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0:18
welcome students to the nptel online certification course ah title visual communication design for digital media so today we will ah discuss principle of design in the previous class we discussed about elements of design and the principles of designs are how we arrange the elements of design to create a composition so the artist and designers plans the arrangement of element to form a visual composition the visual arrangement is perceived by the viewer
0:49
based on their experience and communication happens through the ah visuals they look at they exit a pattern the way viewers perceive visual from these patterns visual design principles are evolved the visual arrangements are therefore should be based on these principles of design for effective visual communication so if you ah ah look at this diagram this is a representation of the communication process first we see
1:19
the different elements fragmented and the designer and an artist select these elements to create a visual communication then the user sees the composition after that there are the interpretation happens and that goes into users mind so if the composition is meaningful then use user perceives the mini meaning of the communication and the visual communication happens through the final composition to achieve a visual composition they are the following
1:50
visual design principles so these are one unity next emphasis then proportion balance and rhythm so first we discuss about unity unity means that there is a coherence of arrangement which exist among the elements of design in the visual composition they look as though they are unified as though some visual connection is there in the holistic composition another term of the unity is harmony so visual and intellectual unity we should not be confused between visual and intellectual unity visual
2:29
unity is visually we connect different elements of ah design suppose there are circles it can be smaller circles it can be bigger circles but as there is a unity because of the element shape of the shape of the design that is circle we connect the designs similarly if there are ah unity in texture unity in line quality or unity in the ah other for other elements of design we connect the composition but in terms of intellectual unity there is a thematic
3:02
connection not into not in the connection not a visual connection is there in the composition so we can define the intellectual unity as the whole must be predominant ah ah the visual unity is and ah there are different kind of ah unity one is visual unity and another is thematic unity we are in the principle of design we are actually talking about the visual unity intellectual unity is not a ah part of the principle of design intellectual unity
3:32
is just a ah thematic unity so ah for example if you talk about visual unity so for example if in the composition there are multiple circles one circle is smaller the other circle might be bigger if in the they are can be a colour difference but still because of the shape unity in the shape that is the element of design we perceive the composition as a holistic one and it can be ah in in terms of texture in terms of colour in terms of a line and
4:04
other elements of design the unity can be achieved whereas the thematic unity is just a conceptual unity for example if we ah if we ah paste the photograph of a tree and a flower and ah fruit then we unite them as a parts of flora so there might not be any visual unity in the ah the composition but that is just a thematic unity so ah the ways to achieve unity are different so we will discuss them as a one by one so one is proximity and easy way to gain unity is to make separate elements
4:45
look as as if they belong together so if we arrange different ah shapes different visual elements together and then they ah look unified for example this is a example from taken from lauer and ah pentaks basic design so in the first composition a if we see there are different elements all have different colour different texture ah and there are ah they are not together in the second composition in b they are placed in the closer proximity so in the second composition
5:22
we perceive this circle this rectangle and triangle and this these four things together as a combined one but in the first composition we dont perceive that the next way to achieve unity is repetition perceive perceiving a visual path and a connection ah based on the repetitive arrangement of a of different shapes or different lines lines or texture can create unity for example in this ah poster we can see there is a similar
5:59
two shapes are repeated twice the colour is different the shape also has a of this shape also has a two d effect whereas this shape has a three d effect but still we unite them because of the continuity the visual continuity we have for example this is a example from web design so if we see the popup window here and the backdrop has unity because of has unity because of the continuity the continuity is there in terms of colour so we can see
6:35
ah yellow colour over here that is also there in the backdrop this red colour usage of red colour is there thats also there in the backdrop and the squarish format is also matching with ah backdrop so there is a unity because of the principle continuity the next is similarity if they are similarities in the elements of design we also perceive the composition as unified for example there is a packaging design so different packaging design has a different names different colours different products
7:11
packaging are of different colours and different names but still you can see the unity be achieved ah ah with the arrangement of the elements of design so in the first example there the colour is the colour of the product is a red and the second example the colour of the product is ah ah material which is there is a ah green but still the shape of the ah packaging and the labelling and the typography used and a texture everything is same so they create
7:41
a unity among the product range and they talk about a brand identity the next is closure if the ah mind try to connect the individual elements which is ah there in ah closer proximity but in ah this is different from the example which we discussed a earlier the example we see over here this is a four different absolutely different ah ah shapes together ah arrange together thats why we perceive it as a same as a same composition but here if we see the
8:25
example it will be clearer for example ibms logo and wwfs logo so in terms of closure smaller element doesnt have any meaning when we see to together then we can read the ibm the ah complete fonts of ib and m but if you see it in the fragmented way these are just a series of rectangles similarly in this logo of wwf there are some black and white compositions because of the close proximities they create the shape of
8:58
the panda so there is a in this principle that shapes are together and they the meaning comes when they are composed in a ah in a particular way and position in a particular place so the holistic meaning is there but individual meaning is not there then the another way to achieve unity is common fate elements which are likely to be perceived as a unity as ah one unit if they are moving in the same direction for example the famous ah poster
9:34
by herbert bayer the bauhaus poster where ah ah pot raying kandinsky so the first is the original poster in the second if you see the elements different elements typographic elements the photographs and the shapes we see are there and the background is deleted the third example is actually the poster is to it the first composition what first element what we see the photograph is change the direction is changed and here the
10:06
typographic ah typography and the boxes are the directions are change so if you see the for this example and this example here all the elements is ah are following a same particular direction which is this axis where as in this example these two are not following the access so in this example this part and this part is not united with the rest of the composition because of the principle that is ah because of the ah common fate ah of unity is not achieved
10:44
in the this thing so this is actually a distorted ah ah composition this the from the original composition then another way of achieving unity is continuity in the line so if lines are always a perceived as a as as if they are following ah simplest path so if two lines break the viewer see the overall movement rather than the break so for example if we see there are psychic lines in the top of the row this is another
11:18
row the top of the row these are ah this acts as a line this also access a line this is a top of topline of the shape so these lines actually break over here over here and also over here but we perceive this line as a united line so this is actually based on the principle of continuity similarly we can see a line over here a line over here because of the photographs alignment and the text alignment we perceive a line similarly the grey patch
11:51
over here follows a line at the bottom of this ah photograph so if you some up these are the principles these are the ah ah way to achieve unity one is similarity this is the thematic ah ah photograph ah thematic diagram so this the circles are united and ah this crosses are united and the proximity when we cluster them together they create unity so here in this composition we actually have two different ah part two
12:27
different zone of the composition because of the proximity of shapes here we have the continuity of line the line breaks over here but it continues from here and connects this line so if this part this curvilinear line is omitted then this part and this part will not be united then because of the closure the two elements are meaningful when they are together so there is a holistic meaning ah in the ah in this principle so that that
12:54
was the example for ibms logo and then common fate when together they create a meaning and continuity of line is this thing so unity with variety is a very important thing in ah the visual composition so we if everything is totally unified then there is a lack of ah lack of drama in the compositions the user loose its their ah intention to look at the composition because there is no ah ah hidden meaning in the composition so some
13:29
part of the variety has to be there in the composition along with the unity in terms of ah ah elements of design for example in the first composition the composition is boring because its absolutely united and its very easy to perceive the composition so first is black then white the regular pattern is there the second and third composition they were a little bit varieties added with the composition though there are only ah black
14:02
white there there is a play with black white and grey and all we have the squares in the composition but still we have variety so the unity in this composition is the square and the colour in terms of shape and colour but there are variety in terms of rhythm so in this example there is also a good example of unity with variety here we have different kind of line qualities there is a variety different colours but still they are unified
14:31
because of the curvilinearity of the line the curvilinearity of the text and the curvilinearity of the shape matches each other and even ah we see the colour over here yellow and then again over here is a same yellow thats a repetition over here so this that is why this composition is unified but again the variety is also there in the sketchy phones as well as well as in the contrast of the photographic reality of the ah part in the bottom then the next ah
15:05
principle of design is emphasis to create a focal point that is that is very important in the composition if we dont create a focal focal point the composition just acts as a texture it doesnt have any ah visual ah any part where the visual interest will will be there and the to do that we have to create a hierarchy in inside a composition so to way ah there are different ways to achieve emphasis the first way of ah achieving emphasis
15:37
is isolation if we isolate a particular ah element from the composition it will augment in the hierarchy and have an emphasis in a composition for example we have these two compositions this two photo one photograph and one painting here in the first example the photograph distribution if you ah ah see in terms of elements of design the distribution of colour distribution of texture is absolutely even so this photograph actually acts as a
16:07
texture and because of the even even distribution of colour whereas in this photograph they are again the same theme is the same lot of people but because of the lighting because of the difference of value the this person this foreground is first ah distinguish distinguishable from the background but even in the foreground if we see because of the isolation of this man from the rest four man the this man is getting the emphasis so in this ah composition
16:42
if you think about the hierarchy this here the first level of hierarchy is this so this person gets the first attention then four ah this four person gets the second has the second hierarchy second level of hierarchy in the composition and all this persons though they are they are face face facial expressions and ah bodies the detailed but because of the illumination level they act as a background in the composition
17:12
so another way to achieve emphasis is a placement so if we see in this example all the shapes and though they have they have different shapes they direct to a particular shape so here these among all these are shapes this rectangle gets the emphasis because of the position and the pay because of the placement of the other rectangles all other rectangles are directing to this rectangle again ah in this example we have this poster ah design by adolphe
17:48
mouron so here all this lines direct to the star because of this lines the star gets an emphasis the stars colour if you look at the colour ah contrast and the the shape and the area it occupies its not much and the colour contrast is also not high where as we have the higher colour contrast over here in the bottom but because of the placement of this particular advantage point the star gets the first emphasis in the poster
18:20
the another way to achieve emphasis is scale so if we play with the scale if we increase the scale of a particular ah known object the object gets an emphasis or if we ah also suddenly decrease the scale which also gets an emphasis so more or less so if there is a scale change so we get ah we we can create an emphasis on that object so here we can see the comb over here and the glass over here and the brush over here are enlarged
18:55
in scale so but the other ah furnitures in the room are of the scale we ah we are normally used to perceive them in this scale so these three objects has the emphasis because of their enlarge scale similarly in this composition if we see these ah top view of sky ah sky scrapers over here these two skyscrapers and is absolutely of a different scale then the shoe so here because of the colour contrast and the scale the shoe
19:30
gets an first emphasis and because of the colour contrast the different colour contrast the right up which is aligned with a shoe gets an the emphasis is there as well because of the direction its pointed towards the shoe the shoe gets the first emphasis and then because from the shoe there is ah ah ah typographic element coming here so that also gets an emphasis because of their enlarge scale another way to achieve emphasis is contrast so if we create
20:06
a light and dark contrast or a texture contrast or a shape contrast in shape we can create an emphasis in the composition for example here the contrast is created ah based based on colour so here we are the complete composition has a tone of blue and ah the flower over here has a yellow colour and if you see the colour wheel yellow and blue other complementary colour so they have highest contrast highest possible contrast in this composition and also if we see this ah line is our sketched
20:50
line and this these are the photographs also will this line gets the second hierarchy in the emphasis because of its line quality the other for things what is used in the compositions are photorealistic whereas this line is hand drawn so that is ah that is why this line also the face which is created by hand drawn line also has an emphasis in the composition then ah the other way of creating emphasis is a direction of the pointer if this in this
21:26
composition we see this two triangle is pointing towards the circle though the circle is smaller in size and occupies less area in the composition still the circle gets and higher ah highest emphasis than the other two triangles here in this composition also we can see the emphasis is there because of the direction if we start reading from here its metro and police so metropolis if we read o is here so this circle is here and because of this typography it
22:07
directs towards the circle when we stop reading from here to there the s is there in the circle so this circle and ah the centre of this ah this complete composition is this so this creates ah gets an emphasis in the composition the ah so we can ah we can see the there has to be a structural hierarchy in the composition so for example we have two packaging design over here so there in this packaging design there are photographs there are typography
22:42
and there are some blank vacanza spaces so here in the composition if we see the first right of which starts from here is has ah larger font height so this has the emphasis as well we also have a photograph over here which also has a emphasis in the next level but here this typographys are barely readable so this ah has a least degree of emphasis in the composition so ah the next principle of design is proportion so in terms of big
23:20
and small however they are relative but the propose proportion refers to a relative size and size measured against other elements or against some mental or norms or standards or perceived so ah the proportion when we are think about proportion we also ah think about what we already have perceived so if that matches with the proportion we perceive the proportion is a proper and ah and if it doesnt match with our preconceived notion then ah we we see some anomaly in the composition for example
23:56
thats why ah some of the proportion acts ah since beautiful in our users mind and the some of the proportions look ah odd in users mind so based on this users experience and users preconceived ah notion we have some beautiful proportions ah proportions are ah this established beautiful proportions are there for example le modulor by ah le corbusier so he established a proportion which is beautiful in or most of the users eye and another is
24:32
fibonacci series which is based on the golden mean proportion so these proportions are actually ah we find them in the nature so this fibonacci series and le modulor can be found in flora and fauna for example we see the fibonacci series in the conch shell we see a le modulor in ah ideal human body body part even the fibonacci series which is derived from ah golden mean rectangle is there in vitruvian mans ah the
25:04
da vincis vitruvian man so if we ah apply this propose a beautiful proportions the compositions looks beautiful for example in the ah in this example ah ah the egg which has which is there in the has a different proportion and also ah in in acts a foreground but the other ah elements in the backdrop doesnt have a perceivable proportion so here in this ah design this has a different proportion and has an emphasis in the design so this
25:43
is the first part of principles of design in the second lecture i will continue with the elements ah and the principles of design ah the next part of the principle of design thank you
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