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F O R M + S PA C E

FormForm is considered a positive element,

a solid thing or object.

SpaceForm is considered negative—not in a bad way, but as the

absence, or opposite, of form. Space is the “ground” in which form becomes a “figure.”

All form has meaning.

The space between and around forms is often called whitespace (although it is not always white).

Where is the space?

Contrast/DifferenceHow we distinguish between form and space. The human brain innately simplifies and groups similar elements. If it

cannot easily make these connections, it perceives confusion.

We are hardwired to find differences in our environment

Form is Space, Space is FormThe relationship between form and space, or figure and ground, is complementary and mutually dependent: it’s

impossible to alter one and not the other.

The relationship of form and space creates meaning.

Form + Space = Visual LogicVisual logic, all by itself, can also carry meaning. The

figure/ground relationship composed in such a way that the feeling this compositional, or visual logic, generates is

perceived as appropriate to the message.

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from Design for Communication, Elizabeth Resnick

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L I N ELines can organize, direct, separate, be expressive, suggest emotion,

or create rhythm. They can join elements or divide them using a rule, which is a line that separates one element in a design from another.

Saul Bass

Emil Steinberger, 1965Susanna Dulkinys, 2003

S H A P EThe external outline of a form or anything that has height and width.

An example would be the three basic shapes: the circle, the square, and the triangle, considered to be the fundamental shapes found in all design.

Saul Bass

Max Bill, 1944

Paul Rand, 1985

T E X T U R EThe look and feel of a surface. In two-dimensional form, texture is

essentially visual and adds richness and dimension to work. Texture can also refer to pattern, which is visual texture.

Donald Brun, 1946

Sony Music, 2001

William Golden, 1951

S PA C ERefers to the distance between shapes and forms, but it is best understood

in design as white space or negative space—terms used to refer to the empty but often active areas that are void of visual elements.

Bruno Munari, 1982

The Pushpin Group, 2004

S I Z EHow big or small something is in scale to other objects. Scale refers to the

process of making size relationships. unless there is a scale of reference within a design, it is impossible to discern the relative scale of objects and the meaning

they represent.

Herbert Matter, 1935

Helmut Krone, 1959

VA L U E ( & C O L O R )The relative lightness or darkness of an area or object. Value adds dimension by creating the illusion of depth in a design. With the addition of a color, you can

create and convey a mood to enhance a strong concept.

Paula Scher

Metropolis Magazine, 2005

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B A L A N C E—occurs when all the design elements are equally distributed through the design.

There are essentially two types of balance: symmetrical and asymetrical. Symmetrical elements are arranged equally on both sides of a composition to

suggest a stable or static motion. Asymetrical elements create a deliberate imbalance to suggest variety or dynamic movement.

1937FT Marienetti, 1914

Tibor Kalman, 1980

E M P H A S I S—indicates the most important element on the page based on the message.

It’s the element that stands out and gets noticed first. The most emphasized visual element in a design is called a focal point because it attracts the viewer’s

attention first. How can you create emphasis in design? By taking an element and making it bigger, bolder, or brighter, by putting it in a contrasting color, or by

surrounding it with white space.

Aleksandr Rodchenko, 1923

Ellen Lupton, 2006

R H Y T H M—is a pattern created by repeating elements. Rhythm denotes the movement

in the way that elements direct our gaze to scan the message for understanding or information. The term sequence is used to refer to the viewing order of the

elements and to determine the flow of a multipage publication such as a magazine or book.

Josef Müller-Brockmann

1927

U N I T Y—is achieved when all the design elements relate to one another and project a sense of completeness. Gestalt theory is the psychological process by which a

viewer unites disparate design elements into a whole form that is greater than the sum of its parts. Two such ideas are grouping and figure/ground. Grouping happens when elements are close together and visually appear as part of a

group. Figure/ground occurs when a viewer can identify an object (figure) as a shape distinct from its background (ground).

Paula Scher

C O N T R A S T—stresses the visual differences in size, shape, and color between the elements to enhance the perception of a message intended. Contrast also draws and directs

the viewer’s attention to specific areas of information.

Saul Bass Barbara Kruger, 1987

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