Shape Upon approaching any design object - a building, a logo, a product, or a living room - we see that it exists. It is.

It is real. Therefore, it must have some form, some shape to its being. This can be either a three-dimensional mass or a two-dimensional shape. To create or define this shape or mass, lines are formed - either lines within the piece or lines created by adjacent surfaces. The line could be an outline, as in a logo or graphic piece, or it could define smaller parts within the piece. A line in design is useless until it defines a shape - a curve, a rule, etc. A mass has no clarity until it is in a specific shape. Shapes can be either geometric - formed by mechanical straight-edges or organic - natural biomorphic forms. Shape in a 3-D environment creates volume and mass, either real or perceived. Exists, form, volume, mass, line, surface, outline = shape

Contrast Contrast adds power and emphasis by providing a clear difference between elements, a dynamic tension. This difference aids focus, motion, and space. If two items (type, color, line thickness, shape, etc.) are not exactly the same, then make them obviously different. If they're not clearly different, they create conflict which can be uncomfortable to the reader/viewer. Contrast on a page draws the viewer's eyes - our mind likes the excitement that contrast provides. The basic purpose of contrast is to create interest on the page and aid in the organization of information. Difference, attraction, clarity, distinct line = contrast

Balance The composition of the parts or shapes in the piece will usually create some type of balance symmetrical, radial, or asymmetrical. Balance also provides some stability which makes most people more comfortable (as does order). balance may vary depending on the piece and its function. Symmetry can be very effective at times, but most often it leads to static rather than dynamic compositions. Asymmetrical compositions achieve balance through elements of differing weights. A very small element of great visual weight can balance a much larger element of lower visual weight. Visual weight is like magnetism for the eye: a visually heavy object demands attention. Visual weight depends on several factors, any of which can be combined. These include, most obviously, size and position. Larger generally carries more visual weight. Farther from the center usually carries more visual weight. Additionally, color, value, and texture or detail, play parts in visual weight. Darker values are seen as heavier visually. Brighter hues or colors are seen as heavier visually. More detailed, either in texture or in shape, is seen as having more visual weight. Balance should be considered both horizontally and vertically. We automatically relate a scene to a landscape, putting in a horizon. You can use this as a simple way to divide a composition. Elements placed above the horizontal middle will seem to float in the space, while those placed below will seem grounded. Converge to create a equal distribution of visual weight within the particular composition. The design or arrangement of elements that appear to be a whole with equilibrium. The simplistic type of balance is called symmetrical balance which has a basic appeal to the viewer. Asymmetrical balance is achieved by unlike object that have "equal eye attraction". Symmetry, radial, order, visual weight = balance