Gestalt principles are shortcuts the human visual system uses to organize information: we pull related things together, separate what doesn’t belong, and “fill in” missing bits to see a whole. For everyday UI work, the most practical principles are: proximity, similarity, common region/connectedness, continuation, closure, figure–ground, and common fate (motion). These help us decide which items belong together, where to look next, and what to click.
Below is my field guide, which explains each principle to beginners and illustrates how it is applied to real products.
Idea: Items placed near each other are perceived as a group. If your form labels are positioned too close to the incorrect fields, users may misread them and make errors. Put siblings together; give unrelated items breathing room.
Quick win: In a checkout form, keep “Name / Email / Phone” as one tight cluster and push “Marketing preferences” further down. Your eye should see islands of meaning, not a noisy ocean.
Idea: Elements that share color, shape, or size feel related. When every button is styled identically, the primary action disappears in the crowd. Use similarity to group, and contrast to highlight the one thing you want next.
Quick win: Give all secondary links a quiet style; make the primary CTA bold and consistent across screens. Users learn your visual language fast.
Idea: Put items inside a boundary (card, panel, box) or connect them with a line/connector, and people treat them as one set—even if they’re not that close. Cards, tables with grouped headers, and segmented controls all use this.
Quick win: On dashboards, wrap each metric and its mini-trendline in one card. The card becomes the mental unit—less scanning, fewer mistakes.
Idea: We naturally follow lines and curves. Good layouts create visual rails that lead the eye from headline → summary → CTA without friction. Bad layouts force zig-zags.
Quick win: Align text blocks and CTAs on a strong vertical rhythm. On mobile, stack in a single clean column—make scrolling feel like a gentle narrative.
Idea: Even if parts are missing, the brain completes the picture (think of logos built from negative space). In UI, closure helps with clean icons, skeleton loaders, and simplified illustrations that still read instantly.
Quick win: Use skeleton states that outline card shapes and text bars while content loads. Users grasp what’s “coming” without every pixel present.
Idea: We decide what the figure (focus) is and what the ground (background) is. If the contrast is weak or the background is too busy, people tend to hesitate. Precise figure–ground means faster “Oh, click here.”
Quick win: Ensure your primary action has sufficient color and contrast, as well as adequate spacing from the background. Don’t park CTAs on image noise.
Idea: Elements that animate in sync are perceived as related (think multi-select chips sliding together). Motion is powerful—use sparingly to group or confirm actions, not to show off.
Quick win: When a user selects multiple items, animate them gently toward a “Selected” tray. The shared movement teaches “these now act as one.”
If you remember one sentence: Arrange the screen so that the way it looks matches the way it’s meant to be used. Gestalt is your toolkit for that alignment. (Its roots go back to early 20th-century work by Wertheimer and colleagues, later reviewed and expanded by contemporary perception research.)
Bring us a cluttered screen; we’ll give you a clear story your users can follow.
Q1. Are Gestalt principles “laws” I must obey?
They’re guidelines, grounded in how people perceive. Use them to reduce confusion and speed decisions—then test with your real users.
Q2. What if my app has lots of features?
Keep the power—stage it. Group related actions (proximity/common region), keep one obvious first step (figure–ground + continuation), and offer a search for depth.
Q3. Any danger in overusing motion?
Yes. Motion should explain (common fate), not distract. Too much animation increases cognitive load. Keep it gentle and purposeful.
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Prepared by: UXGen Design Studio
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