A Periodic Table of Design Elements

A periodic table organizes elements according to their properties and characteristics. Similarly, a periodic table can be created for design elements based on their function and use in visual communication. Here we explore a hypothetical periodic table of key design elements.

Introduction

Design elements are the building blocks used to create visual compositions in fields like graphic design, web design, architecture, fashion, and industrial design. By thoughtfully combining design elements, designers communicate ideas clearly and creatively.

This article looks at common design elements and organizes them into groups with similar characteristics—much like the periodic table orders chemical elements. Looking at design through the lens of the periodic table allows designers to think systematically about the visual tools at their disposal.

Reviewing design elements in this format reveals interesting insights about their roles, relationships, and possible combinations. Just as chemists can anticipate the properties of elements in the same group of the periodic table, designers can better understand and predict how design elements will interact by seeing them organized this way.

Examining elements grouped by commonalities allows designers to thoughtfully select and arrange elements to achieve the desired visual impact and effectively communicate their message.

Primary Design Elements

Point

• The most basic building block of design. A point marks a location without dimension.
• Points arranged create lines and shapes. Large collections of points can create textures.
• Points attract attention and lead the eye.
• Visual examples: dots, corners, the period/full stop at the end of a sentence.

Line

• Lines connect points and have length but no width. They create divisions and edges.
• Different line types direct vision and create moods in design work. Variations include curved, straight, thick, thin, vertical, horizontal, diagonal, and zigzag.
• Lines are useful for separating elements, connecting elements, creating shapes, defining edges, dividing space, directing eye movement.

Shape

• Shapes are 2-dimensional enclosed areas defined by lines. Familiar shape categories include geometric, abstract, organic.
• Shapes can depict recognizable objects or stand as purely abstract forms. Simple shapes serve as building blocks for more complex shapes.
• Shapes communicate specific messages and feelings based on their associations. Circles feel inclusive, triangles feel dynamic.
• Shapes help organize information, add interest, and lead the viewer’s eye. Bold shapes attract attention.

Texture

• Adds tactile surface qualities and intricate visual pattern. Made of repeated small elements like points and shapes.
• Tactile texture is how a surface physically feels (rough, smooth, soft, hard). Visual texture is how a surface looks—it can appear tactile.
• Textures make surfaces and backgrounds more interesting. They add intricacy and depth, establish mood.
• Textured elements contrast with flat/smooth elements. Different scale textures create visual interest.

Color

• Colors are used to create feelings, draw attention, communicate brand qualities, and decorate surfaces.
• Primary colors are red, blue, yellow. Secondary colors are orange, green, purple. Tertiary colors are mixes like red-orange.
• Colors have symbolic associations and psychological effects related to concepts like heat, weight, gender.
• Color combinations create visually dynamic contrast or harmonious integration. Colors can complement, enhance, or clash with each other.

Secondary Design Elements

Space

• The area between and around elements. Also referred to as negative space.
• Space gives breathing room between elements and focuses attention on the positive elements.
• Careful use of space results in balanced, organized layouts. Too much or too little space is unappealing.
• Space can take on shapes and communicate meaning on its own based on how positive elements frame it.

Form

• Three-dimensional, enclosed volume with length, width, and depth. Adds tangible depth and perspective.
• Forms can be geometric (cube, sphere) or organic (splashes, natural contours). They help depict objects realistically.
• Form impacts weight, stability, and balance. Large, dense, dark forms seem heavy. Light colors and soft edges seem lighter.
• Forms create emphasis and visual interest against backgrounds. They frame space and other elements.

Value

• The lightness or darkness of elements like shapes, lines, colors. Value contrasts create emphasis.
• High value is light. Low value is dark. Wide value range has dark accents against light main elements. Narrow range stays similar.
• Dark values seem heavier. Light values draw the eye and seem to come forward. Gradual value changes suggest shape and form.
• Value divides shapes. Value grouping unifies elements. Dramatic value contrasts grab attention.

Principles for Organizing Design Elements

Alignment

• Lining up elements to create organised, unitary compositions. Types include edge, axis, and grid alignment.
• Alignment creates cohesion, connects elements, and leads the eye through the design. Misalignment feels chaotic.
• Alignment can be along a shared edge, around a central axis line, or within grid columns/rows.
• Works best when used thoughtfully, not gratuitously. Some purposeful misalignment helps prevent rigidity.

Hierarchy

• Organizing elements so the most important parts are prominent and others support. Establishes visual priority.
• Hierarchy is achieved by manipulating elements’ size, color, location, detail, and other attributes.
• Hierarchy helps viewers quickly identify the message focus and navigates them through secondary content.
• Violating expected hierarchy causes confusion. But purposefully re-ordering can grab attention.

Contrast

• Combining very different elements to create drama, highlight distinctions, add interest.
• Contrast types include color, value, shape, scale, texture, orientation, complexity. Elements contrast against backgrounds too.
• Used thoughtfully, contrast energizes. Too much causes chaos. Insufficient contrast seems dull.
• Limit high contrast to draw attention only where needed. Use low contrast for subtler distinctions.

Repetition

• Repeating design motifs creates consistency, cohesion, and points of focus within variety.
• Types of repetition include exact duplication or varied interpretation of colors, shapes, textures, sizes, etc.
• Repetition limits visual elements for simplicity. It organizes busy compositions.
• Too much repetition seems monotonous. Total randomness lacks structure. Moderate repetition with thoughtful variation is best.

Proportion

• Relative sizes of elements to each other and the whole. Proportion impacts appeal and perceived stability.
• Certain proportions are naturally pleasing. The golden ratio and root rectangles exhibit ideal proportions.
• Unbalanced, uneven proportions feel awkward. Elements that fill the space well have satisfying proportions.
• Altering proportions is a powerful way to direct attention and convey meaning.

Color Groups

Primaries: Red, Yellow, Blue

• Pure, elemental hues that form the basis of all color mixtures. Vibrant and energizing.
• Overtaken by stronger primaries. Combine to form secondaries and tones. Mixing equals muddiness.
• Red is urgent, energetic, passionate. Yellow is cheerful, bright. Blue is calm, stable, professional.

Secondaries: Orange, Green, Purple

• Created by mixing adjacent primaries. Harmonious and versatile color combinations result.
• Perceived as warmer and more playful than primaries. Bridge between warm and cool colors.
• Orange is friendly, enthusiastic. Green is cool, natural, healthy. Purple is creative, mystical.

Tertiaries: Red-orange, Yellow-orange, Yellow-green, Blue-green, Blue-purple, Red-purple

• Complex tones created by mixing a primary and secondary in unequal ratios. Subtle variations.
• Useful for nuanced shading and color schemes. Gradual mixes prevent jarring edges between hues.
• Provide vibrance while tempering the strength of primaries and secondaries. Transitional.

Neutrals: Black, Grey, White, Brown

• Lack strong color. Serve as backgrounds and contrasts that intensify brighter colors.
• Offer flexibility and softness. Grey mixes create infinite neutral tones. Black and white represent extremes.
• Brown is stable, earthy, rustic. Black is formal, heavy. Grey is subdued. White is clean and opens space.

Accents: Vivid complementary hues like yellow-green, red-orange

• Sparingly used intense colors that contrast the main palette. Draw attention to specific elements.
• Vibrant tertiaries and contrasting complements (opposites on the color wheel) work well.
• Energetic accents engage viewers. But overuse causes overwhelming visuals. Use purposefully.

Textures

Smooth

• No noticeable texture. Provides visual simplicity and breathing room.
• Takes on the textures layered over it. Smooth backgrounds help headings and details stand out.
• Can feel polished, clean, luxurious, or slicker depending on context.

Rough

• Coarse, uneven textures with noticeable grain. Natural stone epitomizes rough texture.
• Implies durability, masculinity, chaos. Provides visual and tactile contrast from smoothness.
• Must be balanced with plenty of smoothing; appears unrefined if overused.

Patterned

• Highly decorative, intricate textures composed of repeating motifs.
• Patterns include florals, lines, geometric shapes, and more arranged in regular layouts.
• Feminine and ornate. Energetic patterns in moderation add lively contrast.
• Too much density and smallness creates visual chaos. Scale and spacing affect appeal.

Textures for Digital Media

Pixel Texture

• Small square pixels used to construct coarse digital media texture. Replicates traditional pixelation.
• Provides edgy, electronic, futuristic feel. Raw pixel texture free of rendering.
• Works for grungy, glitchy tech aesthetics. Can feel low-fidelity if too rough.

Noise Texture

• Grainy speckling that suggests film grain particles or TV static. Organic analog vibe.
• Softens harsh digital effects for natural impressions. Provides subtle grain instead of distinct pixels.
• Pleasantly grungy if restrained. Visually overpowers without sufficient smoothing.

Rendered/Faux Texture

• Digitally simulated impressions of real textures like wood, fabric, nature elements.
• Stand-in for textures hard to source or photograph. Convincing realism provides appeal.
• Risks seeming artificial if poorly executed. Balancing believable texture with smoothness takes skill.

Glitch Texture

• Intentional digital manipulation artifacts like pixel bleed, distortion, discoloration.
• Visual kinetic energy reflects volatile digital fragility. Chaotic, futuristic, edgy.
• Sparing use adds excitement. Restraint prevents glitches from appearing broken or corrupted.

Textures for Print Media

Linen

• Cloth-like texture with visible crosshatch threads and small knots. Classic letterpress feel.
• Implies quality, tradition, and craft. Offers subtle visual richness without showiness.
• Warm natural texture prevents sterility. Can appear dated or stuffy if overused.

Painted

• Visible brushstroke texture with multidirectional strokes showing hairs and drips.
• Energetic, loose, handmade quality. Gestural strokes add artistic flair.
• Restrained touch prevents paint texture from feeling sloppy. Controlled but not calculated.

Distressed

• Signs of aging like yellowed paper, speckles, varied mottled staining, chips, scratches.
• Adds antiqued, timeworn quality. Feel authentic versus contrived.
• Should integrate naturally rather than seeming gratuitously damage. Too uniform loses appeal.

Metallic Foil

• Shiny, reflective, iridescent sheen with dazzling luminosity. Gold, silver, and other metals.
• Opulent, lavish feel. High visual impact draws attention for signifying value.
• Foil textures stand out against flatter backgrounds. Integrate to avoid seeming tacky.

Textures for Fashion and Textiles

Sheer

• Lightweight, semi-transparent fabrics with delicate, gauzy texture. Flowing and airy.
• Ethereal, feminine, and free. Offers allure of what is hinted beneath.
• Sheer accents and layers prevent excessive transparency. Maintains subtle mystery.

Lace

• Decorative openwork fabric with ornate patterns of scrolling curves, flowers, geometric shapes.
• Timeless, delicate, ornamental look. Intricate handcrafted quality commands appreciation.
• Provides accent and intricacy against solid fabrics. All lace can seem overly busy.

Denim

• Sturdy cotton twill with diagonal ribbing. Blue jeans epitomize classic denim.
• Rugged, durable, casual. Visible wear adds character over time.
• Design focal point or foundational neutral layer. Adds grounded feel.

Leather

• Animal rawhide turned into supple, strong material. Varies from smooth to pebbled.
• Luxurious toughness. Implies sensuality and defiant attitude.
• Can overpower softer textures. Needs gentler elements to balance roughness.

Types of Lines

Curved

• Gradual sweeping arcs and softly bending lines. Organic, natural, feminine associations.
• Lead viewer’s eye along path smoothly and indirectly. Imply grace, variety, growth.
• Avoid excessive curving that distorts understandability. Combines well with straight lines.

Zigzag

• Jagged lines sharply angling up and down. Create energy and unpredictability.
• Lead eye quickly but erratically. Can feel stressful and discordant without recovery.
• Best used for punctuating Uneventness against calmer lines. Add judiciously to maintain harmony.

Diagonal

• Lines slashing across composition on angle. Create dynamism and movement.
• Draw eye swiftly in intended direction. Useful for establishing action and directionality.
• Can feel precarious lacking stabilizing horizontals and verticals. Best used for activating static layouts.

Thick and Thin

• Combining bold lines with delicate lines provides appealing contrast.
• Thick lines solidly outline major elements and direct eye flow. Thin lines reveal nuance.
• Used thoughtfully, combination feels visually rich and multi-dimensional. Avoid extremes.
• Varying line weights within single elements adds detail.

Shape Categories

Geometric

• Lines and angles combine to form precise polygons and polyhedrons. Regular, mathematical, exact.
• Feels stable, balanced, mechanical. Evokes structure. Rectangles and squares common.
• Clean symmetry soothes eye but risks boringness in excess. Curves and circles complement well.

Abstract

• Simplified, stylized renditions of objects and living things. Somewhere between geometric and organic.
• Visual shorthand using artful emphasis. Allows imagination and individuality.
• Good abstract shapes evoke essence of their subjects. Bad ones seem lacking and unclear.

Organic

• Flowing, irregular, naturally derived contours. Replicate objects and entities in nature.
• Feel intrinsic and authentic but can be visually busier. Radiating, rippling, branching.
• Sensitive rendering captures subject’s spirit. Avoid convoluted or overly asymmetrical.

FAQs

What are the basic design elements?

The most essential design elements are line, shape, color, texture, form, space, and value. Designers thoughtfully combine these basic building blocks to create meaningful and aesthetically pleasing compositions.

How do you use design elements?

Use design elements purposefully to communicate specific ideas and achieve visual goals. For example, combine perpendicular lines, triangle shapes, and high contrast for a dynamic, soaring composition. Or use curving lines, circle shapes, and analogous colors for a soft, relaxed feeling.

What makes an effective design?

An effective design uses elements like line, shape, and color strategically to create visuals that clearly communicate the desired message and appeal aesthetically to viewers. Principles like alignment, repetition, and contrast help organize elements cohesively.

What are the 7 elements of design?

The main design elements are space, line, shape, form, texture, value and color. Some also include point as a foundational element. These seven basic building blocks allow designers to create engaging compositions and purposeful visual communication.

How do you combine design elements?

Use an overarching theme or goal to help determine which design elements to combine, like selecting bold colors and diagonal lines to convey dynamism. Look for opportunities to create contrast and repetition. Using related groups of colors, shapes, or textures creates cohesion.

What are the 3 principles of design?

The three most foundational principles of design are contrast, repetition, and alignment. Contrast creates visual excitement and draws attention. Repetition builds consistency and cohesion. Alignment makes compositions feel orderly and connected. Carefully applying these principles allows designs to be bold yet harmonious.

Conclusion

Exploring design elements through the lens of the periodic table reveals interesting insights about their functions, relationships, and combinations. Certain elements serve specialized purposes while others play broader roles. They interact in ways that can be thoughtfully orchestrated or unexpectedly serendipitous.

The core elements provide a palette that allows designers to craft sophisticated visual communication. Principles like alignment and contrast guide the composition process. Supplementary elements and textures enhance designs with additional visual interest.

A periodic table encourages systematic thinking about the elements at a designer’s disposal. Just as chemists learn to anticipate how elements will interact, designers can better understand how basic visual components come together to create experiences viewers will appreciate. With practice, designers gain intuition for selecting and arranging elements effectively.

Looking ahead, new elements and principles may emerge, just as chemists have added to the periodic table over time. But the classic elements and principles explored here establish a strong foundation for purposeful and polished design. Getting to know them well allows designers to flex their creative muscles and make confident choices. The visual communication world is made richer when designers thoughtfully push boundaries while