Design Principles [TASK 1: EXPLORATION]
Task 1: Exploration
06/02/2024 - 20/02/2024 (week 1 - week 3)
Rafa Maritza Hertrian [0364958]
Bachelor of Design (Honours) in Creative Media/ Taylor's
University
Design Principles GCD60804
INSTRUCTIONS
Figure 1.1: MIB GCD 60804 / DESIGN PRINCIPLES
Rationale
In task 1, students are instructed to look into several design principles
that will be introduced in the module. Design principles that will be
explored in this module include Gestalt theory, contrast, emphasis,
balance, repetition, movement, harmony-unity, symbol, and word-image.
Aside from that, students have to choose one goal from UNSDG. Explorations
of the design principles will be applied by observing existing designs
that are linked to the chosen goal. This should be all summarized in about
100-150 words.
LECTURES
Introduction: Elements & Principles of Design
Visual communication: utilizing design to convey purposeful messages to a target audience. Elements and principles of design must be studied to achieve effective communication through design.
Elements of Design
Individual "building blocks"
Point
Points are used to build lines and it works as the mark.
As the point moves in space, other two- and three-dimensional figures and
forms are created.
|
| Figure 1.1.1points (06/02/2024) |
Line
Lines can be active or static, aggressive or passive, sensual or
mechanical.
Functions: Indicate direction, define boundaries of shapes and spaces,
imply volumes or solid masses, and suggest motion or emotion
Can be grouped to depict qualities of light and shadow and to form
patterns and textures
Lines can have different emotions and they can suggest movement depending on how it is used and for what purpose in a work of design.
Shape
Becomes visible when a line or lines enclose an area or within the
three-dimensional object.
Category of shape: Geometric and organic
Geometric - circles, squares, triangles, etc. – tend to be precise and
regular
Organic - irregular, often curving rounded, and seems relaxed and more
informal than geometric
|
| Figure 1.3.1 Geometric shapes created by lines (06/02/2024) |
|
| Figure 1.3.2 Organic shapes (06/02/2024) |
Form
A three-dimensional area is called a form
when form encloses space, the space is called volume
appears most in sculpture architecture
With two-dimensional media, such as painting, illustration, or drawing,
the form must be implied (shading, light, and perspective can produce an
illusion of implied three-dimensional form in two-dimensional
media)
|
| Figure 1.4.1 Implied form on a 2D media (06/02/2024) |
|
| Figure1.4.2 Forms on sculptures (06/02/2024) |
Texture
In visual communication design, texture often refers to the tactile
qualities of surfaces or to the visual representation of those
qualities.
All surfaces have textures that can be experienced through touching or
through visual suggestion
Categories of Texture: actual (experienced by touch) and simulated or
implied ( created to look like the real texture)
|
| Figure 1.5.1 Textures (06/02/2024) |
|
|
Figure 1.5.2 Implied texture (06/02/2024) |
Space
The indefinable, general receptacle of all things - the seemingly
empty space around us
Space needs to be utilized in a design to create a sense of balance
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 its edges- the
two dimensions of height and width. Yet within these limited boundaries,
an infinite number of spatial qualities can be implied.
Space can also be used to enhance the readability of a design.
(putting text in empty space instead of overlapping it with an
illustration.
|
|
Figure 1.6.1 space in poster design (06/02/2024) |
From the outside we experience mass
From the inside we experience volume
|
| Figure 1.6.2 space- mass (06/02/2024) |
|
| Figure 1.6.3 space- volume (06/02/2024) |
In graphic design, space, or depth refers to the area that a shape or form
occupies space can be defined as positive (filled space) or negative
(empty space).
The illusion of a three-dimensional space can be suggested through
depth.
This can be achieved by overlapping images, the variation of sizes,
placement, and perspective
|
| Figure 1.6.4 Space in movie scene (06/02/2024) |
Color
Three variables of color:
Hue: the colors of the spectrum (yellow, green, blue, and red)
Value: the lightness and the darkness from white through greys to
black
Black and white pigments can be important ingredients in changing color
values. white added to a hue would result in a tone. Black added to a hue
produces a shade of that hue.
Tint: pure hue +white
Tone: pure hue + grey
Shade: pure hue + black
Intensity/saturation: the purity of the hue. A pure hue is the most
intense form of a given color, it is the hue in its highest saturation, in
its brightest form. With a pigment (black, white, or grey)of another hue
is added to a pure hue, its intensity diminishes and is dulled.
|
| Figure 1.6.5 tint, tone, and shade (06/02/2024) |
Color schemes
Monochromatic colors: based on variations in the value and intensity of a
single hue.
Analogous colors: based on colors adjacent to one another on the color
wheel, each containing the same pure hue.
Complementary colors emphasize two hues directly opposite each other on
the color wheel.
|
| Figure 1.6.6 Color wheel and color schemes (06/02/2024) |
Principles of Design
Organizational fundamentals that resulted from or guides the arrangement of the elements
- contrast
- balance
- emphasis
- rule of thirds
- repetition/pattern/rhythm
- movement
- hierarchy
- alignment
- harmony
- unity
- proportion
Lecture 1_Topic 1: Contrast and Gestalt Theory
Contrast
The juxtaposition of strongly dissimilar elements. Contrast is effective
in avoiding monotonous visual experiences. It can make a design look more
eye-catching emphasize a point and express content.
|
| Figure 2.1.1 Contrast in a movie scene (06/02/2024) |
|
| Figure 1.3.2 Contrast in web page (06/02/2024) |
Gestalt Theory
Theory about how people perceive the world around them. The human brain is
wired to see patterns, logic, and structure.
"Gestalt" refers to shape or form in German.
Gestalt principles or laws are rules that describe how the human eye
perceives visual elements. This aims to show how complex scenes can be
reduced to more simple shapes. It also aims to explain how the eyes
perceive the shapes as a single, united form rather than the separate
simpler elements involved.
-
Principle of similarity: The human eye tends to perceive similar
elements in a design as a complete picture, shape, or group, even if
those elements are separated. The brain tends to create connections
between elements that have similar nature. For example: our brains can
directly get the message of an element because of the context and our
brains can also recognize patterns
Figure 1.3.3 Similarity in patterns (06/02/2024)
-
Principle of continuation: The human eye follows the paths,
lines, and curves of a design, and prefers to see a continuous flow of
visual elements rather than separated objects. This means that implied
movement in a design is important to how the audience can perceive it.
Figure 1.3.4 continuation between line and text (06/02/2024) 
Figure 1.3.5 continuation movement (06/02/2024) -
Principle of closure: The human eye prefers to see complete shapes. if
the visual elements are not complete, the user can perceive a complete
shape by filling in missing visual information.
Figure 1.3.6 Unfinished shapes. (06/02/2024)
-
Principle of proximity: The process of ensuring related design
elements are placed together. any unrelated items should be spaced
apart. Close proximity indicates that items are connected or have a
relationship or have a relationship to each other and become one
visual unit which helps to organize or give instruction.
Figure 1.3.7 Web pages with close proximities (06/02/2024)
-
Principle of figure/ground: objects are instinctively perceived as
being either in the foreground or the background. They either stand
out prominently in the front (the figure) or recede into the back (the
ground).
Figure 1.3.8 figure/ ground (06/02/2024)
-
Law of symmetry and order: this law states that elements that are
symmetrical to each other tend to be perceived as a unified group.
Similar to the law of similarity, this rule suggests that objects that
are symmetrical with each other will be more likely to be grouped
together than objects not symmetrical with each other.
Figure 1.3.9 Owl illusion from symmetry (06/02/2024)
Lecture 2_Topic 2: Balance and Emphasis
Balance
Refers to the distribution of visual weight in a work of design. It is
the visual equilibrium of the elements that causes the total image to
appear balanced. Balance 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) results 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 2.1.1 Batik design (06/02/2024) |
Batik is one of the designs that often consist of symmetrical balance. It
will show that it is symmetrical if it has a mirror image within the
design.
Radial Balance: a form of symmetrical balance where an element within an
image radiates outward from the central point. It helps bring the audience
to the central message immediately.
|
| Figure 2.1.2 Radial Balance (06/02/2024) |
Approximate symmetry: almost equal division however the elements are not
exactly the same. It can be identified if it has a center point
element.
|
| Figure 2.1.3 Approximate symmetry (06/02/2024) |
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.
- Asymmetrical balance offers more visual variety, although it can be more difficult to achieve because the relationships between elements are more complex
|
| Figure 2.2.1 Asymmetrical Balance in a Photograph |
|
| Figure 2.2.2 Asymmetrical Balance in a Poster |
The Golden Ratio
Also known as phi, the Golden Ratio (other names: Golden Mean, Golden
Section) is a mathematical concept and a number that goes on indefinitely
(1.618033988749895…). The ratio itself comes from the Fibonacci sequence,
a naturally occurring sequence of numbers that can be found everywhere,
from the number of leaves on a tree to the shape of a seashell.
Over the centuries, many have perceived the Golden Ratio as the
representative of perfect beauty or is uniquely found throughout nature.
The Golden Ratio has been used for centuries as 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 2.3.1 Fibonacci Sequence |
This set of squares or rectangles is made out of the finbonacci sequence
starting of with the big blue square on the right side.
|
| Figure 2.3.2 Golden Ratio on Graphic Design |
|
| Figure 2.3.3 Golden Ratio on a Photograph |
Rule of Thirds
It is a composition guideline to create more dynamism in a work of
design/photography/film/painting.
An image is divided evenly into thirds, both horizontally and
vertically, and the subject of the
image is placed at the intersection of those dividing lines, or along
one of the lines itself.
|
| Figure 2.3.4 Rule of Thirds on a Photograph |
|
| Figure 2.3.5 Rule of Thirds on a Book Cover |
Emphasis and dominance
Emphasis is used to create dominance and focus in a design work.
Various elements can be used to create emphases, such as color,
shapes, or value, to achieve dominance.
|
| Figure 2.4.1 The Persistence of Memory by Salvador Dali |
For example, in Salvador Dali's "The Persistence of Memory", the emphasis is placed on surreal objects. It is also highlighted using the rule of thirds.
Lecture 3_Topic 3: Repetition and Movement
Repetition
Repetition could make a work of design seem active. The repetition of elements of design 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 3.1.1 Repetition found in traditional patterns |
Figure 3.1.2 Repetition with variety
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 3.2.1 Movement in Van Gogh's Starry Night |
|
| Figure 3.2.2 Movement in Typography |
Hierarchy
Hierarchy is the choreography of content in a composition to
communicate information and convey meaning. Visual hierarchy directs
viewers to the most important information first and identifies
navigation through secondary content.
|
| Figure 3.3.1 Example of Hierarchy |
Alignment
Alignment is the placement of elements in a way that edges line up along
common rows or columns, or their bodies along a common center. Alignment
creates a sense of unity and cohesion, which contributes to the design's
overall aesthetic and perceived stability. Alignment can also be a
powerful means of leading a person through a design.
|
| Figure 3.3.2 Alignment in a Website |
Lecture 4_Topic 4: Harmony
Harmony
Harmony is about choosing elements that can complement each other in one
whole design. However, harmony without variety will be monotony.
|
| Figure 4.1.1 Harmony in Interior Design |
Unity
Refers to the use of a certain element repetitively in a design. It
includes colors, shapes, or materials to pull the look together or
create a sense of oneness and create a theme from the balance that is
created from the unity.
|
|
Figure 4.1.2 Unity in Graphic Design |
As can be seen from this image, an element that is clearly repetitive is
the circle borderline and the moon. The way it is aligned brings the
whole illustration together.
|
| Figure 4.1.3 Unity in Infographics |
Scale and Proportion
Two design components related to size are scale and proportion. The
size of an object to the other objects in a design or piece of art is
known as its scale. The size of one part of an object about other
sections of the same object is referred to as its proportion. Scale
and proportion have been used by designers for centuries to either
depict or detract from the ideal.
|
| Figure 4.2.1 Scale and Proportion |
Scale
Scale is the size and dimension of objects and forms that relate to
a specific unit of measure. It is often applied in architectural
drawings and models. It is also used to specify or illustrate details based on
the relative sizes of objects. Substantial deviation from a normal scale relationship can create
dramatic results and visual interest within the design or
composition.
|
| Figure 4.2.2 Scale in artwork |
Proportion
Proportion refers to the comparison of two or more elements in a
composition in terms of size, color, quantity, degree, setting, etc.
Proportion is said to be harmonious when a correct relationship exists
between the elements concerning size or quantity. The effective use of
proportion in design often results in harmony and unity.
|
| Figure 4.2.3 Proportion in a poster |
Lecture 5_Topic 5: Symbol, word, and image
Symbol
A sign, shape, or object that is used to represent something else
(Cambridge Dictionary, 2020).
In design, symbols can provide or convey information, equivalent
to one or more sentences of text, or even a whole story (Eco, 1976
& Pettersson, 2015).
|
| Figure 5.1.1 Types of Symbols |
- Pictorial Symbols: Image-related and simplified pictures
- Abstract Symbols: Abstract symbols can look like the objects that they represent but have less details
- Arbitrary Symbols: 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 colors. We have to learn arbitrary symbols.
Word and Image
Selecting appropriate images is crucial in design, whether for print
or digital mediums. Relevant imagery enhances user engagement and
brand connection. Coupled with well-chosen words, typography plays a
significant role in reinforcing the design's message, achieving
visual harmony and hierarchy through careful selection and
positioning.
|
| Figure 5.1.2 Word and Image |
WEEKLY SUMMARY
Week 1
In week one the students are introduced by the lecturers to the design
principle module. The students were informed about the continuous tasks and
the projects that we had to complete within this short semester.
Making an E-blog was one of the requirements for this module.
Therefore, on week one, I created an E-blog post specifically for the
Design Principle Module.
Week 2
In week 2 the students are told to start on project 1 which is
creating 150 word essay that explains an artwork that connects to one
of the UNSDG and also connects to its design elements and principles.
This week I started to make several choices of artwork that I am
going to choose for this project. I also did a brief research about
the UNSDG and made a choice of the goal that I will use for this
project.
Week 3
On week 3 I started to compile my research and observation of the
artwork that I picked and compile it into one short essay just like
the task.
RESEARCH AND ESSAY
United Nations Sustainable Development Goals (UNSDG).
Chosen goal:
SDG number 12 Responsible consumption and production
"Ensure sustainable consumption and production patterns"
 |
| Figure 6.1 UNSDG Responsible consumption and production |
Ensuring sustainable patterns of production and consumption is the
purpose of this goal. It comprises goals of cutting down on waste
production, encouraging industries to implement sustainable
practices, managing natural resources sustainably and efficiently,
and motivating businesses to implement sustainable practices across
their whole production cycle.
Chosen artwork that connects to the chosen UNSDG
|
|
Figure 6.2 Plastic Ocean by Bonnie Monteleone (2017) |
Bonnie Monteleone
2017
Digital, Mix media
Size (N/A)
https://water.uci.edu/plastic-ocean-art-exhibit/
https://water.uci.edu/plastic-ocean-art-exhibit/
Relation to UNSDG and Observed Design Principles
I choose The Plastic Ocean as it is a part of the project of bringing
awareness of the marine plastic pandemic that is upheld by a
researcher and also the creator, Bonnie Monteleone. This supports the
purpose of UNSGD's Responsible consumption and production as waste
production affects our ocean severely. Plastic Ocean is referenced
from a famous Japanese painting called The Great Wave off Kanagawa by
Katsushika Hokusai which symbolizes the ocean by pictorially depicting
almost triangular waves. It highlights awareness of this
overconsumption problem by giving a contrast of the blue and natural
ocean water and the pile of waste with multiple colors. The space from
the sky creates an asymmetrical balance to the art which brings the
focus to the waves that contain waste materials even more. This will
remind people that overconsumption might lead to damaging the
ocean.
Word count: 142
FEEDBACK
Week 1
-
Week 2
-
Week 3
Mr. Charles said that I should proceed to specify the information given on task 1 to task 2.
REFLECTION
Experience
Task 1 is an easy-going step for this module. I get to dig down to understand how design elements and principles are applied.
Observation
From the research I have done about the UNSDG goals and connecting it to design principles, I realize that multiple artists already tried to convey one or two goals in their artwork. This promotes the goal indirectly to their audience that might be unaware of the global issues included in the UNSDG.
Findings
The key to design principles is how every element is used to convey the message of the artwork.
Nicely done. But highlight the principles in your write up.
ReplyDelete