1. COLUMBUS SPACE PROGRAM DESIGN THEORY/PROJECTS

2. PRINCIPLES OF DESIGN Balance - the arrangement of the objects in a given design as it relates to their visual weight within a composition. Balance usually comes in two forms: symmetrical and asymmetrical. Rhythm - the repetition or alternation of elements, often with defined intervals between them. Rhythm can create a sense of movement, and can establish pattern and texture. Proportion Dominance Unity Source: http://www.digital-web.com

3. PRINCIPLES OF DESIGN Proportion - the comparison of dimensions or distribution of forms. It is the relationship in scale between one element and another, or between a whole object and one of its parts. Differing proportions within a composition can relate to different kinds of balance or symmetry, and can help establish visual weight and depth. Dominance - varying degrees of emphasis in design. It determines the visual weight of a composition, establishes space and perspective, and often resolves where the eye goes first when looking at a design. Unity - the relationship between the individual parts and the whole of a composition. It investigates the aspects of a given design that are necessary to tie the composition together, to give it a sense of wholeness, or to break it apart and give it a sense of variety.

4. RELATED CONCEPTS Contrast or Opposition Contrast addresses the notion of dynamic tension or the degree of conflict that exists within a given design between the visual elements in the composition. Positive and Negative Space Positive and negative space refers to the juxtaposition of figure and ground in a composition. The objects in the environment represent the positive space, and the environment itself is the negative space. Rule of Thirds The rule of thirds is a compositional tool that makes use of the notion that the most interesting compositions are those in which the primary element is off center. Basically, take any frame of reference and divide it into thirds placing the elements of the composition on the lines in between.

5. RELATED CONCEPTS Visual Center Visual Center The visual center of any page is just slightly above and to the right of the actual (mathematical) center. This tends to be the natural placement of visual focus, and is also sometimes referred to as museum height. The visual center of any page is just slightly above and to the right of the actual (mathematical) center. This tends to be the natural placement of visual focus, and is also sometimes referred to as museum height. Color and Typography Color and Typography Many would place color and typography along side the five principals I have outlined above. I personally believe both to be elements of design, so I’ll give them some attention in my next column. In addition, both topics are so robust that I plan on writing an entire article about each of them in the future. Many would place color and typography along side the five principals I have outlined above. I personally believe both to be elements of design, so I’ll give them some attention in my next column. In addition, both topics are so robust that I plan on writing an entire article about each of them in the future.

6. COLOR THEORY Color theory encompasses a multitude of definitions, concepts and design applications - enough to fill several encyclopedias. However, there are three basic categories of color theory that are logical and useful : The color wheel, color harmony, and the context of how colors are used. Color theory encompasses a multitude of definitions, concepts and design applications - enough to fill several encyclopedias. However, there are three basic categories of color theory that are logical and useful : The color wheel, color harmony, and the context of how colors are used. Color theories create a logical structure for color. For example, if we have an assortment of fruits and vegetables, we can organize them by color and place them on a circle that shows the colors in relation to each other. Color theories create a logical structure for color. For example, if we have an assortment of fruits and vegetables, we can organize them by color and place them on a circle that shows the colors in relation to each other. Source: http://www.colormatters.com

7. THE COLOR WHEEL A color circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Newton developed the first circular diagram of colors in 1666. Primary Colors: Red, yellow and blue: In traditional color theory (used in paint and pigments), primary colors are the 3 pigment colors that can not be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues. Secondary Colors: Green, orange and purple. These are the colors formed by mixing the primary colors. Tertiary Colors: Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green. These are the colors formed by mixing a primary and a secondary color. That's why the hue is a two word name, such as blue-green, red- violet, and yellow-orange.

8. COLOR HARMONY Harmony can be defined as a pleasing arrangement of parts, whether it be music, poetry, color, or even an ice cream sundae. In visual experiences, harmony is something that is pleasing to the eye. It engages the viewer and it creates an inner sense of order, a balance in the visual experience. When something is not harmonious, it's either boring or chaotic. At one extreme is a visual experience that is so bland that the viewer is not engaged. The human brain will reject under- stimulating information. At the other extreme is a visual experience that is so overdone, so chaotic that the viewer can't stand to look at it. The human brain rejects what it can not organize, what it can not understand. The visual task requires that we present a logical structure. Color harmony delivers visual interest and a sense of order. In summary, extreme unity leads to under-stimulation, extreme complexity leads to over-stimulation. Harmony is a dynamic equilibrium.

9. THEORIES OF HARMONY A color scheme based on analogous colors A color scheme based on analogous colors A color scheme based on complementary colors A color scheme based on complementary colors A color scheme based on nature

10. THEORY OF COLOR HARMONY Context - How color behaves in relation to other colors and shapes Red appears more brilliant against a black background and somewhat duller against the white background. In contrast with orange, the red appears lifeless; in contrast with blue-green, it exhibits brilliance. Notice that the red square appears larger on black than on other background colors.

11. COLOR PSYCHOLOGY Red: the color of energy, passion, action, ambition and determination. It is also the color of anger and sexual passion. Orange: the color of social communication and optimism. From a negative color meaning it is also a sign of pessimism and superficiality. Yellow: the color of the mind and the intellect. It is optimistic and cheerful. However it can also suggest impatience, criticism and cowardice. Green: the color of balance and growth. It can mean both self-reliance as a positive and possessiveness as a negative, among many other meanings.

12. COLOR PSYCHOLOGY Blue: the color of trust and peace. It can suggest loyalty and integrity as well as conservatism and frigidity. Indigo: the color of intuition. In the meaning of colors it can mean idealism and structure as well as ritualistic and addictive. Purple: the color of the imagination. It can be creative and individual or immature and impractical. Turquoise: communication and clarity of mind. It can also be impractical and idealistic. http://www.empower-yourself-with-color-psychology.com/meaning-of-colors.html

13. PROJECTS Simplest Projects: Lists Team members, levels, birthdates, favorite social media Build Season meals Jobs for Competitions Medium Level Projects: Coordination of Projects Award Project Assignments and Statuses IPT Updates/RAG status Development of Chairman Application/Presentation Content Management Systems Engineering and Project Management Project management tools Manage Build Manage Brand