Design Principles - Task 1:Exploration

3/2/2025 - 17/2/2025 / Week 1 - Week 3

ChenYuhan / 0378131

Design Principles/ Bachelor of Design (Honours) in Creative Media / Taylors University

Task 1: Exploration

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INSTRUCTIONS

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LECTURES

week 1:

introduction:Elements & Principles of Design

Fig1.1

ELEMENTS OF DESIGN
1.Point

2.Line

3.Shape
4.Form
5.Texture
6.Space
7.Colour

PRINCIPLES OF DESIGN
1.Contrast
2.Balance
3.Emphasis

4.Rules of Third

5.Repetition/Pattern/Rhythm

6.Movement
7.Hierarchy
8.Alignment
9.Harmony

10.Unity
11.Proportion

Contrast&Gestalt Theory

Contrast is the juxtaposition ofstrongly dissimilar elements.
Without contrast, visual experiencewould be monotonous.
Contrast can provide visual interestemphasise a point and expresscontent.

"Gestalt" refers to "shape" or "form" in German. Gestalt principles or laws are rules that describe how the human eye perceives visual elements. It aims to explain how the eyes perceive the shapes as a single, united form.

1.PRINCIPLE OF SIMILARITY

The human eye tends to perceive similar elements in adesign as a complete picture,shape, or group, even if thoseelements are separated.The brain seems to craft a link between elements of asimilar nature.

Fig1.2

2.PRINCIPLE OF CONTINUATION

The human eye follows the paths, lines, and curves of adesign, and prefers to see a continuous flow of visualelements rather than separated objects.

Fig1.3

3.PRINCIPLE OF CLOSURE

The human eye prefers to see complete shapes. lf theVisual elements are not complete, the user can perceive acomplete shape by filling in missing visual information.

Fig1.4

4.PRINCIPLE OF PROXIMITY

The process of ensuring related design elements are placed together. Anyunrelated items, should be spaced apart. Close proximity indicates thatitems are connected or have a relationship to each other and become onevisual unit which helps to organise or give structure to a layout.

5.PRINCIPLE OF FIGURE/GROUND

Objects are instinctively perceived as being either in the foreground or thebackground. They either stand out prominently in the front (the figure) orrecede into the back (the ground).

Fig1.5

6.LAW OF SYMMETRY & ORDER

This law states that elements that are symmetrical to each othertend to be perceived as a unified group. Similar to the law ofsimilarity, this rule suggests that objects that are symmetrical witheach other will be more likely to be grouped together than objectsnot symmetrical with each other.

Fig1.6

Balance & Emphasis

BALANCE
Balance refers to the distribution of visual weight in awork of design.
It is the visual equilibrium of the elements that causes thetotalimage to appear balanced.
Balance can be symmetrical or asymmetrical.

symmetrical balance:

1.Has equal “weight" on equal sides of a centrally placed fulcrum.
2.The equal arrangement of elements on either side of the central axis (horizontal orvertical) resulting in bilateral balance.
3.Arranging elements equally around a central point results in radial balance.

4.Approximate symmetry is when equivalent but not identical forms are arranged aroundthe fulcrum line.

Fig1.7

asymmetrical balance:

1.Unequal visual weight on each side of the composition.
2.One side of the composition might contain a dominant element, which could be balancedby a couple or more lesser focal points on the other side.

3.More dynamic and interesting. lt evokes feelings of modernism, movement, energy and vitality.
4.Asymmetrical balance offers more visual variety, although it can be more difficult toachieve because the relationships between elements are more complex.

Fig1.8

Golden Ratio:

Also known as phi, the Golden Ratio (other names: Golden Mean, Golden Section) is amathematical concept and a number that goes on indefinitely. The ratioitself comes from the Fibonacci sequence, a naturally occurring sequence of numbers that can befound everywhere, from the number of leaves on a tree to the shape of a seashell.
For designers, illustrators or digital artists, the Golden Ratio can be used to bring harmony,balance and structure to one's work. lt can also increase the appeal of a design work.

Fig1.9

rules of third:

It is a composition guideline to create more dynamism to a work ofdesign/photography/film/painting.

An image is divided evenly into thirds, both horizontally and vertically, and the subject of theimage is placed at the intersection of those dividing lines, or along one of the lines itself.

Fig1.10

EMPHASIS

Emphasis is used to create dominance and focus in adesign work.
Various elements can be used to create emphasis, such ascolour, shapes or value, to achieve dominance.

Fig1.11

Repetition & Movement

REPETITION

1.Repetition could make a work of design seem active.
2.The repetition of elements of design creates rhythm andpattern within the work.
3.Variety is essential to keep rhythms exciting and activeand to avoid monotony.
4.Pattern increases visual excitement by enriching surfaceinterest.

Fig1.12

MOVEMENT

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

Fig1.13

HIERARCHY

1.Hierarchy is the choreography of content in a compositionto communicate information and convey meaning.
2.Visual hierarchy directs viewers to the most importantinformation first, and identifies navigation throughsecondary content.

ALIGNMENT

1.Alignment is the placement of elements in a way thatedges line up along common rows or columns, or theirbodies along a common centre.
2.Alignment creates a sense of unity and cohesion, whichcontributes to the design's overal aesthetic and perceivedstability.
3.Alignment can also be a powerful means of leading aperson through a design.

Fig1.14

week 2:

Harmony & Unity

HARMONY

Harmony involves the selection of elements that share acommon trait.
Harmony becomes monotony without variety.
Harmony is the sense that all of the elements of your design fittogether. They may fit the same theme, aesthetic style or mood.

Fig2.1

UNITY

Unity refers to the repetition of particular elementsthroughout your design-whether they're colors, shapesor materials - to pull the look together.
Unity occurs when these elements are composed in such away that they are balanced and give a sense of oneness,creating a theme.
Although unity and harmony may sound similar, they eachplay distinct roles in the way we experience design.

Fig2.2

SCALE AND PROPORTION

Scale and proportion are both design elements that haveto do with size.

Scale is the size of one object in relation to the otherobjects in a design or artwork.

Proportion refers to the size of the parts of an object inrelationship to other parts of the same object.

Throughout the centuries, designers have used scale andproportion to depict or distract from the ideal.

It can be determined in two ways:

1.Actualmeasurement
2.Visual estimates based on comparison

PROPORTION

Proportion in art and design is the relationship of two or moreelements in a composition and how they compare to oneanother with respect to size, color, quantity, degree, settingetc.;i.e. ratio.
Proportion is said to be harmonious when a correct relationshipexists between the elements with respect to size or quantity.

The effective use of proportion in design often resultsin harmony and unity.

Fig2.3

Symbol, Word & Image

SYMBOL

There are two branches for symbols:
Figurative Representations
1.Visuals
2.Graphic Symbols
  1)Pictorial Symbols:lmage-related and simplified pictures
  2)Abstract Symbols:Abstract symbols can look like the objects that theyrepresent but                                    have less details.
  3)Arbitrary Symbols:Arbitrary symbols have no resemblance at all to theobjects or                                         the ideas they represent.

Non-Figurative Representations

WORD AND IMAGE

lmagery is a vital part of design, be it print or digital. Users andviewers are able to relate to a concept or a brand if the right imagesare used in a work of design. lt is therefore important to use suitableand relevant images when designing.
Choosing the right words to pair with the imagery is of highimportance as it would deepen the meaning of the design. Suitabletypeface and strategic positioning of the type will result in visualhierarchy and balance in a work of design.
Typography is the design and arrangement of text to convey amessage or concept.

Fig2.4

week 3:

Visual Analysis

VISUAL ANALYSIS

Is a method of understanding design that focuses on thevisual elements and principles.
In its strictest definition - a description and explanation ofvisual structure for its own sake.
Yet the purpose of visual analysis can also recognise thechoices that a designer made in creating the design, aswell as to better understand how the formal properties ofa design communicate ideas, content, or meaning.

Visual analysis can include three phases.
Phase 1: Observation
Phase 2:Analysis
Phase 3:Interpretation

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TASK 1:EXPLORATION

Gestalt theory:

Fig3.1,From RedNote ManYu

Fig3.1 uses the same color scheme (white text on a black background) and shows similarity through the same font size and layout. However, the bubbles interrupt the continuity of the poster, increase its closedness, and at the same time reorganize the parts of the text into a coherent group.

Contrast:

Fig3.2,From Alan Schaller

Fig3.2 presents a breathtaking symmetrical beauty through the strong contrast between the black and white swans and the light and shadow of the lake.

Emphasis:

Fig3.3,From Helena Georgiou

The neatly intersecting zebra crossings and simple black and white colors emphasize the eye-catching and lonely look of the yellow umbrella.

Balance:

Fig3.4,From Zander Olsen

It is not a symmetrical balance, but the photographer achieved a wonderful balance between the background and foreground by wrapping the trees with white cloth.

Repetition:

Fig3.5,From Michael Wolff

High-density real estate from Hong Kong, famous for their colorful and repetitive apartment types.

Movement:

Fig3.6,From Samual Andersen

The mud stirred up by the mountain bike forms a perfect motion arc with the entire cycling action, making the whole picture move.

Harmony & Unity:

Fig3.7,From Fnvlcy

Fig 3.7 of cherry blossoms against a sky of sky uses a single soft color palette and a central focus to create a unified look throughout the image.

Symbol:

Fig3.8,From Deepseek

As an emerging AI software, the blank part of the whale well shows the shape of Ai, and the blue also echoes the concept of seeking wisdom.

Word and Image:

Fig3.9,From RedNote Jiao

The "s" is formed by the traces left by the speedboat gliding on the sea. Whether it is understood as the sea or surfing, it is a very natural combination of text and picture.


Select works and explain:

Fig3.10,Golden Bay Pier,2022
210mmx300.5mm
From RedNote Elenaoooo

Fig3.10 shows a scenic spot in my hometown Weihai, the Golden Bay Pier. Whenever I see it, I am reminded of a stroll in my hometown one day, and that’s why I chose it.This picture mainly reflects the characteristics of harmony and unity. The sky, waves, and snowflakes are all blue, and the gradual blue makes the whole picture melancholy. The yellow-white color of the light is not so strong that it destroys the loneliness of the picture. In addition, this picture also reflects the characteristics of balance. The extended part of the pier divides the picture in half, and the length is also the same, giving people a stable and reassuring sense of balance.

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FEEDBACK

week 1:Use the introduction session to learn what i need to learn in the Design Principles course.

week 2:Under the guidance of Ms. Jinchi, the images in the Harmony & Unity section were changed to better fit the concept. Links were added under the selected images to quickly find the original authors.

week 3:Ms. Jinchi pointed out several issues for me in a very detailed manner: using picture numbers instead of “this picture”; adding reasons why you like the picture you selected; and making the feedback process an indispensable part.