Section-B Principles of Design

How artists and designers organize and use design elements to create a work of art
or design is the definition of the principles of design. The principles of design are
the methods used to organize the design elements. For example, line is a design
element and repetition is a design principle. So, an artist may repeat similar lines
throughout the composition, which helps to achieve unity within the work of art,
architecture, or design piece.
Unity prevents chaotic art or design which may not be visually appealing. Elements
and Principles of Design
Although there are arguably a dozen or more elements and principles of design that
designers should keep in mind when working on their projects, we’ve narrowed
down the top 6.
Emphasis
As with any design, there will be aspects of it that are intended to really stand out
and catch the viewers attention. Emphasis then, refers to the most important
information that the design is meant to convey. Before you even begin your design,
ask yourself: what is the first piece and the most important piece of information the
audience needs to know?
Emphasis is typically indicated by using contrast, color, shape or texture. It’s also
often the point of focus. It often will break, or interrupt the flow of the composition
in order to draw attention to it. Emphasis can also be used to deemphasize a certain
aspect of the design, such as with “fine print”. Discrete and small typography that’s
hidden away at the bottom of a page will carry far less weight than most other
elements in a design.
With that in mind, construct a mental outline. Organize the information and then
lay out your design in a way that communicates that hierarchy. Place the essential
information at the center, make it the biggest element, or use the strongest, boldest
type.
Balance
Balance is all about visual stability and our physical sense of balance. Bold or
strong compositions achieve balance either symmetrically or asymmetrically, and
help reconcile opposing forces. Symmetrical designs create balance by using
elements and principles of design of equal weight on each side of an imaginary
center line. Asymmetrical balance, on the other hand, uses elements of varying
weights which are typically laid out in relation to an imaginary line elsewhere
within the overall design. Asymmetrical designs tend to be bolder and can bring
real visual interest and movement to your design.
Every element of a design either contributes or detracts from the balance. Keep in
mind that every element carries its own visual weight, including typography,
colors, images, sizes, textures, shapes, and patterns.
Some elements are heavy and catch the eye, while other elements are lighter. The
way you choose to layout elements in your design should create a feeling of
balance. Don’t crowd your design by placing a lot of heavy elements in one area of
your composition, as it will throw off your balance and cause your audience to feel
as if their eyes are sliding off the page. Contrast
Contrast is what really makes a design “pop.” When different elements in a design
are more easily discernible from one another, that’s contrast. Contrast is an
essential part of creating accessible designs. It is intended to draw the audience’s
attention clearly to an element, create space and difference between elements in
your design, and above all, making a lasting impression. Poor contrast can cause
your text to be difficult to read, for elements to blend together, and are often easily
forgotten.
If you’re planning to use type to create a strong contrast, understanding contrast is
essential as it means the weight and size of your type are balanced. How can your
audience discern the most important aspect of your design if everything is in bold?
If you look up examples of strong, effective design, you’ll likely notice that most
designs feature one or two typefaces at most. Why? Effective contrast are more
often achieved with two strong fonts, sometimes even one strong typeface in
different weights. As you add various fonts, you often run the risk of diluting your
message and confusing the purpose of your design. Similarly, color is another
effective way to create contrast. It’s important for your background to be
significantly different from the color of your elements. This way, they work
harmoniously together and any text used, is readable. Proportion
Another one of the top 6 crucial elements and principles of design is proportion. It
is also one of the easier design principles to understand. It is the visual size and
weight of elements in a composition, relating to size, color, quantity, or degree, and
how they relate to each other.. To put it in the simplest terms, it’s the size of
elements in relation to one another and signals that larger elements are more
important, and smaller elements are less important.
It is achieved when all of the elements of your design are well-sized and
thoughtfully placed. Good proportion adds unity, symmetry, or balance among the
parts of a design. Once you’ve mastered the art of, balance, contrast, and emphasis,
proportion often emerges organically. To start, it advisable to approach your design
in sections, rather than as a whole. Grouping related items can give them
importance at a smaller size, which can help with hierarchy.
The proportional differences between the tiny type and large images clearly
delineates which elements are the most important on each of the wedding invitation
mockups outlined below.
Movement
Movement refers to the way the eye travels over a design. When done well, your
eye should naturally flow through a hierarchy of important elements seamlessly.
Movement creates a story or the narrative of your work like sentences on a page
leading the reader through the story. Each important element should lead to the
next most important comfortably. The elements we’ve already covered, particularly
balance, and contrast, will work in conjunction with movement to achieve your
goal. It can often be achieved by using the principles of repetition, gradation, and
alternation. Repetitions can be subtle elements at a foundational level, or they can
be more boldly using distinct elements in a composition.
Without proper movement, your design might be confusing or unappealing. The
best way to determine this is by taking a step back and viewing your design. Does
it feel like your eye gets “stuck” anywhere on it? Is there an element that is too big,
too bold, slightly off-center, or not a complementary color? It’s important to tweak
these and adjust your design until everything is in harmony and there is a visual
rhythm within the design.
Hierarchy and white space
The last of the top 6 crucial elements and principles of design may seem out of
place as it is unlike the previous 5. While all of the above elements deal with what
you add to your design, white space, also referred to as negative space, specifically
deals with what you don’t add. White space is exactly as it sounds – the empty
space around the elements in your composition.
White space may appear to be unimportant or a passive part of a design, but it’s an
essential in the elements and principles of design. White space actively helps
define the hierarchy and organization of your design. Our brains naturally equate
luxury and importance to an element with ample white space around it. It signals to
our eyes that objects in one region are purposefully grouped separately from
objects elsewhere.
The way you balance your white space can make or break your design, especially
in typography. Consider how each element or letter relates to each other, and give
them the precise breathing room required.
White space, or negative space is part of your design so use it well! Space can
make a huge impact and be a powerful tool that helps your viewer to navigate
through your design. It can also be a place to rest the eyes. Finding the right ratio
between positive and negative space allows you to create clean and effective
designs.
Use it wisely and keep in mind that too much space will cause your design to look
unfinished, while too little space will cause your design to seem too crowded.
Principle of Proportion
Proportion is the relationship of two or more elements in a design and how they
compare with one another. Proportion is said to be harmonious when a correct
relationship exists between the elements with respect to size or quantity.
The effective use of proportion in design is often referred to as harmony, a
relationship in which the various elements of the composition appear as if they
belong together in size and distribution.
For example, if one figure is made to look larger compared to other figures in a
composition, it is said to be out of proportion and is given greater importance.
Fashion Design
Fashion design is a popular topic that garners interest from much of the
entertainment world. Most might associate glamorous clothing, models walking
down the runway, and sketches of fashion ideas with the concept of fashion design.
While this all relates to fashion design, there is much more to this discipline.
Though many fashion design pieces in magazines highlight luxurious looks, this
topic covers all areas of design when it comes to all types of apparel.
The term fashion design refers to the process of creating fashion pieces, from
drawing sketches to sewing materials together to create the piece. This includes
various types of clothing and accessories. Things like dresses, shoes, and scarves
are all part of fashion design. Some designs are considered haute couture, which is
generally top-quality, superior, and more expensive; others are simply ready-to-
wear clothing that is available to the general public and cheaper in terms of cost.
Fashion design may also be used to send a message about a unique style, such as in
fashion shows.
Elements of Fashion Design
Fashion design, as well as other disciplines of design, makes use of specific
elements and principles. The elements of design are important for designers to
understand and can help to improve different aspects of the design. The four
elements of fashion design include color, line, shape, and texture.

• Color: The color element is simply the color represented in the design, such
as red or blue, which can impact the mood. This includes the hue, the value,
which shows whether the color is light or dark, and the intensity, which
represents brightness or dullness.
• Line: The line element refers to the way lines are used in a design. This can
be curved lines, straight lines, and even dotted lines. Lines in fashion design
 can show direction and can add specific visual elements to differentiate the
look.
• Shape: The shape element in fashion design refers to the outline of the piece.
Shapes can take the common forms of squares, circles, and triangles, or they
can be unique, just as most fashion design pieces. This may also be referred
to as a silhouette.
• Texture: The texture element is the element focused on the surface quality of
the design. In fashion design, it is how the clothing or materials feel. This
can include things like the smoothness of a certain fabric or the thickness of
the material. Texture can also refer to the way something is expected to feel.

Principles of Fashion Design

Principles of design are essentially guidelines that help designers to combine the
four design elements, which include color, line, shape, and texture. Fashion
designers should follow these principles, as they provide several fundamental
guiding rules which are helpful in creating effective designs.
There are five basic principles of fashion design, which can also be applied to other
areas of design. These principles include emphasis, balance, proportion, rhythm,
and harmony.
Emphasis in Fashion Design
The principle of emphasis refers to the focus of the fashion piece. Emphasis aims
to create visual interest and create a focal point in a fashion design piece. For
example, a ruffled dress provides emphasis where the ruffles are located. Emphasis
can be created in various ways, such as adding a bright color to a certain area or
even accessorizing the piece, such as by adding a scarf.
Balance in Fashion Design
The principle of balance refers to the way a fashion piece is equal on both sides.
Generally, this is based on a line that would essentially divide the piece in half and
how each of the halves is equal in terms of balance. Designs can either be
symmetrical or asymmetrical. Symmetrical balance means the piece is equal on
both sides, just like a basic t-shirt without pockets or other added details.
Asymmetrical balance occurs when the piece is not equal and may contain
different aspects on each side but still feels as though both sides are equal.
Proportion in Fashion Design
The proportion principle refers to the relationship between the different parts of the
fashion piece. Proportion may also be referred to as scale. This shows how well the
different sizes work together and whether they are "proportionate" to each other.
For example, jeans are meant to be proportionate to the body as they come in
various sizes and styles. Shoppers who are looking for that "perfect fit" are
essentially looking at the proportion of size and fit of the pair of jeans.

Rhythm in Fashion Design

One of the basic principles of design rhythm in fashion refers to the deliberate flow
of lines, shapes, textures, and colours within a garment. This rhythmic flow guides
the viewer's gaze smoothly from one area of the outfit to another, creating a
harmonious and visually engaging experience. When all the elements of an outfit
work cohesively together, a sense of rhythm becomes evident, enhancing the
overall aesthetic appeal.
Impact of Rhythm in Fashion Design on the Apparel Industry
The impact of rhythm in the apparel industry is significant and multifaceted.
Rhythm, as a fundamental design principle, plays a crucial role in shaping trends,
consumer preferences, and brand identity. Here are some key aspects of how
rhythm influences the apparel industry:
Aesthetic Appeal
Fashion brands that effectively incorporate rhythm into their collections can stand
out in a crowded market and attract a loyal customer base.
Trendsetting
Rhythmic elements often drive trends in the fashion industry. Designers who
skillfully utilize repetition, alternation, and gradation can set new trends and
influence the fashion direction for a particular season or year.
Brand Recognition
Establishing a recognizable rhythm in design can become part of a brand's identity.
Consumers may associate specific rhythmic patterns or elements with a particular
fashion brand, enhancing brand recognition and loyalty.
Timelessness
Certain rhythmic patterns and designs possess timeless appeal. By incorporating
elements of rhythm into their designs, fashion brands can create garments that
remain relevant and fashionable for an extended period.
Innovation and Creativity
Rhythm encourages designers to think creatively and experiment with patterns,
textures, and colours. This approach fosters innovation and keeps the fashion
industry vibrant and ever-evolving.
Runway Presentations
Rhythm adds flair and excitement to runway presentations, making fashion shows
engaging and memorable for audiences.
Consumer Perception
Consumers often perceive well-crafted rhythmic designs as more sophisticated and
higher in quality, positively impacting brand reputation and perceived value.
Market Demand
Fashion garments that exhibit rhythm are often in high demand, leading to
increased sales and revenue for fashion brands.
Study design
Study design is a framework, or the set of methods and procedures used to collect
and analyze data on variables specified in a particular research problem.
Research study designs are of many types, each with its advantages and limitations.
The type of study design used to answer a particular research question is
determined by the nature of question, the goal of research, and the availability of
resources. Since the design of a study can affect the validity of its results, it is
important to understand the different types of study designs and their strengths and
limitations.
There are some terms that are used frequently while classifying study designs
which are described in the following sections.
Classification of study designs

1. Does the study describe the characteristics of a sample or does it attempt

to analyze (or draw inferences about) the relationship between two
variables? – If no, then it is a descriptive study, and if yes, it is an
analytical (inferential) study
 2. If analytical, did the investigator determine the exposure? – If no, it is an
observational study, and if yes, it is an experimental study
3. If observational, when was the outcome determined? – at the start of the
study (case–control study), at the end of a period of follow-up (cohort
study), or simultaneously (cross sectional).
Step-by-step instructions for drawing faces.
To perfect your face-drawing skills, follow this drawing tutorial. The more you
practice this simple exercise, the more easily you will be able to complete and
make corrections to head drawings in the future.
1. Begin by drawing a simple circle or oval shape. This is your head. Bisect
it vertically, allowing the vertical line to drop below the bottom of the
circle.
2. Bisect the circle horizontally. This line will serve as the rough indication
of the brow.
3. Sketch a horizontal line just under the top of the circle to represent the
hairline. Note the distance between the hairline and the brow line, and
reproduce it twice more — moving downwards — to create the thirds of
the face. Then, draw two vertical lines that carve through the extreme left
and right boundaries of the circle, angling slightly inwards from top to
bottom (the pink lines in the image). These represent the side planes of
the head.
4. Draw the pink lines shown in this next illustration: two short diagonal
lines, crossing through the brow line, moving inwards toward the center
from top to bottom. Draw a compressed, inverted triangle representing
the bottom plane — the underside — of the nose.
5. Draw a horizontal line about 1/4 the distance between the brow and the
bottom of the nose, just under the brow line. This represents the eye line.
Draw two more short diagonal lines — the pink lines, near the right and
left extreme boundaries of the head. These lines move outward, from top
to bottom on either side, and represent the outside edges of the ocular
cavities — or the holes in the skull where the eyeballs reside, also known
as eye sockets. Draw these diagonal lines between the brow line and the
newly placed eye line. They should end inside the left and right extreme
borders of the head.
6. Traveling along the eye line, look at the distance between the newly
drawn diagonals and the vertical center line of the face — the green
vertical lines in the illustration. Bisect these distances with two vertical
lines on either side of the face, as shown by the blue lines in the
illustration. The line of the mouth is then drawn about 1/3 of the way
down between the bottom of the nose and the bottom of the jaw.
7. You now have the precise locations for the corners of the mouth and the
center of the eyes’ irises. Look at the circles that are drawn in the
illustration to give yourself a rough idea of the correct size for drawing
irises. The ears fall roughly between the top of the eyes and the bottom of
the nose.
8. The line of the mouth gives you room to draw a shallow arc for the upper
lip, as well as the two opposite-facing short curvilinear lines for the
bottom lip and the top of the ball of the chin. Add lines, as shown, for the
structure of the nose. (These lines are meant to represent the extreme left
and right boundaries of the nose, not the plane of the bridge of the nose.
As you will see in the examples of finished face drawings, the bridge is
one of the features that is very specific to the individual, and there is no
need to indicate it at this stage.)