We all know what design elements are, whether we can name them outright or not. We are all implicitly aware of them. From the moment we are able to pick up a piece of chalk or a crayon, we can make a point, a spot, a mark.

GDPE diagrams point 01

Above is a dot I drew, also known as a point. Formally speaking, however, a point in space is less a visual concept and really more of an abstract, geometric notion. One can make a point on a piece of paper as I have above, but we only really interpret it as a point because of the principle of scale (which we’ll get to…). Increase the scale of the point, and you can see it is really a shape or form (and an odd one at that):

bruh, you need to get that checked out by a doctor...
That image above is really just an organic shape…but we interpreted it as a point due to its tiny scale.

GDPE diagrams lines 03

A line is classically defined as the a connection between two points. I say "classically" because that is the way that classic geometry texts – specifically Euclid’s Thirteen Books of the Elements – defined it. But it’s also other things: lines can be curvy or wavy; they can be jagged and rough; they can demarcate a border between things, thereby separating them. But they can also connect things together. They can imply movement, draw our attention to things, or obscure things. Lines can be angry, sad, mysterious, direct, or implied by the alignment of other elements (a.k.a. implied).

GDPE diagrams forms 04

You’ve definitely seen shapes and/or forms before, because they are everywhere. They are, in fact, an integral part of the conceptual framework that our brains use to identify objects. Forms can be free form, organic, naturalistic, geometric, lifelike, exciting, sad, aerodynamic, symbolic (think letters...), and many other things our brains assign them. But forms can also be entirely abstract, as the Greeks (Euclid included) used to think of them: perfect forms, existing only in abstract thought, from which all physical forms were (imperfectly) derived.

But even the most abstract forms in the visual arts have some objective qualities. Case in point, Malevich’s referred to his 1915 piece Black Square as the "zero point of painting1," meaning that, other paint on canvas, it was nothing: just near-complete abstraction. Yet despite this high-minded rhetoric, it's chock full of objective elements, so it can still be referred to as a rectilinear form (shape) that is dark black (value) and, at the time of this writing, has a crackled patina (texture).

Kazimir Malevich, "Black Square," 1915
GDPE diagrams value 15

Value refers to the relative lightness (white) or darkness (black) of an element, and has considerable effect on the perceived weight, prominence, and position of that element. Differences in value create contrast, which is an excellent way to force a visual hierarchy (i.e. an order of importance). For example, in the below illustration, though the circle is subordinate to the other shapes in terms of scale and positioning, it nonetheless is the most prominent and ‘heavy’ object due to its dark values contrasting with the light values of the other shapes:

GDPE diagrams value 16

GDPE diagrams negative space 18

Often overlooked due to its frequent role as an absence of things is the element of space. But space is much more than absence. It is properly defined as the area inside, outside, all around, above, and/or below the formal objects described above.

Space in two dimensional composition can be tricky though, especially when it provides the illusion of three dimensional space (aka depth). Above is an example of different kinds of space in use: the sailboat-like shapes overlap with the waves, creating an illusion of depth; the boats and waves get tinier as they approach an invisible horizon line, heightening the illusion of depth; and finally, the boats occupy negative space in the waves.

Here are more interesting uses of negative space I have found from the dank nether-regions of the web:

In addition to being an element of design, color is also whole entire body of theory called, not surprisingly, color theory. Color theory is concerned primarily with the properties of differing wavelengths of light and how we perceive them. But it's also focused on the interaction of colors, i.e. how different combinations of colors can cause colors to change in the appearance of the consituent colors.
In the world of color theory there are actually competing sub-theories or approaches to how we relate colors. These theories go back centuries, but lets arbitrarily start with the work of Bauhaus artist and educator Johannes Itten and his 1961 piece entitled Farbkreis, a German word that translates literally to "color circle."
Johannes Itten, "Farbkreis," 1961
This piece reflects a more painterly understanding of colors — unsurprising, as Itten was himself a painter (in addition to a weaver). The classic primaries red, yellow, and blue are considered so because they cannot be made by mixing other pigment colors.

For painters and other types of artists and designers who manually mix pigments, Itten's system works well. But contemporary color theory is really more concerned with frequency interaction between differing hues, and how to represent colors accurately with different types of technology. These technologies fall into two distinct categories - screen-based and print-based - and the various colors systems used in each couldn't be more different.

Contemporary color wheel; Color systems; Color types
GDPE diagrams color systems 33Additive color systems arise from the direct mixture of different wavelengths (colors) of light. The primary colors in an additive system are generally red, green, and blue. Laptops, desktops, smartphones, tablets, televisions, portable gaming systems, smart watches...basically anything with a color screen combine, or add, red, green, and blue-colored light in various combinations to generate about 90% of the colors you and I can see. Combining all of these primaries in equal parts will generate white light. A system like this is specifically called an RGB system (see below). Therefore, any design work meant to be viewed on a device of some kind - e.g. broadcast graphics, video, app assets, web site imagery, etc - should be created in an RGB system or mode.

GDPE diagrams color systems 32Subtractive color systems arise from the filtering of light. The most common primary colors used in a system like this are cyan, magenta, and yellow. Generally you will find this color system in the four color printing process, where a black 'channel' or 'key' is used to register or align the other three colors together. As the alignment key, black is generally shorted to K, and the entire system labeled CMYK.

In the case of CMYK, the pigments placed upon (usually) white paper act as filters, absorbing or subtracting wavelengths of light other than those corresponding to the colors we perceive. This is why systems such as these are called subtractive: light is filtered or subtracted when colors are generated. 

Anything kind of digital work that is meant for print should be made in the CMYK space. 

Color Schemes

There is no right or wrong way to mix colors, as acculturation and personal preferences play a large role in what we find acceptable. However, basic color schemes that use the modern color wheel can be very useful in discovering universally acceptable color combinations. Below are the six geometrically derived color schemes, and respective examples of palettes obtained from them: 

Color schemes derived from the color wheel
GDPE diagrams texture 12

We all implicitly know what texture is. For example, some people like pulp in their orange juice, some like no pulp; some prefer a high thread count for their pillow cases for a smooth, satiny feeling, while others like a courser fabric; some people prefer smooth peanut butter, while those of us who aren't deranged and like to keep it 9ab0c50042c1d1cab13bccd826479189 prefer chunky. 

Most of us can certainly feel texture on our body parts, but we have also learned to associate these feelings with our visual recognition of different textures. Therefore, we can see a tree trunk's texture and know ahead of time whether the bark is smooth or rough. We can see a sweater's texture and know that it will probably be soft. This is learned with experience, of course, but it means that texture is a visual element as well as physical property.
In art and design, texture is almost entirely virtual and/or invented, as opposed to real. A painting of a tree can simulate the texture of that tree with variations in light and dark (i.e. value). A 3D animation can simulate the texture skin of a dinosaur's skin, a simulation that is likewise invented, as we've never really seen actual dinosaur skin (I hope). The examples above are all images of real textures, and are thus virtual or simulated.

Texture as an element can add the properties of dimension, age, slickness, cost, speed, or even an element of danger to a form. Below is a gallery of different implied textures that illicit very different feelings.