HARGAISA UNIVERSITY
FACULTY OF ENGINEERING AND TECHNOLOGY
DEPARTMENT OF ARCHITECTURE AND URBAN PLANNING
BASIC DESIGN
SEMESTER -2 YEAR-1
AYANLE OMAR YUSUF
LECTURER @UOH
AYANLEELMI3@[Link]
INTRODUCTION OF BASIC DESIGN
1.1 Classic Graphic Design Theory
1.1.1 Elements of Design
-Point -Line -Shape –Texture- Value & Color -Space
[Link] Point
• The Point has no direction (Stable)
• The Point has no height
• The Point has no width
• The Point has no length
It determines:
• The beginning or the end of the line
• The cross of two lines
• The center of shape
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[Link] Line
A point extended becomes a line. Conceptually, a line has length, but no width or depth.
Whereas a point is by nature static, a line, in describing the path of a point in motion, is capable
of visually expressing direction, movement, and growth.
Line Direction
The direction of a line can convey mood. Horizontal lines are calm and quiet,
Line Direction
Vertical lines suggest more of a potential for movement,
Line Direction
While diagonal lines strongly suggest movement and give more of a feeling of vitality to a
picture.
[Link] Linear Perspective:
Linear perspective is an artistic technique used to create the illusion of depth and distance on a
flat surface by making parallel lines converge at a single point on the horizon.
[Link] PLANE
Line extended in a direction other than its intrinsic direction becomes a plane. Conceptually, a
plane has length and width, but no depth
[Link] Shape
Shape is created by intersecting lines to form squares, rectangles, and triangles.
[Link] FORM
A plane extended in a direction other than its intrinsic direction becomes a volume.
Conceptually, a volume has three dimensions: length, width, and depth.
Form is the primary identifying characteristic of a volume. It is established by the shapes and
interrelationships of the planes that describe the boundaries of the volume.
Architectural form is the interface between mass and space. Space is infused with quality or
personality through architectural forms, textures, materials, light and shade modulation, and
color. The quality of architecture depends on the designer's ability to use and relate these
aspects in both interior and outside environments.
Shape The characteristic outline or surface configuration of a particular form. Shape is the
principal aspect by which we identify and categorize forms. In addition to shape, forms have
visual properties of:
Size The physical dimensions of length, width, and depth of a form. While these dimensions
determine the proportions of a form, its scale is determined by its size relative to other forms
in its context.
Color A phenomenon of light and visual perception that may be described in terms of an
individual’s perception of hue, saturation, and tonal value. Color is the attribute that most
clearly distinguishes a form from its environment. It also affects the visual weight of a form.
Texture The visual and especially tactile quality given to a surface by the size, shape,
arrangement, and proportions of the parts. Texture also determines the degree to which the
surfaces of a form reflect or absorb incident light.
Forms also have relational properties that govern the pattern and composition of elements:
Position The location of a form relative to its environment or the visual field within which it
is seen.
Orientation The direction of a form relative to the ground plane, the compass points, other
forms, or to the person viewing the form.
Visual Inertia The degree of concentration and stability of a form. The visual inertia of a form
depends on its geometry as well as its orientation relative to the ground plane, the pull of
gravity, and our line of sight.
1.2 TRANSFORMATION OF FORM
All other forms can be understood to be transformations of the primary solids, variations
which are generated by the manipulation of one or more dimensions or by the addition or
subtraction of elements.
1.2.2 Dimensional Transformation
A form can be transformed by altering one or more of its dimensions and still retain its
identity as a member of a family of forms. A cube, for example, can be transformed into
similar prismatic forms through discrete changes in height, width, or length. It can be
compressed into a planar form or be stretched out into a linear one.
1.2.2 Subtractive Transformation
A form can be transformed by subtracting a portion of its volume. Depending on the extent of
the subtractive process, the form can retain its initial identity or be transformed into a form of
another family. For example, a cube can retain its identity as a cube even though a portion of
it is removed, or be transformed into a series of regular polyhedrons that begin to
approximate a sphere.
1.2.3 Additive Transformation
A form can be transformed by the addition of elements to its volume. The nature of the
additive process and the number and relative sizes of the elements being attached determine
whether the identity of the initial form is altered or retained.
[Link] Spatial Tension
This type of relationship relies on the close proximity of the forms or their sharing of a
common visual trait, such As shape, color, or material.
[Link] Edge-to-Edge Contact
In this type of relationship, the forms share a common edge and can pivot about that edge.
[Link] Face-to-Face Contact
This type of relationship requires that the two forms have corresponding planar surfaces
which are parallel to each other.
[Link] Interlocking Volumes
In this type of relationship, the forms interpenetrate each other’s space. The forms need not
share any visual traits.