Six Elements Of Design
Egisto Chancellor
Implied lines are the creation of the human mind when points or objects align in a certain way that the brain sees a pattern or object. An example would be the way we recognize the Big Dipper from a random pattern of stars.
Like herbs and spices, some color combinations work well together and some not so much. Using established color harmonies can greatly improve the visual unity of the message. Using color strategically not only improves the chance of the learner connecting to the content but also understanding the intent.
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I'm a newbie in the design options stuff. I know that you can move elements from design option to a different design option. But how can I bring back the elements inside an option back to the main model?
It sounds like you're prepared to abandoned the design option and if so then you can use the Make Primary and Accept Primary tools in the Design Options dialog. You make the winning design option the primary option with the Make Primary button and then you Accept Primary to tell Revit that option wins and the other lose. Revit will delete the other options and their elements and even views that are specifically assigned to show those options instead of
Also the tricky part is that you can change Worksets of selected objects via scrolldown menu in elements properties but not option sets ... you have to go trough another pallete and just one way there no way back
Cut and Paste Aligned should retain the room data of the original. You might end up with rooms in the same boundary but the name and number should remain intact (and any other parameter data you've entered). It's one way to "move" a room to another floor though I tend to delete and then place the room again with the room tool and selecting the room from Options Bar drop down menu.
The problem with Cut and paste is that all annotations linked to those elements will be lost and you will have to re-annotate everything, which is time consuming. If you already submitted to the Planning Department or the Building Department with revisions, then you will have to re-create all the annotations and add revision clouds and tags as needed (time consuming = burning budget). It would be great if all related annotations keep the relationship with the elements moved to another Option.
Line is a straight or curved mark that connects two points or is the path of a moving point. Lines vary in weight (thickness or thinness), direction, and length. Lines can also be implied.
Line is the dominant element that makes up this print. Each line is similar in weight and most of the lines are straight which conveys an orderly feeling. Short, curved lines create the puffs of steam billowing into the air. The implied lines in the image travel from the eyes of the two figures in the foreground toward the train. These invisible lines indicate that the train is the subject of this illustration.
This is an example of geometric shape and how shapes can be used together to create other shapes. Behind the seven red circles jutting out from the flat plane are four diamonds that touch at each end. Each diamond is created from four triangles. Together these triangles and diamonds create a star-like polygon out of the patterned background. The floral pattern in the background is made up of organic shapes. These type of shapes are irregular, free-form, and often found in nature.
Soft curves and rounded features on this Iranian vessel of a ram contribute to its organic form. Although symmetrical, its form does not exhibit perfect, uniform measurements.
Space can also create a visual illusion. In this image, negative and positive space are interchangeable depending on what part of the image your eye focuses on. By concentrating on the white shape will notice a cup against a black background. On the other hand, if you focus on the black shapes you will see two faces in profile looking at one another in front of a white background.
The fiber used to create this hat is an example of tactile texture. If one were to pick up the hat, or wear it, the texture would be felt through touch. Because fiber is a ubiquitous material in our lives we can deduce what an object like this may feel like or be utilized for by just seeing an image of it.
In this photograph of the Taj Mahal the symmetrical balance is found in the architecture itself, the garden design, and the reflecting pool. The composition of the photo also contributes to the overall symmetry. The fountain heads that line the center of the reflecting pool serve to bisect the entire photo wherein each side mirrors the other.
This painting demonstrates asymmetrical balance through the composition of the cow and the dog in the foreground. The cow takes up two-thirds of the painting while the dog, which is markedly smaller, takes up one-third. Simultaneously, the background reciprocates the asymmetry in the foreground. The wooden shed mirrors the cow while the two cows mirror the dog creating an X-shape which fills the space and balances the composition.
This male Indian peacock splays it's train into a fan-like formation which fills the entirety of the frame. Focusing on the bird's body as the center point it's plumage is an example of radial symmetry. We can also see repetition of this type of symmetry in the eyespots along each feather as well as the white lines of light that shine through from behind the bird.
In this collage the artist creates rhythm through the repetition of shape and pattern. Beginning with the red checkered floor the viewer's eye is drawn from the niches in front room into the subsequent middle and back rooms. Squares and rectangles are repeated throughout the composition. The spatial inconsistencies between the shapes and askew positioning creates tension while also guiding the eye throughout the piece.
Beginning with the two figures on the left we can see that their size relative to the buildings, rocks, and palm tree is realistic. Likewise, the size of the architectural structures and tree compared the the mountain range on the horizon line is naturalistic. The true proportion of all these elements that make up the scene creates a stable and believable scene.
Alternatively, proportion can be used to emphasize a certain element or concept by making the graphic or text larger than the other elements in the design. In this poster the words "art," "free," and "enroll now" are enlarged which works to catch the viewers eye and communicate the core message of the poster directly and succinctly.
This diagram depicting the size of dinosaurs uses variety to convey the information clearly and concisely. First, there are two different types of shapes: the dinosaur and the human. This gives the viewer a reference for scale. Color is used as a key to separate the dinosaurs from one another and the differences in proportion make their lengths and heights easier to read. Lastly, line is used as a tool to show the size differences and contain the information.
Unity in this infographic is achieved through the repetition of colors, shape, and the proportion of text. The color scheme uses complimentary colors blue and orange to create high contrast and guide your eye throughout the composition. The rectangles that contain each block of information also creates a stable structure that unites the information. The legibility of the text is derived from choosing uniform fonts and keeping the proportions the same throughout.
I really like PowerPoint's Design Ideas. I usually select one and then tinker with it a bit to get the look I like. However, I've noticed there are some elements I can't seem to touch. For example, in the image below, I can seemingly do nothing to the thin blue line between the two textboxes.
Update: I've managed to access the Selection Pane, and through that found the "Straight Connector" which describes the thin blue line. Weirdly enough, I can format it to change its colour and shape, but I can't move it or directly access it. When I click on any of the other objects in the Selection Pane, the edges show around them and I can manipulate them as you would any object in PowerPoint.
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