All graphic design studies relationships. Graphic designers all struggle and strive to create combinations in size, color, position and placement that achieve balance, unity, and establish relationships so that the final composition is ‘just right’.

The following topic discuss processes, theories, and methods to better achieve these relationships.

Gestalt Principles

In this context, the elusive term – ‘just right’ is by many learned designers, referred to as gestalt.

Mirriam-Webster defines gestalt as: a structure, configuration, or pattern of physical, biological, or psychological phenomena so integrated as to constitute a functional unit with properties not derivable by summation of its parts.

Simply put, gestalt theory can be summed up as “the whole is greater than the sum of its parts.”

More literally, gestalt is a German word translated to mean ‘a unified whole.” While graphic designers use this term, is was formulated in the field of psychology as a theory of visual perception developed by German psychologists in the 1920s. It is now applied to many disciplines and fields of thought.

See: Gestalt Principles

Read: Gestalt Theory

The Golden Ratio

The Golden Ratio has many names. It is referred to and referenced by many mathematicians, scientists, architects and artists over the centuries. Other names frequently used for or closely related to the golden ratio are golden section, golden mean, golden number, and the Greek letter phi (φ). Other terms encountered include extreme and mean ratio, medial section, and the divine proportion.

In mathematics and the arts, two quantities (dimensions, sizes, proportions) are in the golden ratio if the ratio between the sum of those quantities and the larger one is the same as the ratio between the larger one and the smaller. The golden ratio is approximately 1.6180339887.

At least since the Renaissance, many artists and architects have proportioned their works to approximate the golden ratio—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing. There are many intriguing qualities and correlations with this ratio. The image below is a golden rectangle: when the length is divided by the height, the ratio is 1.6180339887. It also creates the structure for a Fibonacci Spiral.

Color: Hierarchy in Hues

Like spatial relationships of proportion and dimension, color can also be thought of in these terms.

The first color wheel was invented by Sir Isaac Newton (Opticks, 1704). He divided white sunlight into red, orange, yellow, green, cyan, and blue beams. More interesting to visual designers, he then he joined the two ends of the color spectrum together to show the natural progression of colors. It is interesting to note (pun intended) that Newton associated each color with a note of a musical scale. Music is another discipline in which ratios, proportions and even the Golden Ratio has been identified.

Establishing Color Schemes

The color wheel shows the relationship among colors and helps artists and designers establish a color scheme. There are three primary colors (red, blue, yellow), three secondary colors which are the result of mixing primary colors (purple, orange, green) and the tertiary colors, created when a primary color mixed with a secondary color such as red-orange, yellow-green and blue-violet. When they colors are mixed with pure colors white or black it creates numerous different tints and shades.

Monochromatic Color Scheme

The monochromatic color scheme uses variations in lightness and saturation of a single color. This scheme looks clean and elegant. Monochromatic colors go well together, producing a soothing effect. The monochromatic scheme is very easy on the eyes, especially with blue or green hues.

Analogous Color Scheme

The analogous color scheme uses colors that are adjacent to each other on the color wheel. One color is used as a dominant color while others are used to enrich the scheme. The analogous scheme is similar to the monochromatic, but offers more nuances.

Complementary Color Scheme

The complementary color scheme consists of two colors that are opposite each other on the color wheel. This scheme looks best when you place a warm color against a cool color, for example, red versus green-blue. This scheme is intrinsically high-contrast.

Split Complementary Color Scheme

The split complementary scheme is a variation of the standard complementary scheme. It uses a color and the two colors adjacent to its complementary. This provides high contrast without the strong tension of the complementary scheme.

Triadic Color Scheme

The triadic color scheme uses three colors equally spaced around the color wheel. This scheme is popular among artists because it offers strong visual contrast while retaining harmony and color richness. The triadic scheme is not as contrasting as the complementary scheme, but it looks more balanced and harmonious.

Tetradic (Double Complementary) Color Scheme

The tetradic (double complementary) scheme is the most varied because it uses two complementary color pairs. This scheme is hard to harmonize; if all four hues are used in equal amounts, the scheme may look unbalanced, so you should choose a color to be dominant or subdue the colors.

Learn More: Color Theory Basics