Line: Dondis defines a line as a collection of dots so close that it becomes a visual element of its own. I found it interesting how Dondis described line as a dynamic element, how it can convey different moods at the hands of the artist. It made me think about line thickness and the boundary between a line and other elements of design. Any line will have some variation of width to it and depending on what medium an artist is using (paintbrush, marker, etc.), adding another dimension of expression. It left me wondering at which point a brushstroke stops qualifying as a line and becomes a shape. Or, at which point techniques such as hatching becomes a tone instead.

Color: Dondis describes color as perhaps the most emotional design element and considers it invaluable for universal visual communication. The three components of color—hue, saturation, and brightness—create infinitely many combinations of color. As opposed to a line, which technically doesn’t exist in nature, colors have roots in the natural environment even as they develop symbolic meanings in society. For instance, Dondis describes how red is associated with anger, danger, and warmth and became a political symbol for the communist party as well. This reminded me of traffic signs and how a red hexagon or a red light has developed into a message for “stop” and a means of visual communication.