PRINCIPLES

OF
DESIGN

Visual Merchandising

Dhiya Jose Mampilly

JD Institute, Kochi
 Introduction

 The “principles of design” are what we do

with the elements and how well we apply
them.
 Determines how successful the design will
be.
 ‘Something that can be done with the
elements to achieve a visual effect’.
 Principles of Design

 Balance
 Dominance/Emphasis
 Contrast
 Harmony/Unity
 Repetition
 Proportion
 Balance

 Balance is the visual weight of elements in

a composition.
 Balance is used to add stability, add
structure, create emphasis and to create
dynamics.
 In design, one should attempt to place
visual elements in an aesthetically
pleasing arrangement, or particular
arrangement to fulfil a purpose or
achieve a particular look and feel.
 Balance
Symmetrical Balance (formal)
 Symmetrical
balance refers to balance
that is achieved by
arranging elements on
either side of the center of
a composition in an
equally weighted manner.
 Symmetrical balance can
be thought of as 50/50
balance or like a mirror
image
 The image would look the
same on either side of the
center.
Symmetrical
Symmetrical
Asymmetrical
Balance(Informal Balance)
 The elements are not identical on either side
of the axis line, yet the overall feeling is still
stable (harder to achieve, but visually more
interesting)
 Asymmetrical balance occurs when you have
different visual images on either side of a
design, and yet the image still seems
balanced.
 To be considered asymmetrical, a design
needs to have unequal visual weight on
either side, but those unequal visuals need to
balance each other.
 Asymmetrical designs can evoke feelings of
movement and seem more modern than
symmetrical designs, but it can be more
difficult and less straightforward to create
relationships between the design’s individual
Asymmetrical
Asymmetrical
 Balance
How we use balance:
 In visual balance, each element of the design
suggests a certain visual weight, a degree of
lightness or heaviness.
 For example, light colors appear lighter in weight
than dark colors or bright colors visually weigh
more than neutral colors in the same areas.
 Balance is not achieved through an actual
physical weighing process, but through visual
judgment on the part of the observer.
 To balance a composition is to distribute its parts
in such a way that the viewer is satisfied that the
piece is not about to pull itself over.
Balance

This composition is
horizontally balanced
despite having two
mannequins on one side
and a single mannequin
on the other by arranging
the size of the props to
mimic the mannequins
and by mirroring the
styling of the light shirt
with dark jacket.
Balance

This window harnesses

vertical balance with the
black hand silhouettes
spreading evenly on either
side of a central line.
Balance

The designer has mirrored

the mannequins dressed in
black with towers of black
books to balance this
display visually.
Balance

The mannequins in this

grouping have been
arranged asymmetrically
to soften the overall look,
but the colour and
placement of the large
rose props creates visual
balance.
Balance

This is a perfect example of a

symmetrically balanced
window where the structured
arrangement of objects
creates a sense of order and
precision.
Balance

This window provokes an

atmosphere of calmness
and serenity by balancing
the elements on a
symmetrical axis.
 Emphasis

Emphasis
 Something is recognized as being dominant if
it has greater emphasis within a setting or
composition.
 Emphasis, in turn, is defined as the intensity
that something has or the stress placed upon
something so that it is given importance or
significance.
 The element that is dominant will draw
attention to itself and emerge from the other
parts of a composition.
 It can create the centre of interest within a
display or window that causes the eye to
return again and again.
 Emphasis

 Special importance, value, or

prominence given to something.
 Emphasis creates a center of
interest/draws interest.
 Focal point refers to an area in the
composition that has the most
significance, an area that the artist wants
to draw attention to as the most
important aspect.
Emphasis
Emphasis
 Emphasis
How we use Dominance/Emphasis:
The way we place the design elements can
give dominance to one if placed so that it:
 contrasts others by size
 is distinct from the background
 has a distinct form or character
 is isolated from the rest
 is located at the end of a directional line or
the focus of a symmetrical arrangement.
 Emphasis
How we use Dominance/Emphasis:
 One way of achieving emphasis is by
creating a focal point which is the point
that catches the focus of the viewer’s
attention.
 The focal point may be the largest,
brightest, darkest, or most complex part of
the whole, or it may get special attention
because it stands out for some other
reason.
 No more than one component should vie
for primary attention.
 Where several components get equal
billing, emphasis is canceled out.
Emphasis

The fan blowing air into this

dress, causing it to balloon,
emphasizes the floating,
ethereal quality of this high
end garment.
Emphasis

The directional lines of

the woven wall finish
lead the eye to the
focal point with a
bright shot of blue
color creating a bold
visual exclamation
point.
Emphasis

The rich red colour of this

draped fabric dominates
the composition, leading
the eye throughout
the window as it falls to
the floor.
Emphasis

The bright colours and

patterns of these flowers
could overpower the
composition, but using only a
single item in the entire
window serves to emphasize
the prestige of the product.
Emphasis

The bold black and white

stripes dominate this
window display but the
vibrant yellow outshines
even these, creating a
focal point for the
mannequin.
Emphasis

The natural headpieces

of these mannequins
dominate two thirds of
this entire window to
dramatic effect.
Contrast
 Contrast occurs when two or more visual
elements in a composition are different.
 To generate impact, highlight
importance, create exciting graphics and
create visual interest and dynamics.
 Refers to the arrangement of opposite
elements (light vs. dark colors, rough vs.
smooth textures, large vs. small shapes,
etc.) in a piece so as to create visual
interest, excitement and drama.
 Contrast

 Contrast relies on a relationship to exist.

 It occurs when two things are different in
regard to a common principle or aspect
such as size, colour, or length.
 The degree of contrast can vary from
subtle differences to extreme differences.
 The resultant level of contrast will affect
how the thing appears.
 In an overall composition, one aspect
may be contrasted while others are not
Contrast
Contrast
Contrast
Contrast
How we use Contrast:
 When differences attain their maximum
degree, we speak of diametrical or polar
contrasts eg. large-small, white-black, cold-
hot.
 High levels of contrast may appear
aggressive, dynamic, energetic, bold,
forthright or attention grabbing.
 Low level may have the opposite effect
appearing more subdued, static or even
bland although they may also be perceived
as soothing or peaceful.
 The level of contrast that is appropriate
depends on the desired effect and impact.
Contrast

This window display

cleverly uses a
contrast of colours
with the background
of white purses making
the colourful purses in
front take centre
stage.
Contrast

This jewelry display also

uses a white
background to contrast
with pops of colour, but
the inclusion of the soft
feathers adds an
additional contrast of
textures with the glossy
jewels.
Contrast

The array of bright

colours and clashing
patterns in this window
actually creates
the reverse effect
of low contrast
with the elements
balancing each other
rather than
contrasting.
Contrast

The simple white window is

contrasted by the patterns
and colours of the
backdrop which in turn
supports the brightly
coloured outfit on the
mannequin.
Contrast

This window has a low

level of contrast with
all elements in tones of
white, but interest is
kept by contrasting
the textures with
smooth polished
concrete and
delicate lace.
Contrast

These quirky
paper dog
sculptures
contrast with the
luxurious fabrics
of the garments
on the
mannequins for a
contemporary,
attention-
grabbing display.
Harmony/Unity
 Harmony is defined as a consistent, orderly or
pleasurable arrangement of parts.
 It is achieved when all the elements of a design
work well together and the outcome is a pleasing
visual agreement between the parts.
 Colour harmony for example, is the outcome of a
colour combination that is balanced rather than
garish.
 Similarly, unity is a key goal for the designer and is
achieved when all of the disparate aspects are
integrated into a cohesive whole.
 A balance between unity and variety must be
established otherwise the composition may
become bland or static, thus not sparking interest
in the viewer.
Harmony/Unity
 The pleasing agreement of parts or
combination of parts in a composition.
 Harmony involves the selection/design of
elements that share a common trait.
 Harmony becomes monotony without
Variety.
 Unity can be achieved through matching
and coordinating.
 Variety can relieve monotony by giving
the eye a number of different details to
look at.
Harmony/Unity
Harmony/Unity
How we use
Harmony/Unity:
 To achieve a satisfying relationship between
all elements in the design the number of
elements can be limited, or grouped,
overlapped, framed, or enclosed in
someway.
 Relating the design elements to the the idea
being expressed reinforces the principal of
harmony/unity.
 For example a window trying to create
an ‘active’ emotion or feeling for a product
would work better with a dominant direction,
course, rough texture, angular lines etc.
 Likewise, a window trying to display
a ‘passive’ emotion or product would benefit
from horizontal lines, soft texture and less tonal
contrast.
Harmony/Unity

Here all the colors on display

achieve harmony by being
matched with soft textures
and detailed patterning, all
in tones of white, orange,
yellow and brown.
Harmony/Unity

A harmonious display is
soothing to the eye with
delicate paper skirts in soft
forms with trailing paper roses
and a hint of pink
connecting visually to the
soft pink of the perfume
bottle and its round stopper.
Harmony/Unity

A mishmash of objects,
animals and symbols are
linked into a harmonious
display by the icy blue and
white colour palette with a
hint of contrasting soft
apricot to ensure the display
doesn’t become bland.
Harmony/Unity

Here an unusual collection of

objects have been grouped
by colour, with the round
forms of the plant pots
mimicking the organic curves
of the pumpkins for cohesion.
Harmony/Unity

The neon pops of colour

and repeated motif of
rows of people in the
framed paintings links
these disparate
elements together into a
quirky, eye catching
display.
Harmony/Unity

The black and white

stripes on the wall,
matched with the black
and white picture
frames and the stripes
on the skirt unify the
backdrop and
mannequins together in
this window.
Repetition
 Repetition involves the use of patterning
to achieve timed movement and a visual
"beat".
 This repetition may be a clear repetition of
elements in a composition, or it may be a
more subtle kind of repetition that can be
observed in the underlying structure of the
image.
 Something that occurs more than once is
said to be repeated.
 In design, repetition refers to the use of
elements more than once which can
often create visual or tactile patterns or
textures.
Repeatition
Repeatition
How we use Repetition:

 Repetition creates visual continuity and

by providing ‘maximum
sameness/minimum difference’ can
simplify a composition.
 It also gives structure due to the
consistency of the component.
 In association, variation is introduced by
changing a component whether by
quantity or size, position of shape to
create focus.
Repeatition

The gradiation of the

repeated arrows from a
central point creates a
strong visual focal point in
this window display.
Repeatition

The repeated colour

swatches, paint tins and
handbags in alternating
colours, strengthens this
composition.
Repeatition

The repetition of the

humble post it note to
form an image in this
backdrop unifies this
fashion display by
mirroring the colours and
geometric patterns of
the garments.
Repeatition

The repeated artist’s

mannequin in a variety of sizes
is a unique way to visually
display a beauty product to
create interest.
Repeatition

The repetition of these

hanging jeans creates a
strong masculine look
where one pair hanging on
its own would fall flat.
Repeatition

Repeating this oversize life

preserver and mannequin
in the window amplifies the
effect of the first to catch
the attention of passersby.
Proportion
 Proportion is the relationship between objects,
or parts, of a whole.
 Proportion is the ratio of the parts to the whole
display .
 It is a comparative relationship of distances,
sizes, amounts, degrees or parts .
 Each item may look normal when isolated,
but if it is inconsistent in area or dimension
with neighboring items, it seems out of
proportion.
 Each piece of merchandise must be
considered in relationship to all the other
merchandise .
How we use Proportion:
 Do not use all large objects, because there is
nothing to break the monotony and
sameness of that large feeling .
 Adding an odd number of smaller, related
items to large pieces creates more interest
and balance .
 Proportions take on more meaning when
items define one another . For example the
size of a dinosaur is defined when it is standing
next to a two story house.
 Proportion and balance can best be
accomplished when articles within the display
play off each other through their size, shape
and color.
Proportion
Proportion
Proportion
THANKYOU