Design Principles: Task1 (Exploration)

3/2/2025 - 17/2/2025 (Week1-Week3)

Amber Tan Jing Jing (0372746)

GCD60804 / Design Principles / Bachelor of Design in Creative Media 

Task1 

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TABLE OF CONTENTS

1. Instructions

2. Lectures

3. Task 1

4. Feedback

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INSTRUCTIONS

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LECTURES

Week1

Introduction: Elements & Principles of Design

Elements of Design

1. Point

• Simplest element of design.
• Used as repetitive mark forms a line.
• As the point moves in space, other two- and three-dimensional figures and forms are created.

2. Line

• Can be active or static, aggressive or passive, sensual or mechanical.
• Indicate direction, define boundaries of shapes and spaces, imply volumes or solid masses and suggest motion or emotion.
• Can be group to depict qualities of light and shadow and to form patterns and textures.

3. Shape

• Expanse within the outline of two-dimensional area or within the three-dimensional object.
• Visible when a line or lines enclose an area or when an apparent change in value (lightness/darkness), colour or texture sets an area apart from its surroundings.
• Geometric tend to be precise and regular.
• Organic - irregular, often curving or rounded & seem relaxed & more informal than geometric shapes.

4. Form

• Three-dimensional area is called a form. Two-dimensional area is referred to as a shape.
• When form encloses space, the space is called volume.
• A major element in sculpture and architecture.

5. Texture

• Tactile qualities of surfaces or to the visual representation of those qualities.
• Can be experienced by touching or through visual suggestion.
• Two categories of texture - actual (experience by touch) & simulated or implied.

6. Space

• Indefinable, general receptacle of all things - the seemingly empty space around us.
• In drawings, prints, photographs and paintings, we see the space of the surface all at once.
• The actual space of each picture's surface is defined by the two dimensions of height and width.
• From the outside, we experience mass. From the inside, we experience volume.
• The illusion of three-dimension space can be suggested through depth.
• Can be achieved by overlapping of images, the variation of sizes, placement and perspective.

7. Colour

• Visual byproduct of the spectrum of light as it is either transmitted through a transparent medium, or as it is absorbed and reflected off a surface.
• Colour is the light wavelengths that the human eye receives and processes form a reflected source.
• Hue: Colours of the spectrum, e.g. yellow and green.
• Value: The lightness or darkness from white through greys to black.
• Black and white pigments can be important ingredients in changing colour values.
• White added to a hue produces a tint. Adding grey to a hue would result in a tone. Black added to a hue produces a shade of that hue.
• Intensity: The purity of a hue.
• A pure hue is the most intense form of a given colour.
• Monochromatic colour schemes are based on variations in the value and intensity of a single hue.
• Analogous colour schemes are based on colours adjacent to one another on the colour wheel, each containing the same pure hue.
• Complementary colour schemes emphasise two hues directly opposite each other on the colour wheel.

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TASK1

Principles of Design

1. Gestalt theory

• Human brain is wired to see patterns, logic, structure.
• Rules that describe how human eye perceives visual elements.
• Aim to show how complex scenes can be reduced to more simple shapes.
• Explain how the eyes perceive the shapes as a single, united form rather than the separate simpler elements involved.

- Similarity

• Human eye tends to perceive similar elements in a design as a complete picture, shape, or group, even if those elements are separated.
• Our brain seems to craft a link between elements of a similar nature.

Figure 1.1 Similarity, Week1 (3/2/2024)

• In Figure 1.1, the artwork uses a repeating eye pattern, these elements are consistent in shape, color, and arrangement.

- Continuation

• Human eye follows the paths, lines, and curves of a design and prefers to see a continuous flow of visual elements.

Figure 1.2 Continuation, Week1 (3/2/2024)

• In Figure 1.2, the image on the left shows a bird flying from the H to the C and the viewer's line of sight moves from the eagle to the letters. The middle image, a leaf makes the viewer’s eye along the curve. The right image uses smooth font curves to create a continuous visual effect.

- Closure

• Human eye prefers to see complete shapes. 

Figure 1.3 Closure, Week1 (3/2/2024)

• In Figure 1.3, the image on the left, although the panda does not have complete lines, the viewer will automatically fill in the missing lines. The middle image, using the different between triangles and colors, the viewer can see that it is "A". The right image doesn't contain a complete "S" but can recognize the word "USA".

- Proximity

• Ensuring related design elements are placed together.
• Can see this very commonly in website design.

Figure 1.4 Proximity, Week1 (3/2/2024)

• In Figure 1.4, by grouping related content, user can easy to understand the information.

- Figure / Ground

• Objects are instinctively perceived as being in the foreground or the background.

Figure 1.5 Figure / Ground, Week1 (3/2/2024)

• In Figure 1.5, the image on the left, the tree is the main image, but the gorilla and the lion are hidden in the negative space. The middle image, there is a bear hidden in the mountains of Toblerone. The right image, there are not only shapes of the African continent, but also outlines of human profiles.

- Symmetry & Order

• Elements are symmetrical to each other tend to be perceived as a unified group.
• Objects that are symmetrical with each other will be more likely to be grouped together than objects not symmetrical with each other.

Figure 1.6 Symmetry & Order, Week1 (3/2/2024)

• In Figure 1.6, the Google main page is also symmetry. The search box is usually located in the center of the page.

Figure 1.7 Symmetry & Order, Week1 (3/2/2024)

• In Figure 1.7, the mask pattern formed by the black swan's wings is symmetrical, as is the subject itself.

2. Contrast

• Juxtaposition of strongly dissimilar elements.
• Without contrast, visual experience would be monotonous.
• Provide visual interest, emphasise a point and express content.

Figure 1.8 Contrast, Week1 (3/2/2024)

• In Figure 1.8, the colour of the subject is dark while the background is bright colors such as yellow, pink, green and others. This makes the subject stand out.

3. Emphasis

• Create dominance and focus in a design work.
• Various elements can be used to create emphasis, such as colour, shapes or value to achieve dominance.

Figure 1.9 Emphasis, Week1 (3/2/2024)

• In Figure 1.9, the lines of the background are straight and are black and white, while the colors of the subject are bright and the lines are curved, so the subject stands out more. 

4. Balance

• Distribution of weight in a work of design.
• Visual equilibrium of the elements that causes the total images to appear balanced.
• Can be symmetrical or asymmetrical.

- Symmetrical balance

• Has equal "weight" on equal sides of a centrally placed fulcrum.
• The equal arrangement of elements on either side of the central axis (horizontal or vertical) resulting in bilateral balance.
• Arranging elements equally around a central point results in radial balance.
• Approximate symmetry is when equivalent but not identical forms are arranged around the fulcrum line.

Figure 1.10 Symmetrical balance, Week1 (3/2/2024)

• In Figure 1.10, if cut it in half from the middle, viewer can see that the distribution of characters on both sides is equal.

- Asymmetrical balance

• Unequal visual weight on each side of the composition.
• One side of the composition might contain a dominant element, which could be balanced by a couple or more lesser focal points on the other side.
• More dynamic and interesting. It evokes feelings of modernism, movement, energy and vitality.
• Offers more visual variety, although it can be more difficult to achieve because the relationships between elements are more complex.

Figure 1.11 Asymmetrical balance, Week1 (3/2/2024)

• In Figure 1.11, Van Gogh used contrasting shapes and objects on either side of the composition, but managed to create a sense of balance.

- The golden ratio (phi)

• A mathematical concept and a number that goes on indefinitely (1.618033988749895...).
• It is perceived as the representative of perfect beauty or is uniquely found throughout nature.
• A guide to create visual balance in architecture and paintings.
• For designers, illustrators or digital artists, the Golden Ratio can be used to bring harmony, balance and structure to one's work. It can also increase the appeal of a design work.

Figure 1.12 The golden ratio (phi), Week1 (3/2/2024)

• In Figure 1.12, the proportions of Mona Lisa face and body create a sense of harmony and balance.

- Rule of thirds

• A composition guideline to create more dynamism to a work of design/photography/film/painting.
• An image is divided evenly into thirds, both horizontally and vertically an the subject of the image is placed at the intersection of those dividing lines or along one of the lines itself.

Figure 1.13 Rule of thirds, Week1 (3/2/2024)

• In Figure 1.13, the subject is placed along one of the lines itself instead of the center of the screen.

5. Repetition

• Could make a work of design seem active.
• Creates rhythm and pattern within the work.
• Variety is essential to keep rhythms exciting and active and to avoid monotony.
• Pattern increases visual excitement by enriching surface interest.

Figure 1.14 Repetition, Week1 (3/2/2024)

• In Figure 1.14, the repetition is created by the triangles.

6. Movement

• The way a design leads the eye in, around and through a composition - the path the eye follows.
• Motion or movement in a visual image occurs when objects seem to be moving in a visual image.
• Movement in a visual image comes from the kinds of shapes, forms, lines and curves that are used.

Figure 1.15 Movement, Week1 (3/2/2024)

• In Figure 1.15, the movement is created by the crayons, using color depth to enhance the effect.

- Hierarchy

• The choreography of content in a composition to communicate information and convey meaning.
• Directs viewers to the most important information first and identifies navigation through secondary content.

Figure 1.16 Hierarchy, Week1 (3/2/2024)

• In Figure 1.16, the hierarchy is the gun. This is because the first thing I saw was the gun, followed by the man.

- Alignment

• The placement of elements in a way that edges line up along common rows or columns or their bodies along a common centre.
• Creates a sense of unity and cohesion, which contributes to the design's overall aesthetic and perceived stability.
• A powerful means of leading a person through a design.

Figure 1.17 Alignment, Week1 (3/2/2024)

• In Figure 1.17, the title and the text are all aligned diagonally from the axis.

7. Harmony & Unity

- Harmony

• Involves the selection of elements that share a common trait.
• Becomes monotony without variety.
• The sense that all of the elements of your design fit together. They may fit the same theme, aesthetic style or mood.

Figure 1.18 Harmony, Week1 (3/2/2024)

• In Figure 1.18, the unity of colors and the balanced positions of the characters create harmony.

- Unity

• The repetition of particular elements throughout your design - whether they are colors, shapes or materials - to pull the look together.
• Occurs when these elements are composed in such a way that they are balanced and give a sense of oneness, creating a theme.
• Although unity and harmony may sound similar, they each play distinct roles in the way we experience design.

Figure 1.19 Unity, Week1 (3/2/2024)

• In Figure 1.19, the unified use of colors, especially yellow and blue. The sky, water, and light seamlessly blend into each other, enhancing the sense of unity.

Scale and Proportion

• Are both design elements that have to do with size.
• Scale is the size of one object in relation to the other objects in a design or artwork.
• Proportion refers to the size of the parts of an object in relationship to other parts of the same object.

- Scale

• Refers to the size and dimension of figures and forms relative to a specific unit of measure.
• Architectural drawings and scale models are examples of the applied use of scale.
• Specify or illustrate details based on the relative size of objects.

Figure 1.20 Scale, Week1 (3/2/2024)

• In Figure 1.20, number 5 is bigger than the other text.

- Proportion

• The relationship of two or more elements in a composition and how they compare to one another with respect to size, color, quantity, degree, setting, etc.; i.e. ratio.
• Proportion is said to be harmonious when a correct relationship exists between the elements wuth respect to size or quantity.

Figure 1.21 Propotion, Week1 (3/2/2024)

• In Figure 1.21, the orange on top of the tree is big, while the orange on the ground and on the leaves are smaller.

8. Symbol

• A sign, shape or object that is used to represent something else.
• In design, symbols can provide or convey information, equivalent to one or more sentences of text or even a whole story.

- Pictorial symbols

• Image-related and simplified pictures.

Figure 1.22 Pictorial symbols, Week1 (3/2/2024)

• In Figure 1.22, the viewer can easily recognize and understand the meaning of the symbols.

- Abstract symbols

• Can look like the objects that they represent but have less details.

Figure 1.23 Abstract symbols, Week1 (3/2/2024)

• In Figure 1.23, the symbols don't have meaning and only represent themselves.

- Arbitrary symbols

• Have no resemblance at all to the objects or the ideas they represent.
• The symbol is invented with the meaning constructed. Many are based on geometric shapes and colours.

Figure 1.24 Arbitrary symbols, Week1 (3/2/2024)

• In Figure 1.24, the appearance has no direct relationship with the content it represents. People understand its meaning through usage and habit.

9. Word & Image

• Imagery is a vital part of design, be it print or digital. Users and viewers are able to relate to a concept or a brand if the right images are used in a work of design. It is therefore important to use suitable and relevant images when designing.
• Choosing the right words to pair with the imagery is of high importance as it would deepen the meaning of the design. Suitable typeface and strategic positioning of the type will result in visual hierarchy and balance in a work of design.
• Typography is the design and arrangement of text to convey a message or concept.

Figure 1.25 Word & Image, Week1 (3/2/2024)

• In Figure 1.25, the typeface is suitable of the content.

Selected artwork

In this task, we need to select an art/design work that piques our interest. Upload the image of the art/design work (JPEG file, min. A4 size, 300dpi). Beneath the image, include the credit line of the art/design work (title of art/design work, artist’s/designer’s name; year, size, medium of the art/design work and the source). Explain, in a writeup of about 150-200 words,  why we chose that art/design work. List and briefly describe the design principles we observed in that art/design work. 

Figure 2.1 Give them their flowers / Give me my flowers, Week2 (10/2/2024)

Title of artwork: Give them their flowers / Give me my flowers

Artist's name: Tofunmi Yosola

Medium: Digital

Source: https://tofunmiyosola.com/Give-Them-Their-Flowers

When I first saw this artwork, I was drawn to it because of the subject's eye. The subject's eye looks calm and captured my attention. Besides, the colour palette of this artwork also attract me. After that, I tried to find what the artist wanted to talk about the art. Once I learned the meaning behind it, I immediately chose this artwork. The artist was inspired by the saying that "people aren't often celebrated until they've passed away". This may mean that people should be appreciated while they are still alive, not after they have passed away. 

This artwork using asymmetrical balance. Although the flowers take up more space than the face, the whole art was seem balance. Another design principle present is emphasis, the subject's eye very catch my attention. Another design principle is contrast. The artwork use bright colours such as orange, pink, green, white and yellow contrast with dark brown. Besides, this artwork shows harmony & unity. The flowers and then man's face are integrate. Furthermore, movement is present in this artwork because of the flow of the leaves and the curved lines of the flowers.

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FEEDBACK

Week2

-Don't use geometric shape to explain about the design principles. Look for design works or illustration that shows a good form. 

-Pictorial symbols part, don't have to put so much, can put a bit bigger image and a few so that they are clearer.

-For part2, do not choose works that are too abstract and make sure have some info about the artist.

Week3

- "His eye" change to "the subject's eye".

- Add description of the images.

- The images are well chosen.