length of a man's belt or girdle, as it was called. In the 12th century, King Henry I of England fixed the yard as the distance from his nose to the thumb of his out-stretched arm. Today it is 36 inches. Cubit: In ancient Egypt, a cubit was the distance from the elbow to the fingertips. ‘Today a cubit is about 18 inches.Principles of Design Proportions & Scales : Origins of Measurements (Metric) The French originated the meter in the 1790s as one/ten-millionth of the distance from the equator to the north pole along a meridian through Paris. It is realistically represented by the distance between two marks on an iron bar kept in Paris. The word “metric” comes from the Latin word “metricus” or from the Greek word “metron,” both meaning measure. The metric system is based on the meter. This shows the close association between measurement system and nature's creation. In both Metric and Amstrong measurement system are derived from Proportions of nature and human body. @ ( i BG Q () QO \ ) Uy lu i b Lb X i yy i YW 3 aR:Principles of Design Proportions & Scales David is a masterpiece of Renaissance sculpture created between 150] and 1504 by Michelangelo Le Corbusier developed the Modular man in the long tradition of Vitruvius, Leonardo da Vinci's Vitruvian Man, the work of Leon Battista Alberti, and other attempts to discover mathematical proportions in the human body and then to use that knowledge to improve both the appearance and function of architecture. The system is based on. human measurements, the double unit, the Fibonacci numbers, and the golden ratio. Le Corbusier described it as a "range of harmonious measurements to suit the human scale, universally applicable to architecture and to mechanical things”Principles of Design Proportions & Scales The Modulor Man was meant as a universal system of proportions. The ambition was vast: it was devised to reconcile maths, the human form, architecture and beauty into a single system. This system could then be used to provide the measurements for all aspects of design from door handles to cities, and Corbusier believed that it could be further applied to industry and mechanics. The fundamental "module" of the Modulor is a six-foot man, allegedly based on the usual height of the detectives in the English crime novels Corbusier enjoyedPrinciples of Design Proportions & Scales HOW WOULD A REAL WOMAN LOOK WITH BARBIE’S PROPORTIONS? ret oe Sea in Bevler Sadar (Pott cole The Modulor was, however, as arbitrary as any human measurement: its six-foot basis was plucked out of the air, there was no reason the Modulor Man couldn't be five foot ten or six foot two. As is often said, a six-foot rule is hardly fair to women and children. Also, Corbusier's own application of it was somewhat haphazard but his work certainly enlightened us about relationship between mathematics, nature, human ergonomics and architecture.Principles of Design Proportions & Scales Analysis Fibonacci numbers and Modular Man Mathematics The Fibonacci Sequence is the series of numbers: 0, 1, 1, 2,3, 5,8, 18, 21, 34, ... The next number is found by adding up the two numbers before it. The 2 is found by adding the two numbers before it(1+l) Mark the proportions of Modular man measured by mm 6,9, 15, 24, 39, 63. 11, 18, 30, 48, 76 1130, 1829 1397, 2260Principles of Design Proportions & Scales Analysis Fibonacci Sequence Graphical representation FN Fine : 7 2 3 Johannes Kepler (1571- 3 2 1630) is observed that a y ah . . 25 a fibonacci number when 10 ar _ - 1507 2584 divided with the previous 4184 6765 ; Wises aint number in sequence have 26.857 2 75025 aconstant ratio of 196,418 3a7811 sa e200 e'x2000 progression after initial 18.46.260, 2178309 few numb seamacs as sose numbers. 2aisrert 390.8868 i245 s00 733835 sese.e0aet 26,78.14298 ao34o4as? 701.0833 144/89 = 1.618 4354903,70 tases. 908 = 2574218073 430,75 25.076 233 /144 = 1.618 irmaaos 25802 so0zs = wsososors — s2as200008 377 /233 = 1.618 aoe eee saoseasezace 2958614 23717 is.san0602 501267 20070 558 729028061 ‘8 as}0087 55.920 250473078198) 4052739537801 Ss5re70s.s98c2 | 10810209857-723 4747960171505 _ 27777 890035280 arb (eldioe(erphy) Result 0254640075000" 19.020"7960876006 [o.00796115571461) (oooa730z7472271) (o.000739%47 15052), 10.90023800364732, Dooorssrassasze ovca2sR8s 16787 (@.co000910808187) {o.cao00a29590108) (@.00000109765271) 0.99000098570505, .o0000027268096 ovvoo0e85205 (o.c0000001783840) (O.co000901244281), {o.can00000224054) ‘.99¢00000080055, .99¢00000058673 .90000000010058 (.0o0p090n0038=2) {0.co000000002834) {0.000000000005"¢}, ‘200¢00000000190 ‘gocoso00g00'3¢ .90000000000026, (o.co000000000008), {@.c000900000007), {o.co00090000001), ‘poncaoonn000000 ‘.00c00000000000, ‘.gocoso00g00000 (@.09000000000000), 1 15 18 11538 151765 191783 101803, 1 er803 181803 461803 151803 181803, 191803 61803 181803 181803 181803 1.51803, 1.81803 11803 1 er803 181803 41802 151803 181803, 191003, 61803 161808 181803 481803 151803 181803 1.61003,Principles of Design Proportions & Scales Analysis Fibonacci Sequence Graphical representation GEOMETRIC RELATIONSHIP: 2 & blatb)=a? © a?-ab-b?=0 b 2 2 eg = Davbe + 4b" fers ae as a>0 +b [5 . a = DEE . WEAN os poo a eas ho (» 18180339887) The Golden section is the number Gy arth is to a.as.a is to b The Golden ratioPrinciples of Design Proportions & Scales Analysis Fibonacci Sequence Graphical representation Pi or p (3.14...) is the ratio of the circumference ofa circle to its diameter, Phi or ® (1.618...) is the Golden Ratio that results when a line is divided in one very special and unique way. To illustrate, suppose you were asked to take a string and cut it. There’s any number of places that you could cut it, and each place would result in different ratios for the length of the small piece to the large piece, and of the large piece to the entire string. There is one unique point, however, at which the ratio of the large piece to the smaller piece is exactly the same as the ratio of the whole string to the larger piece, and at this point this Golden Ratio of both is 1.618 to 1, or Phi.Principles of Design ill Proportions & Scales Fibonacci Sequence Graphical representation ‘Squaring-The-Circle (THE Square-Circle) THE Golden Ratio Manilestations In Human-Body Proportions The Earth BUT) What makes this so much more than an interesting exercise in mathematics is that this proportion appears throughout creation and extensively in the human face and body. It's found in the proportions of many other sin sin the and even in the price and timing movements of and . Its appeal thus ranges from mathematicians to doctors to naturalists to artists to investors to mystics. This is known asPrinciples of Design Proportions & Scales Analysis Fibonacci Sequence Graphical representationPrinciples of Design Proportions & Scales Analysis Fibonacci Sequence Graphical representation Leonardo Bonacci also known as Fibonacci, and also known as Leonardo of Pisa found Fibonacci Sequence 0, 1, 1, 2,3, 5, 8,13, 21, 34, ... Phidias a Greek sculptor and mathematician found golden ratio. Keplar derived many Geometrical constructions to get Golden Ratio. FarPrinciples of Design Proportions & Scales Analysis I Construction of Golden RectanglePrinciples of Design ill Proportions & Scales Construction of Golden Rectangle Fibonacci Sequence 0, 1, 1,2,3,5,8Principles of Design Proportions & Scales Analysis Construction of Golden Rectangle If you sum the squares of any series of Fibonacci numbers, they will equal the last Fibonacci number used in the series times the next Fibonacci number. This property results in the Fibonacci spiral, based on the following progression and properties of the Fibonacci series: agtoyPrinciples of Design Proportions & Scales Analysis Construction of Golden Rectangle . e ' square=1 swing the diagonal new shape = root 2 rectangle “ Fas ’ root rectangle swing the diagonal new shape = root 3 rectangle root 4 rectangle root 5 rectanglePrinciples of Design Proportions & Scales Analysis Error In Modular System Le Corbusier thought that by using a simple geometrical extension you could derive a rectangle with sides 1:2 froma rectangle with sides of the ratio 1: ¢. After all, adjacent squares make plans and facades that fit the modernist aesthetic of symmetry and simplicity. Ina book on architectural proportion Richard Padovan records that when this error in constructive geometry was pointed out, Le Corbusier consulted a mathematician friend. The mathematician confirmed that Le Corbusier's constructive method was out by 0.006 from what he expected (Padovan 1999)Principles of Design Proportions & Scales Analysis Error In Modular System When Le Corbusier discovered the error in his attempt to derive two squares from the Golden Rectangle, he thought this revealed something about the difference between architecture and philosophy he concludes ‘the thing is not open and shut; it is not sealed; there is a chink to let in the air; life is there, awakened by the occurrence of a fateful equality which is not exactly, not strictly equal ... And that is what creates movement.Principles of Design Proportions & Scales Analysis Golden Ratio in ArchitecturePrinciples of Design Proportions & Scales Analysis Some common Day today things in Golden RatioPrinciples of Design Proportions & Scales Some common Day today things in Golden RatioPrinciples of Design Proportions & Scales Analysis Some common Day today things in Golden Ratio