how to organize design elements

, this happens because we love familiarity and when we see something that has symmetry in it, it’s easy for us to recognize it. The Way Basic Eco Storage Cubes come in a ton of sizes and colorways. It can work if the containment is very obvious; see the OS X example in Figure 4-23. They’re useful when you have a lot of stuff to show on the page at once. Again, minimize the set of things that have to be disabled, especially when they’re far away from whatever operation turns them on. However, you’re still responsible for picking the right default order, so “let the user choose” still doesn’t get you off the hook! That’s not so good if you’re dealing with text fields, combo boxes, and other visually “heavy” objects, as in Figure 4-32. In this screenshot, you can see Winamp’s default configuration. You might also (or additionally) put it in a scrolling panel, or into resizable panes, as in the Dreamweaver example at the top of this pattern. Illustrator and Photoshop take the “form-style” layout approach to its logical extreme. Closable Panels. In your space, finding the right bench is key to creating a room that is not only organized but comfortable and inviting as well. Most blogs tend to have cluttered layouts; it’s a rare blog that sets its main content into a strong center stage. They can place needed tools close to where they work; hide things they don’t need; and use Spatial Memory (Chapter 1) to remember where they put things. See Figure 4-45 for an example. In Windows, the placement of the title in the upper left and the conventional placement of buttons in the lower right do this for you automatically. Meanwhile, let’s look more deeply at visual organization. You can get four knobs for only $10, and with a little creativity, re-create this look at a low price, with a big wow factor. You knew this already, but I’ll say it anyway because it’s so important: by grouping things together visually, you state that they are related. It may also be referred to as formal balance. A well-behaved Liquid Layout can be difficult to implement in complex web pages, especially if you want to dispense with tables and use straight CSS. Combining colors between them is the key to creating a visual that matches your brand. The labeled “cards” structure content into easily-digestible chunks, each of which is now understandable at glance. They kept trying to organize them, but found no pattern between them. When designing a Center Stage, consider these factors, are absolutely required: The Center Stage content should be at least twice as wide as whatever is in its side margins, and twice as tall as its top and bottom margins. Netscape imposes different physical constraints. Again, the way in which these principles are applied affects the expressive content, or the message of the work. Asymmetrical balance, also called informal balance, is more complex and difficult to envisage. Overall sequence isn’t as important. Once you’ve read it and realize it’s an invitation, you can tell from context—but you had to read it first. Lines are the most basic element of design, and they make up pretty much everything. Put sections of content onto separate panels or “cards,” and stack them up so only one is visible at a time; use tabs or other devices to give users access to them. Design with “DNA.” Organization design can seem unnecessarily complex; the right framework, however, can help you decode and prioritize the necessary elements. These mechanisms can help you lay out a visual hierarchy: Contrasting fonts: the bigger and bolder, the more important the information, Contrasting foreground and background colors: putting white text on a black background, for instance, makes a very strong statement on a white page, Positioning, alignment, and indenting: indented text is subordinate to whatever’s above it, Graphics such as lines, boxes, and colored bars: things in a box or group go together, You’ll find that many UIs and printed graphics use several of these mechanisms at once. When your text gets much wider than that, users’ eyes have to travel too far from the end of one line to the beginning of the next one; if it gets much narrower, it’s too choppy to read easily. Notice that the label “home page” is much longer than the others; this would have made a lefthand label alignment less pleasing to the eye, and harder to read. This example comes from an internal application at Northwestern Mutual. The bounding boxes of the larger text box or shape act as reference points for alignment instead of the document. In Eudora’s preferences dialog, the boxes look good around the grids of checkboxes, the bold titles stand out clearly, and there is sufficient whitespace between the sections to give them visual “breathing room.” (In fact, this example would work even if the boxes were erased.). The ads and other marginal content do attract attention, but the middle column, containing the blog entry, is very wide in comparison. (I’ll return to this fascinating topic in Chapter 9.). If the movable panels react to mouse drags, such as for text selection, consider putting a “handle” on each piece that the user can grab to move the piece around. Clean designs are nice and all but adding a little bit of texture can make it pop even more. Movable Panels are alternative ways of presenting “chunked” content. The layout tells the user precisely how they should interact with the page. You can use color as a background, or to support other elements in your design. If users only need to edit a few properties for an object, then a property sheet may be too heavyweight a solution. For example, a color that’s happy in a particular country can send negative emotions in another one. We’ll talk about why that’s true. Also note the use of a Card Stack nested inside a Closable Panel. On the web page shown in Figure 4-6, the text is blurred so that you can’t read it easily. While no one can answer this question in just one paragraph, you should know that there are a few. Well-designed property sheets are generally easy to use, simply because they follow well-understood conventions. But I bet you can understand a lot of the page structure. These little cubes can come in a myriad of colors and sizes—and the configurations are endless. Consider reorganizing it into different chunks that are easier to name and remember. These catch-all spaces are the first rooms you see when you walk in the door. Most art education textbooks and therefor art teachers work from a list of 7 elements. That means the composition is balanced. Updated 09/10/20. Generally, the human eye starts with the top left of a page and then gravitates towards the bottom right corner so you can take advantage of this pattern whenever you’re designing. If you align variable-length labels along their left sides, the short labels won’t be close enough to their controls, and the side-to-side grouping is broken. Like focal points, grouping and alignment are necessary to forming a clear visual hierarchy. (Think of them as weights—the bigger or more “contrasty” the features are, the heavier they are; the closer to the edge they get, the more you need to put on the other side to compensate.). You want it to “hang together” and look like one thing, deliberately designed; it should be easy to use and navigate. When the elements are arranged equally on either side of a central axis, the result is Bilateral symmetry. Angela Belt. If you deal with paragraphs of text, remember that they become nearly illegible when they’re too wide. Use your judgment. Notice that I did not mention one traditional layout variable: position. (For many layout variations, consider using These elements and principles of design represent a set of guidelines that have the purpose of helping you create aesthetically pleasing visuals. A menu can provide access to a small handful of simple boolean or one-of-many properties. And the headline at the top—“Zelda’s 30th Birthday Party”—stands out a bit more because it has whitespace around it. As always, it’s best to give users a choice. Emphasis is also referred to as point of focus, or interruption. (That said, there is evidence that text with a longer line length, such as 100 characters per line, is faster to read than shorter lines, even though users prefer to read lines fewer than 55 characters long.[5]).

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