Design Principles / Task 1
06.02.24 - 23.02.24 / Week 1 - Week 3
Name: ALYSSA AISYAH BINTI 'ARIEF NASRAN (0364017)
Bachelor of Design (Hons) in Creative Media
Design Principles (GCD60804) / Section 1
Name: ALYSSA AISYAH BINTI 'ARIEF NASRAN (0364017)
Bachelor of Design (Hons) in Creative Media
Design Principles (GCD60804) / Section 1
LECTURES
Introduction - Elements & Principles of Design
Visual Communication is about utilising design to convey purposeful messages to a target audience. As such, the design must be well thought-out and executed. To achieve effective communication through design, it is important to learn about and apply the elements and principles of design.
- Point
- A point or dot is the simplest element of design.
- A point used as a repetitive mark forms a line.
- As the point moves in space, other two- and three-dimensional figures and forms are created.
- Line
- Lines can be active, static, passive, aggressive, sensual, or mechanical.
- Lines can indicate directions, define boundaries of shapes and spaces, imply volumes or solid masses, and suggest motion or emotion.
- Lines can be grouped together depict qualities of light and shadow as well as patterns and textures.
- Shape
- Refers to the expanse within the outline of two-dimensional area or within the three-dimensional object.
- Becomes 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.
- Two general categories of shapes - geometric and organic.
- Geometric shapes - circles, squares, triangles, etc. - tend to be precise and regular.
- Organic shapes - irregular, often curving or rounded and seem more relaxed & informal than geometric shapes.
- Form
- Whereas a two-dimensional area is referred to as a shape, a three-dimensional area is called a form.
- When form encloses a space, the space is called volume.
- Form is often a major element in sculpture and architecture.
- With two-dimensional media such as paintings, illustrations and drawings, form must be implied.
- Texture
- Refers to the tactile qualities of surfaces or to the visual representation of those qualities in visual communication design.
- All surfaces have textures that can be experience by touching or through visual suggestion.
- There are two categories of texture - actual (experienced by touch), and simulated/implied (created to look like the real texture).
- Space
- The 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 edges - the two dimensions of height and width.
- Yet within these limited boundaries, an infinite number of spatial qualities can be implied.
- Three-dimensional space is experienced when we are in it, beginning with our own positions in relation to other people, objects, surfaces, and voids at various distances from ourselves.
- From the outside, we experience mass.
- From the inside, we experience volume.
- 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 of images, the variation of sizes, placement and perspective.
- Colour
- Colour is the 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 from a reflected source.
- Each of the millions of colours human beings can distinguish is identifiable in terms of just three variables:
- Hue - Colours of the spectrum. e.g. yellow, 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 tint, adding grey produces tone, and adding black produces shade.
- Intensity/Saturation: The purity of a hue. A pure hue is the most intense form of a given colour, it is a hue in its highest saturation, in its brightest form. With pigments (black, white, or grey) when added to another hue, its intensity diminishes and is dulled.
- Colour groupings that provide distinct colour harmonies are called colour schemes.
- 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.
Topic 1 - Contrast & Gestalt Theory
- Contrast
- Contrast is the juxtaposition of strongly dissimilar elements.
- Without contrast, visual experience would be monotonous.
- Contrast can provide visual interest, emphasise a point and express content.
- Gestalt Theory
- Gestalt principles or laws are rules that describe how the human eye perceives visual elements.
- These principles aim to show how complex scenes can be reduced to more simple shapes.
- They also aim 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 seems to craft a link between elements of a similar nature.
- 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.
- 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.
- 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 to each other and become one visual unit which helps to organise or give structure to a layout.
- 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).
- Law of Symmetry & 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.
Topic 2 - Balance & Emphasis
- Balance
- 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) 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.
- 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.
- 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.
- Rule of Thirds
- It is 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, and the subject of the image is placed at the intersection of those dividing lines, or along one of the lines itself.
- Emphasis & Balance
- Emphasis is used to 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.
Topic 3 - Repetition & 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.
- 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.
- 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.
- 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 centre.
- 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.
Topic 4 - Harmony & Unity
- Harmony
- Harmony involves the selection of elements that share a common trait.
- Harmony becomes monotony without variety.
- Harmony is the sense that all of the elements of your design fit together. They may fit the same theme, aesthetic style or mood.
- Unity
- Unity refers to the repetition of particular elements throughout your design whether they're colors, shapes or materials - to pull the look together.
- Unity 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.
- Scale & Proportion
- 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.
- Throughout the centuries, designers have used scale and proportion to depict or distract from the ideal.
- Scale refers to the size and dimension of figures and forms relative to a specific unit of measure.
- Scale can be determined in two ways: actual measurements or visual estimates based on comparisons.
- Architectural drawings and scale models are examples of the applied use of scale.
- Also, scale is 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.
- Proportion
- Proportion in art and design is 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 with respect to size or quantity.
- The effective use of proportion in design often results in harmony and unity.
Topic 5 - Symbol, Word, & Image
- 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.
- There are two categories of symbols: Figurative Representations (Visuals and Graphic Symbols) and Non-Figurative Representations.
- Graphic Symbols are divided into three types: Pictorial, Abstract, and Arbitrary.
- Pictorial Symbol
- Image-related and simplified pictures.
- Abstract Symbol
- Abstract symbols can look like the objects that they represent but have less details.
- Arbitrary Symbol
- 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.
- We have to learn arbitrary symbols.
- 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.
INSTRUCTIONS
TASK 1
Exploration
For Task 1 of Design Principles, we are to pick and briefly describe one goal from the United Nations’
Sustainable Development Goals (UNSDG). Then, select an existing art/design work that revolves around the goal that we have chosen. We are then to explain in about 100-150 words, why we have chosen that design in relation to the UNSDG goal and list the design principles we observed in the design.
The requirements are the following :
- 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, source link)
Fig 1.0 SDG 16: Peace Justice and Strong Institutions
Fig 1.1 'Guernica' by Pablo Picasso, 1937, 3.49 m × 7.77 m, Oil on canvas, Source
Explanation:
'Guernica' reflects the devastating consequences of war by offering an uncompromising look into the suffering that comes alongside it- highlighting it's violence and destruction where we can observe some design principles as well, such as the use of contrast through B&W- the background being darker shades of black and grey, and the most haunting parts of the painting emphasized through lighter shades of greys and white. There is repetition through reoccurrence of certain shapes like the triangle, yet with variety in how these shapes are expressed again which creates a sense of rhythm and interest throughout. Furthermore, Gestalt theory can be observed, as the complex scene is broken down into simpler forms and by inciting the principle of closure, such as the fragmented bull, encouraging mental reconstruction. Beyond art, 'Guernica' symbolizes justice, accountability, and peace—a protest against violence, aligning with the agenda of the SDG I have chosen.
(149 words)
Extended Version:
(270 words)
FEEDBACK
Week 2
Specific Feedback: Try to explain the design in relation to your chosen SDG.
Week 3
General Feedback: Look at the point of interest and focal points and deconstruct that- what exactly makes it a point of interest, and how the other elements play into that.
Specific Feedback: This is very good, no further comments, I'm good with this.
REFLECTION
In delving into Task 1 of Design Principles, I found myself deeply immersed and curious to the connection that can be made between art and societal goals in a way that was not directly or visually shown as implicitly. Selecting Pablo Picasso's 'Guernica' was a decision rooted in this ability. I found myself thinking- 'No wonder it is still talked about to this day', as the piece had so many complex layers, and served its purpose for generations to come in analysis, a symbol of peace, and even had a direct contribution to the cause it was fighting against through fundraising. It truly was a unique piece, and understandably so one of his best-known works- able to evoke emotions and provoke critical reflection on the consequences of war and the imperative for peace and justice. As I analyzed the design principles within the artwork, I realised just how many principles could be found in a single piece of artwork- let alone a small portion or element of what made up the entire piece, every element and principle served a purpose, whether intentionally made or unconciously produced by the artist- they had or would gain meaning, and thus, gained a newfound appreciation for the complexity and depth of design analysis.
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