Design quality

All serious designers aim to achieve excellence in their work. While different designers may represent a variety of approaches and aesthetic attitudes, they share an understanding at some basic level of what excellence is.

An excellent design satisfies three essential criteria: it works well, serving the needs and requirements of its users; it is well made of good, appropriate materials; it is aesthetically successful. In order to be a success, any design must support its function.

In order to function, any design must be constructed of specific materials

with available techniques of manufacture and workmanship. An object's

materials and constructional techniques must be appropriate to its intended use. In design, purpose and structure make up the content of the visual product the designer creates.

The concept of beauty differs with time and place, with purpose and context. The values that are usually called aesthetic can be better understood at another, more universally comprehensible level. It is the task of the designer to shape an object so as to communicate to any viewer or user the ideas that define the reality of the object.

It is the task of the designer to shape an object so as to communicate to any viewer or user the ideas that define the reality of the object. When these ideas are appropriate and expressed through the mediums (elements of art) at the designer's disposal (form shape, color, texture, and so on), we understand the design at a deep level. There are certain qualities inherent in the choice of these elements are called principles of art

Elements of design

The designer's aim is to make the realities of a designed space- its form materials, furnishings, accessories, and so on . The primary sense through which the design and the ideas behind it will reach an audience called visual perception. This study explores the ways in which the visual sense works to build an understanding of objects, spaces, and total environments through sight.

Eye, head, and body movements supply a flow of changing images that, put together, create a mental model of the reality and give us an understanding of space. This same process, combined with action of walking, gives us an understanding of space. We must go into a space in order to see it. Learning multispecies structures involves not only motion but also time. Since motion cannot be thought of apart from time.

In addition to the understanding of reality that comes with vision and movement a viewer receives impressions of emotional character. Our associations are reinforced by the kinetic impressions that we receive from vision and movements.

Man-made designs also contribute to this build-up of interpretive reactions. An automobile that is capable of fast movement has forms that look fast, even when the object is at rest. It is difficult to say whether this is due to individual characteristics, such as shape, pattern, or color, or whether it comes from a total impression. The Gestalt school of psychology studies that.