Page 99 - DMGT552_VISUAL_MERCHANDISING

Visual Merchandising

Notes 4. Pattern
5. Texture

Line

A line is a mark made by a moving points and having psychological impact according to its
direction, weight, and the variations in its direction and weight. It is an enormously useful and
versatile graphic device that is made to function in both visual and verbal ways. It can act as a
symbolic language, or it can communicate emotion through its character and direction.
Line is not necessarily an artificial creation of the artist or designer; it exists in nature as a
structural feature such as branches, or as surface design, such as striping on a tiger or a seashell.
It can function independently to suggest forms that can be recognised, even when the lines are
limited in extent. Lines can be combined with other lines to create textures and patterns. This is
common in engravings and pen and ink drawings.
The use of line in combination results in the development of form and value, which are other
elements of design.
However, line is not always explicit. It can exist by implication, as the edge of forms. As young
children we usually begin drawing landscapes by making outlines for earth, sky, and other
objects. Gradually we learn that objects do not have such outlines and we let colour changes
define the edges of shapes, creating implicit lines. Thus we can speak of a horizon “line,” or the
“lines” of a car or a fashion silhouette, even though we know there is no literal line present.

Form, Shape and Space

Forms and shapes can be thought of as positive or negative. In a two dimensional composition,
the objects constitute the positive forms, while the background is the negative space. This makes
it difficult to ignore the background and treat it as merely empty space. The effective placement
of objects in relation to the surrounding. Negative space is essential for success in composition.
Some artists play with the reversal of positive and negative space to create complex illusions.
Perception of form and shape are conditioned by our ingrained “instinct” to impute meaning
and order to visual data. When we look at an image and initially form an impression, there is a
tendency to latch on to that conclusion about its meaning, and then ignore other possible
solutions. This may make it hard to see the other images. Training the eye to keep on looking
beyond first impressions is a crucial step in developing true visual literacy.

Categories of Forms

There are various ways to categorise form and shape. Form and shape can be thought of as either
two-dimensional or three dimensional. Two-dimensional form has width and height. It can also
create the illusion of three dimension objects. Three dimensional shape has depth as well as
width and height.

Colour Value, Hue and Intensity

Typically, colour is the first element we see when looking at an object or scene. It affects us
physically and psychologically and is one of the most important elements in creating response,
especially to display.
Colour is one of the most powerful of elements. It has tremendous expressive qualities.
Understanding the uses of colour is crucial to effective composition in design and the fine arts.
Colour is an inexpensive, versatile means of creating mood and drama in the presentation of

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