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Visual hierarchy: make one thing the most important

Visual hierarchy tells people where to look first. How size, weight, colour, space and grouping create one focal point, and how the squint test checks it.

· 5 min read · Musab Alfawal

A balance card where the amount, £2,480.50, is by far the largest element, above a small grey timestamp, a black Send money button and a text link.

Visual hierarchy is the order in which people notice things on a screen. When it works, the eye lands on the most important element first and then moves to the next, without anyone having to think about it.

Most hierarchy problems come from too much emphasis. Each part of a screen has someone who wants it noticed, so headings, prices, offers and buttons all get bigger, bolder and brighter until none of them stand out. The fix is usually to take emphasis away.

How to create visual hierarchy in UI design

You have a small set of tools, and they work best when you use only a few at once.

Size is the strongest. The largest element on a screen is usually read first, and a clear jump in size says more than several small steps. Keep your type scale short, so that each size means something.

Weight comes next. Bold text draws the eye until there is too much of it, and then it reads as noise. Save bold for headings and for the one value in a group that matters most.

Colour and contrast pull attention towards whatever differs most from its surroundings. On a mostly neutral screen, a single accent colour is a strong signal, so spend it on the primary action and on real status, like an error. Make secondary text quieter with a softer grey, but keep it above the 4.5 : 1 contrast that body text needs.

Position sets the reading order. Apple’s Human Interface Guidelines note that people often start at the top and leading side of a screen, and advise placing the most important items there. In a left-to-right language, that is the top left.

Space and grouping tell people what belongs together. Items close to each other read as related, and space around an element makes it stand out without making it bigger. Space can do most of the work that borders and boxes are often asked to do, with less clutter.

The squint test

Squint at a screen, or step back until you can no longer read the words, and you see only its shapes and dark areas. Whatever still stands out is your real hierarchy. If that isn’t the thing you meant to be most important, the hierarchy needs work, however clear the words are.

Here are two versions of the same pricing card, blurred and then brought back into focus.

Blurred, the first card becomes a column of grey bars with two dark buttons competing at the bottom. The second still shows a large price at the top and a single button at the bottom, which are the two things a pricing card exists to show.

The same pricing card, fixed

Here is a typical pricing card, then the same card with four changes. The content is the same. Only the emphasis has moved.

Before

A pricing card where the plan name, price and each feature sit in their own bold box, with a bold green offer in capitals and three black buttons, marked with four numbered problems.
  1. The price is the same size and weight as everything else, so it doesn’t lead.
  2. A bold, green offer in capitals competes with the price for attention.
  3. Every feature sits in its own bold box. The boxes add lines without grouping anything.
  4. Three black buttons with equal weight, so none of them is the obvious next step.

After

The same pricing card with a large price at the top, the offer in small grey text, a plain list of features and one black button above a text link, marked with four numbered fixes.
  1. The price is the focal point: the largest and heaviest element, at the top.
  2. The offer becomes small grey text under the price, where it supports it.
  3. The features are a plain list, grouped by space and a single divider.
  4. One primary button. The demo becomes a text link, and “Compare plans” moves to the page around the card.

Nothing in the fixed card is new. The price was always there, and the buttons were always buttons. Hierarchy came from making most things quieter so that two things could be louder.

One primary action per screen

Every screen should have one action that most people came to take, and that action deserves the strongest button. Other actions can be outline buttons or text links. The GOV.UK Design System gives the same advice for its buttons: use the primary style for the main call to action, and avoid more than one primary button on a page.

When two filled buttons sit side by side, people have to stop and compare them. That pause adds friction at the moment you want the least. Decide which action matters more, and let the design say so.

Mistakes, and what to do instead

  1. A parcel card where every line is large and bold, “Arriving Thursday” is blown up larger and heavier still, and a black “Track parcel” button sits underneath.

    Don’t

    Making something bigger or bolder each time someone says it isn’t noticed.

    The same card with “Arriving Thursday” as the only large text, the order number, delivery window and signature note in small grey type, and “Track parcel” as an outline button.

    Do

    Ask what can be quieter. Taking emphasis from everything else raises the important thing without touching it.

  2. Delivery details where the heading, name, address and phone number each sit in their own bordered box inside the card.

    Don’t

    A box or border around every item.

    The same details with no inner boxes: each grey label sits just above its value, and space alone separates one pair from the next.

    Do

    Group with space first. Keep borders for real boundaries, like a card or a form field.

  3. An order summary where every label, every price and the delivery note under it are bold, so the total barely stands out.

    Don’t

    Bold for whole lists and paragraphs.

    The same summary in regular weight, with only the total row, £57.95, in bold.

    Do

    Bold one heading or one value per group, at most.

  4. A newsletter draft above three identical black buttons: “Send to 2,140 subscribers”, “Send a test email” and “Edit draft”.

    Don’t

    Several filled buttons on one screen.

    The same draft with one black “Send to 2,140 subscribers” button, an outline “Send a test email” button and an “Edit draft” text link.

    Do

    One filled button for the main action, and outline buttons or text links for the rest.

  5. A workshop card in six type sizes, where the title, date, address, description and places left each step down only a little, so the title barely leads.

    Don’t

    Many type sizes, each slightly different.

    The same card in three sizes: a large title, the date, address and description at one body size, and small grey text for “Workshop” and “12 places left”.

    Do

    A short scale where each step is clearly larger than the last.

  6. A billing card with blue on the heading, the plan name, the price, the “Update card” button and the “Change plan” link, around a red expired-card message.

    Don’t

    The accent colour in five places at once.

    The same card in black and grey, with blue only on the “Update card” button and red only on “Your card ending 4421 has expired.”

    Do

    Keep it for the primary action and for real status, like errors.

How to fix a cluttered screen

  1. 1. Name the one thing

    Write down the single thing a person should see or do on this screen. If you can’t choose one, the screen may be doing two jobs.

  2. 2. Strip the emphasis

    Set everything to one size, one weight and one colour, and remove the borders. It will look flat, which is the point.

  3. 3. Add it back in order

    Make the most important element larger or heavier first, then the second most important. Stop as soon as the order is clear.

  4. 4. Group with space

    Move related items closer together and unrelated groups further apart before you add any lines.

  5. 5. Squint

    Blur the screen or step back from it, and check that the first thing you see is the thing you named.

Questions people ask

What is visual hierarchy in UI design?

It is the arrangement of elements so their importance shows in how they look. Larger, heavier, higher-contrast and better-placed elements are seen first, which guides people through a screen in the order you intend.

What is the squint test?

A quick check of hierarchy. You squint, blur or step back from a design until you can’t read the words, then note what still stands out. If that isn’t the most important element, the hierarchy needs work.

Can a screen have two primary buttons?

It usually shouldn’t. Two equal buttons make people stop and compare. If two choices really are equal, label them clearly and give them the same style, so neither looks like the default by accident.

Resources

  • Visual hierarchy in UX: definition · Nielsen Norman Group

    A short definition of visual hierarchy and the tools that create it.

  • 5 principles of visual design in UX · Nielsen Norman Group

    Scale, hierarchy, balance, contrast and Gestalt grouping, with examples.

  • Layout · Apple Human Interface Guidelines

    Where to place the most important content, and how alignment shows hierarchy.

  • Button · GOV.UK Design System

    When to use primary, secondary and warning buttons, and why to keep one primary button per page.

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