Elements of Design and Color Theory

These flashcards cover key concepts related to the elements of design and color theory, essential for understanding visual composition.

Size

The physical dimensions or magnitude of an object, a directly measurable attribute of visual quality.

Proportion

The size relationships between various elements of a design, or the percentage of a composition an element occupies.

Ratio

The relative size between two elements, usually expressed as a fractional relation.

Color

A powerful visual quality that defines shape, provides emphasis, and conveys emotion.

Hue

The attribute of a color that refers to its name, such as red or green.

Value

The relative lightness or darkness of a color, measured on a scale from white to black.

Tint

A lighter variation of a color created by adding white.

Shade

A darker variation of a color created by adding black.

Tone

A variation of a color created by adding gray.

Primary Colors

Basic colors from which other colors can be created; Painter Primaries (RBY), Printer Primaries (CMYK), Light Primaries (RGB).

Saturation

The purity or strength of a color, describing its intensity.

Chromatic Colors

Colors that have a noticeable degree of saturation, allowing their hue to be determined.

Simultaneous Contrast

The phenomenon where neighboring colors amplify their differences, affecting hue, value, or saturation.

Optical Mixing

When small areas of color are placed close together, causing the human brain to blend them to create a perceived average.

Emphasis

An area or object in a work that draws attention and serves as a focal point.

Subordination

Minimizing the focus on other compositional elements to highlight the focal point.

Lines are the foundation of drawing:

Line is perhaps the most familiar element of design

Lines have length and width (more length)

A line can abstractly be thought of as a zero width object

Line Vocabulary:

The rough width of a line is described through Line Weight (heavy vs light)

Line Path defines the quality of the route the line takes (zig-zag, wavy, fluid, or jagged)

The Relation between Edges defines the quality of the sides of the line (smooth, irregular, sharp or fuzzy)

Placement in space can effect how the lines are perceived. (horizontal, vertical, diagonal)

Lines can be actual or implied

Actual lines are visible

Implied lines are not visible, but feel present through high contrast barriers or the organization of visual elements

A line that bounds a shape, or describes an outermost edge is called a Contour Line or an Outlines

For generating shading and texture you can use Hatching and Cross-Hatching

Types of lines:

Contour

Scribble

Sketched-Loose

Construction

Measurement

Wide/Narrow/Weight

Hard

Soft

Light

Hatched

Shading

Line Basics:

They communicate action, mood, drama, detail, texture, tone, value, style, emphasis etc.

Lines are used to create shapes and negative spaces

Lines are used to show contours

Lines imply movement or direction

Lines organize elements of a design

Position and Perception:

Because the standard frame of reference is a rectangle and all visuals are assumed to be under the effects of gravity, lines parallel to edges are perceived as more stable

Horizontal lines are viewed as more stable and at rest due to gravity

Vertical lines are stable but more assertive