# Design elements > Mediated Wiki article. Canonical URL: https://mediated.wiki/source/Design_elements > Markdown URL: https://mediated.wiki/source/Design_elements.md > Source: https://en.wikipedia.org/wiki/Design_elements > Source revision: 1335128754 > License: Creative Commons Attribution-ShareAlike 4.0 International (https://creativecommons.org/licenses/by-sa/4.0/) This article's lead section may be too short to adequately summarize the key points. Please consider expanding the lead to provide an accessible overview of all important aspects of the article. (May 2025) **Design elements** are the foundation of any visual design. These include color, line, shape, texture, space, form and value. ## Color [Color](/source/Color) is the result of light reflecting back from an object to our eyes.[1] The color that our eyes perceive is determined by the [pigment](/source/Pigment) of the object itself.[1] [Color theory](/source/Color_theory) and the [color wheel](/source/Color_wheel) are often referred to when studying color combinations in visual design.[2] Color is often deemed to be an important element of design as it is a universal language which presents the countless possibilities of visual communication.[3] Color serves various purposes to contribute to the overall effectiveness of the design. It is used as an element to convey meaning and emotion, create visual hierarchy, enhance brand identity, improve readability and accessibility, create visual interest and appeal, differentiate information and elements, and make cultural and contextual significance. [Hue](/source/Hue), [saturation](/source/Colorfulness), and [brightness](/source/Brightness) are the three characteristics that describe color.[4] - Hue can simply be referred to as "color" as in red, yellow, or green.[5] ### Color theory in visual design [Color theory](/source/Color_theory) studies color mixing and color combinations. It is one of the first things that marked a progressive design approach.[3] In visual design, designers refer to color theory as a body of practical guidance to achieving certain visual impacts with specific color combinations.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] Theoretical color knowledge is implemented in designs in order to achieve a successful color design.[6] #### Color harmony [Color harmony](/source/Harmony_(color)), often referred to as a "measure of aesthetics",[6] studies which color combinations are harmonious and pleasing to the eye, and which color combinations are not.[4] Color harmony is a main concern for designers given that colors always exist in the presence of other colors in form or space.[6] When a designer harmonizes colors, the relationships among a set of colors are enhanced to increase the way they complement one another. Colors are harmonized to achieve a balanced, unified, and aesthetically pleasing effect for the viewer.[4] Color harmony is achieved in a variety of ways, some of which consist of combining a set of colors that share the same hue, or a set of colors that share the same values for two of the three color characteristics (hue, saturation, brightness).[4] Color harmony can also be achieved by simply combining colors that are considered compatible with one another[4] as represented in the [color wheel](/source/Color_wheel). #### Color contrasts [Color contrasts](/source/Contrast_(vision)) are studied with a pair of colors, as opposed to color harmony, which studies a set of colors. In color contrasting, two colors with perceivable differences in aspects, such as luminance or saturation, are placed side by side to create contrast.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] [Johannes Itten](/source/Johannes_Itten) presented seven kinds of color contrasts: contrast of light and dark, contrast of hue, contrast of temperature, contrast of [saturation](/source/Colorfulness), simultaneous contrast, contrast of sizes, and contrast of complementary.[4] These seven kinds of color contrasts have inspired past works involving color schemes in design.[4] #### Color schemes [Color schemes](/source/Color_scheme) are defined as the set of colors chosen for a design. They are often made up of two or more colors that look appealing beside one another, and that create an [aesthetic](/source/Aesthetics) feeling when used together. Color schemes depend on [color harmony](/source/Harmony_(color)) as they point to which colors look pleasing beside one another.[6] A satisfactory design product is often accompanied by a successful color scheme. Over time, color design tools with the function of generating color schemes were developed to facilitate color harmonizing for designers.[7] ### Use of color in visual design - Color is used to create harmony, balance, and visual comfort in a design.[6] - Color is used to evoke the desired mood and emotion in the viewer.[1] - Color is used to create a [theme](/source/Theme_(arts)) in the design.[4] - Color holds meaning and can be symbolic. In certain cultures, different colors can have different meanings.[1] - Color is used to put emphasis on desired elements and create [visual hierarchy](/source/Visual_hierarchy) in a piece of art.[8] - Color can create identity for a certain brand or design product.[8] - Color allows viewers to have different interpretations of visual designs. The same color can evoke different emotions, or have various meanings to different individuals and cultures.[1] - Color strategies are used for organization and [consistency](/source/Consistency) in a design product.[5] - In the [architectural design](/source/Architectural_designer) of a retail environment, colors affect decision-making, making which motivates consumers to buy particular products.[8] - Color strengthens narrative and storytelling in visual design. - Color can represent characters, themes, and symbolism. - Color is a tool that designers use to strategically add layers of meaning and subtext to their designs. - Colors can create recurring visual motifs in a design, strengthening ideas and fostering coherence. - Color is an effective tool for communication because it allows for complex interpretation and expression. Similarly, stars in a constellation connected via imaginary lines are a natural example of using lines in a composition ## Line A line is defined as a series of points, or the connection between two points, or the path of a moving point.[9] The importance of line comes from its versatility as its characteristics are significantly expressive.[10] Lines may also appear as linear shapes that take on a line-link quality, or as suggested line perceived from eyes as they follow a sequence related shapes. Line may be used either in two-dimensional forms with enclosing a space as an outline and creating shape, or in three-dimensional forms. On top of that, there are different types of lines aside from the ones previously mentioned. For example, you could have a line that is horizontal and zigzagged or a line that is vertical and zigzagged. Different lines create different moods, it all depends on what mood you are using line to create and convey. ## Point A point is basically the beginning of “something” in “nothing." It forces the mind to think upon its position and gives something to build upon in both imagination and space. Some abstract points in a group can provoke human imagination to link it with familiar shapes or forms. ## Shape Main article: [Shape and form (visual arts)](/source/Shape_and_form_(visual_arts)) Shapes are recognizable objects and forms[1] and are usually composed of other elements of design.[11] For example, a [square](/source/Square) that is drawn on a piece of paper is considered a shape. It is created with a series of lines which serve as a boundary that shapes the square and separates it from the space around it that is not part of the square.[1] ### Types of shapes [**Organic shapes**](/source/Organic_form) are irregular shapes[1] that are often complex and resemble shapes that are found in [nature](/source/Nature).[11] Organic shapes can be drawn by hand, which is why they are sometimes subjective and only exist in the imagination of the artist.[1] **Curvilinear shapes** are composed of curved lines and smooth edges. They give off a more natural feeling to the shape. In contrast, **rectilinear shapes** are composed of sharp edges and [right angles](/source/Right_angle), and give off a sense of order in the [composition](/source/Composition_(visual_arts)). They look more human-made, structured, and [artificial](/source/Artificiality). Artists can choose to create a composition that revolves mainly around one of these styles of shape, or they can choose to combine both.[1] ## Texture Main article: [Texture (visual arts)](/source/Texture_(visual_arts)) This is only a two dimensional image of a tree, but appears to have the texture of three dimensional bark. [Texture](/source/Texture_(visual_arts)) refers to the physical and visual qualities of a surface.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] ### Definition of texture Texture is the variation of data at a scale smaller than the scale of the main object.[12] Taking a person wearing a Hawaiian shirt as an example, as long as we consider the person as the main object looking at, the patterns of their shirt are considered as texture. However, if we try to identify the pattern of the shirt, each flower or bird of the pattern is a non-textured object, as no smaller detail inside of it can be recognized. Texture in our environment helps us to better understand the nature of things, as a smooth paved road signals safe passage and thick fog creates a veil on our view.[9] ### Texture in design Texture in design includes the literal physical surface employed in a printed piece as well as the optical appearance of the surface. Physical texture affects how the piece feels in hand and also how it conveys the design, as a glossy surface for example reflects the light differently than a soft or pebbly one. Many of the textures manipulated by graphic designers, however, cannot be physically experienced as it is utilized in the visual representation aspect of the design. Texture adds detail to an image in a way that conveys the overall quality of a surface.[9] Graphic designers use texture to establish a mood, reinforce a point of view, or convey a sense of physical presence whether setting a type or drawing a tree.[9] #### Uses of texture in design - Texture can also be used to add complex detail into the [composition](/source/Composition_(visual_arts)) of a design.[1] - In theatrical design, the surface qualities of a costume sculpt the look and feel of a character, which influences the way the audience reacts to the character.[1] ### Types of texture **Tactile texture**, also known as "actual texture," refers to the physical three-dimensional texture of an object. Tactile texture can be perceived by the sense of touch. A person can feel the tactile texture of a sculpture by running their hand over its surface and feelings its ridges and dents.[1] - Texture can be created through [collage](/source/Collage). This is when artists assemble three dimensional objects and apply them onto a two-dimensional surface, like a piece of paper or canvas, to create one final composition.[1] - [Papier collé](/source/Papier_coll%C3%A9) is another collaging technique in which artists glue paper to a surface to create different textures on its surface.[1] - [Assemblage](/source/Assemblage_(art)) is a technique that consists of assembling various three-dimensional objects into a sculpture, which can also reveal textures to the viewer.[1] **Visual texture**, also referred to as "implied texture," is not detectable by our sense of touch, but by our sense of sight.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] Visual texture is the illusion of a real texture on a two-dimensional surface.[1] Any texture perceived in an image or photograph is a visual texture. A photograph of rough tree bark is considered a visual texture. It creates the impression of a real texture on a two-dimensional surface which would remain smooth to the touch no matter how rough the represented texture is.[11] In painting, different [paints](/source/Paint) are used to achieve different types of textures. Paints such as [oil](/source/Oil_paint), [acrylic](/source/Acrylic_paint), and [encaustic](/source/Encaustic_painting) are thicker and more [opaque](/source/Opacity_(optics)) and are used to create three-dimensional impressions on the surface. Other paints, such as [watercolor](/source/Watercolor_painting), tend to be used for visual textures, because they are thinner and have transparency, and do not leave much tactile texture on the surface.[1] ### Pattern Many textures appear to repeat the same [motif](/source/Motif_(visual_arts)).[1] When a motif is repeated over and over again in a surface, it results in a pattern.[11] Patterns are frequently used in [fashion design](/source/Fashion_design) or [textile design](/source/Textile_design), where motifs are repeated to create decorative patterns on fabric or other [textile](/source/Textile) materials.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] Similarly, [print design](/source/Print_design) utilizes patterns to create background textures for [packaging](/source/Packaging), [stationery](/source/Stationery), and [marketing collateral](/source/Marketing_collateral).[13] Patterns are also used in [architectural design](/source/Architecture), where decorative structural elements such as [windows](/source/Window), [columns](/source/Column), or [pediments](/source/Pediment), are incorporated into building design.[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] ## See also - [Composition (visual arts)](/source/Composition_(visual_arts)) - [Interior design](/source/Interior_design) - [Landscape design](/source/Landscape_design) - [Pattern language](/source/Pattern_language) - [Elements of art](/source/Elements_of_art) - [Color theory](/source/Color_theory) ## Notes 1. ^ [***a***](#cite_ref-:0_1-0) [***b***](#cite_ref-:0_1-1) [***c***](#cite_ref-:0_1-2) [***d***](#cite_ref-:0_1-3) [***e***](#cite_ref-:0_1-4) [***f***](#cite_ref-:0_1-5) [***g***](#cite_ref-:0_1-6) [***h***](#cite_ref-:0_1-7) [***i***](#cite_ref-:0_1-8) [***j***](#cite_ref-:0_1-9) [***k***](#cite_ref-:0_1-10) [***l***](#cite_ref-:0_1-11) [***m***](#cite_ref-:0_1-12) [***n***](#cite_ref-:0_1-13) [***o***](#cite_ref-:0_1-14) [***p***](#cite_ref-:0_1-15) [***q***](#cite_ref-:0_1-16) [***r***](#cite_ref-:0_1-17) [***s***](#cite_ref-:0_1-18) E., Malloy, Kaoime (2014-09-26). *The art of theatrical design : elements of visual composition, methods, and practice*. New York. [ISBN](/source/ISBN_(identifier)) [9781138021501](https://en.wikipedia.org/wiki/Special:BookSources/9781138021501). [OCLC](/source/OCLC_(identifier)) [882620042](https://search.worldcat.org/oclc/882620042).{{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: CS1 maint: location missing publisher ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_location_missing_publisher)) CS1 maint: multiple names: authors list ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_multiple_names:_authors_list)) 1. **[^](#cite_ref-Color_matters_2-0)** ["basic color theory"](https://www.colormatters.com/color-and-design/basic-color-theory). *color matters*. Retrieved 1 March 2019. 1. ^ [***a***](#cite_ref-:5_3-0) [***b***](#cite_ref-:5_3-1) Jasper, Adam (2014-05-04). "Colour Theory". *Architectural Theory Review*. **19** (2): 119–123. [doi](/source/Doi_(identifier)):[10.1080/13264826.2014.991017](https://doi.org/10.1080%2F13264826.2014.991017). [ISSN](/source/ISSN_(identifier)) [1326-4826](https://search.worldcat.org/issn/1326-4826). [S2CID](/source/S2CID_(identifier)) [218640469](https://api.semanticscholar.org/CorpusID:218640469). 1. ^ [***a***](#cite_ref-:1_4-0) [***b***](#cite_ref-:1_4-1) [***c***](#cite_ref-:1_4-2) [***d***](#cite_ref-:1_4-3) [***e***](#cite_ref-:1_4-4) [***f***](#cite_ref-:1_4-5) [***g***](#cite_ref-:1_4-6) [***h***](#cite_ref-:1_4-7) [*Visual Color Design, 16th International Conference Information on Visualisation (IV 2012) : Montpellier, France, 11-13 July 2012*](http://www.lirmm.fr/~mountaz/Publi/Upload/iv-12.pdf) (PDF). IEEE Computer Society. Los Alamitos, Calif.: IEEE Computer Society. 2012. [ISBN](/source/ISBN_(identifier)) [9781467322607](https://en.wikipedia.org/wiki/Special:BookSources/9781467322607). [OCLC](/source/OCLC_(identifier)) [823906734](https://search.worldcat.org/oclc/823906734).{{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: CS1 maint: others ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_others)) 1. ^ [***a***](#cite_ref-C_5-0) [***b***](#cite_ref-C_5-1) White, Alex (2011). *The Elements of Graphic Design*. New York, NY: Allworth Press. pp. 81–105. [ISBN](/source/ISBN_(identifier)) [978-1-58115-762-8](https://en.wikipedia.org/wiki/Special:BookSources/978-1-58115-762-8). 1. ^ [***a***](#cite_ref-:3_6-0) [***b***](#cite_ref-:3_6-1) [***c***](#cite_ref-:3_6-2) [***d***](#cite_ref-:3_6-3) [***e***](#cite_ref-:3_6-4) ["The Architectural Colour Design Process: An Evaluation of Sequential Media via Semantic Ratings"](https://www.researchgate.net/publication/229918657). *ResearchGate*. Retrieved 2018-11-12. 1. **[^](#cite_ref-7)** Luo, Ming Ronnier (2006-06-01). "Applying colour science in colour design". *Optics & Laser Technology*. **38** (4–6): 392–398. [Bibcode](/source/Bibcode_(identifier)):[2006OptLT..38..392L](https://ui.adsabs.harvard.edu/abs/2006OptLT..38..392L). [doi](/source/Doi_(identifier)):[10.1016/j.optlastec.2005.06.025](https://doi.org/10.1016%2Fj.optlastec.2005.06.025). [ISSN](/source/ISSN_(identifier)) [0030-3992](https://search.worldcat.org/issn/0030-3992). 1. ^ [***a***](#cite_ref-:4_8-0) [***b***](#cite_ref-:4_8-1) [***c***](#cite_ref-:4_8-2) Tantanatewin, Warakul; Inkarojrit, Vorapat (2016-06-01). "Effects of color and lighting on retail impression and identity". *Journal of Environmental Psychology*. **46**: 197–205. [doi](/source/Doi_(identifier)):[10.1016/j.jenvp.2016.04.015](https://doi.org/10.1016%2Fj.jenvp.2016.04.015). [ISSN](/source/ISSN_(identifier)) [0272-4944](https://search.worldcat.org/issn/0272-4944). 1. ^ [***a***](#cite_ref-:2_9-0) [***b***](#cite_ref-:2_9-1) [***c***](#cite_ref-:2_9-2) [***d***](#cite_ref-:2_9-3) Lupton, Ellen; Phillips, Jennifer Cole (2008-03-20). [*Graphic Design: The New Basics*](https://books.google.com/books?id=Zae0jhF_-fMC&q=Lupton%2C+Ellen%2C+and+Jennifer+Cole+Phillips.+Graphic+design%3A+The+new+basics.+Princeton+Architectural+Press%2C+2008.&pg=PA8). Princeton Architectural Press. [ISBN](/source/ISBN_(identifier)) [978-1-56898-702-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-56898-702-6). 1. **[^](#cite_ref-10)** Wolf, R. Craig; Block, Dick (2014). [*Scene design and stage lighting*](https://thuvienso.hoasen.edu.vn/handle/123456789/13070). Wadsworth, Cengage Learning. [ISBN](/source/ISBN_(identifier)) [978-1-111-34443-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-111-34443-6). 1. ^ [***a***](#cite_ref-Design_Notes_11-0) [***b***](#cite_ref-Design_Notes_11-1) [***c***](#cite_ref-Design_Notes_11-2) [***d***](#cite_ref-Design_Notes_11-3) Saw, James. ["Design Notes"](http://daphne.palomar.edu/design/Default.htm). Palomar College. Retrieved 3 April 2012. 1. **[^](#cite_ref-12)** Petrou, Maria M. P.; Kamata, Sei-ichiro (2021-01-15). [*Image Processing: Dealing with Texture*](https://books.google.com/books?id=auQUEAAAQBAJ&q=Petrou%2C+Maria+MP%2C+and+Sei-ichiro+Kamata.+Image+processing%3A+dealing+with+texture.+John+Wiley+%26+Sons%2C+2021.&pg=PP7). John Wiley & Sons. [ISBN](/source/ISBN_(identifier)) [978-1-119-61859-1](https://en.wikipedia.org/wiki/Special:BookSources/978-1-119-61859-1). 1. **[^](#cite_ref-13)** Ambrose, Gavin; Harris, Paul (2011). [*Packaging the Brand: The Relationship Between Packaging Design and Brand Identity*](https://api.pageplace.de/preview/DT0400.9782940439799_A28401054/preview-9782940439799_A28401054.pdf) (PDF). Lausanne: AVA Publishing. pp. 176–177. [ISBN](/source/ISBN_(identifier)) [9782940411412](https://en.wikipedia.org/wiki/Special:BookSources/9782940411412). Retrieved 2025-12-15. The boxes are easily identified by their simplicity, their bold colours or patterns, their fun and informative copy, as well as the consistent use of Helvetica across all packaging. ## References - Kilmer, R., & Kilmer, W. O. (1992). Designing Interiors. Orland, FL: Holt, Rinehart and Winston, Inc. [ISBN](/source/ISBN_(identifier)) [978-0-03-032233-4](https://en.wikipedia.org/wiki/Special:BookSources/978-0-03-032233-4). - Nielson, K. J., & Taylor, D. A. (2002). Interiors: An Introduction. New York: [McGraw-Hill Companies, Inc.](/source/McGraw-Hill) [ISBN](/source/ISBN_(identifier)) [978-0-07-296520-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-07-296520-9) - Pile, J.F. (1995; fourth edition, 2007). Interior Design. New York: [Harry N. Abrams, Inc.](/source/Harry_N._Abrams%2C_Inc.) [ISBN](/source/ISBN_(identifier)) [978-0-13-232103-7](https://en.wikipedia.org/wiki/Special:BookSources/978-0-13-232103-7) - Sully, Anthony (2012). *Interior Design: Theory and Process*. London: Bloomsbury. [ISBN](/source/ISBN_(identifier)) [978-1-4081-5202-7](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4081-5202-7). ## External links **Design elements** at Wikipedia's [sister projects](https://en.wikipedia.org/wiki/Wikipedia:Wikimedia_sister_projects) - [Definitions](https://en.wiktionary.org/wiki/Special:Search/Design_elements) from Wiktionary - [Media](https://commons.wikimedia.org/wiki/Special:Search/Design_elements) from Commons - [Quotations](https://en.wikiquote.org/wiki/Special:Search/Design_elements) from Wikiquote - [Texts](https://en.wikisource.org/wiki/Special:Search/Design_elements) from Wikisource - [Textbooks](https://en.wikibooks.org/wiki/Special:Search/Design_elements) from Wikibooks - [Resources](https://en.wikiversity.org/wiki/Special:Search/Design_elements) from Wikiversity - [Art, Design, and Visual Thinking](http://char.txa.cornell.edu/first.htm). An online, interactive textbook by Charlotte Jirousek at Cornell University. - [The 6 Principles of Design](http://visual.ly/6-principles-design) v t e Design elements Elements of 2D Line Shape Texture Value Color Space Movement Elements of 3D Line Form Texture Light Color Space v t e Design Outline Designer Disciplines Communication design Advertising Book design Brand design Exhibit design Film title design Graphic design Motion Postage stamp design Print design Illustration Information design Instructional design News design Photography Retail design Signage / Traffic sign design Typography / Type design Video design Visual merchandising Environmental design Architecture Architectural lighting design Building design Passive solar Ecological design Environmental impact design Garden design Computer-aided Healthy community design Hotel design Interior architecture Interior design EID Keyline design Landscape architecture Sustainable Landscape design Spatial design Urban design Industrial design Automotive design Automotive suspension design CMF design Corrugated box design Electric guitar design Furniture design Sustainable Hardware interface design Motorcycle design Packaging and labeling Photographic lens design Product design Production design Sensory design Service design Interaction design Experience design EED Game design Level design Video game design Hardware interface design Icon design Immersive design Information design Interactive design Sonic interaction design User experience design User interface design Web design Other applied arts Public art design Ceramic / glass design Fashion design Costume design Jewellery design Floral design Game art design Property design Scenic design Sound design Stage/set lighting design Textile design Other design & engineering Algorithm design Behavioural design Boiler design Database design Drug design Electrical system design Experimental design Filter design Geometric design Work design Integrated circuit design Circuit design Physical design Power network design Mechanism design Nuclear weapon design Nucleic acid design Organization design Process design Processor design Protein design Research design Social design Software design Spacecraft design Strategic design Systems design Test design Approaches Active Activity-centered Adaptive web Affective Brainstorming By committee By contract C-K theory Closure Configuration Contextual Continuous Cradle-to-cradle Creative problem-solving Creativity techniques Critical Design fiction Defensive Design–bid–build Design–build architect-led Diffuse Domain-driven Ecological design Energy neutral Engineering design process Probabilistic design Ergonomic Error-tolerant Evidence-based Fault-tolerant Feminist For assembly For behaviour change For manufacturability For Six Sigma For testing For the environment For X Framework-oriented Functional Generative Geodesign HCD High-level Hostile Inclusive Integrated Integrated topside Intelligence-based Iterative KISS principle Low-level Metadesign Mind mapping Modular New Wave Object-oriented Open Over Parametric Participatory Platform-based Policy-based Prevention through Process-centered Public interest Opinion poll Public opinion Rational Regenerative Reliability engineering Research-based Responsibility-driven RWD Safe-life Speculative Sustainable Systemic SOD Tableless web Theory of constraints Top-down and bottom-up Transformation Transgenerational TRIZ Universal Design for All Usage-centered Use-centered User-centered Empathic User innovation Value-driven Value sensitive Privacy by Quality by Secure by Design choice computing controls culture flow justice leadership management marker methods pattern research science sprint strategy theory thinking Tools Intellectual property Organizations Awards Tools AAD Architectural model Blueprint Comprehensive layout CAD CAID Virtual home design software CAutoD Design quality indicator Electronic design automation Flowchart Mockup Design specification Design system Prototype Sketch Storyboard Technical drawing HTML editor Website wireframe Intellectual property Clean-room design Community design Design around Design infringement Design patent Fashion design copyright Geschmacksmuster Industrial design rights European Union Organizations American Institute of Graphic Arts Chartered Society of Designers Design and Industries Association Design Council International Forum Design Design Research Society Awards European Design Award German Design Award Good Design Award (Museum of Modern Art) Good Design Award (Chicago Athenaeum) Graphex IF Product Design Award James Dyson Award Prince Philip Designers Prize Related topics Agile Concept art Conceptual design Creative industries Cultural icon .design Dominant design Enterprise architecture Form factor Futures studies Indie design Innovation management Intelligent design Lean startup New product development OODA loop Philosophy of design Process simulation Reference design Slow design STEAM fields Unintelligent design Visualization Wicked problem Design attributes brief change classic competition architectural student director education elements engineer firm history knowledge language life load museum optimization paradigm principles rationale review specification studies studio technology v t e Visual arts and the art world Artwork Appropriation Collage Conceptual art Cultural artifact Drawing Ephemeral art Fine art Fine-art photograph Found object Installation art Kinetic art Mixed media bricolage Mural fresco graffiti New media art history digital virtual Painting Performance art endurance art Plastic arts Portrait Printmaking Public art street art Sculpture carving relief statue tallest Site-specific art Social sculpture Soft sculpture Stained glass Artwork title Roles Artist Collector Conservator-restorer paintings frescos Critic Curator Dealer Model Patron Visual arts education Europe Places and events Art auction Art colony Art commune Art exhibition alternative exhibition space Art gallery Contemporary art gallery Art museum Single-artist museum Art school Europe Arts centre Arts festival Artist collective Artist cooperative Artist-in-residence program Artist-run initiative Artist-run space Biennale Commission Sculpture garden Sculpture trail Virtual museum History of art Timeline of art Art history (academic study) Art manifesto Art movements Criticism feminist History of painting outline Periods in Western art history Timeline of 20th century printmaking in America Related Art market The arts Catalogue raisonné Classificatory disputes Museum collection management deaccessioning Conservation-restoration paintings Cultural policy Depiction Destination painting Eclecticism in art Economics of art art finance art valuation Elements of art Forgery Horror vacui Index of painting-related articles Motif Outline of the visual arts painting sculpture Provenance Sociology of art Style Unfinished work Work of art Lists Art magazines Art media Art techniques Art movements Art museums largest most visited sculpture parks single artist Art reference books Colossal sculptures in situ Contemporary artists Contemporary art galleries Modern artists National galleries Painters by name by nationality Photographers Sculptors female Stolen paintings Most expensive paintings, sculptures, works by living artists Painting portal Visual arts portal The arts portal --- Adapted from the Wikipedia article [Design elements](https://en.wikipedia.org/wiki/Design_elements) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Design_elements?action=history)). 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