Design Principles - TASK 1 (Exploration)

06.02.2024 - 23.02.2024 / Week 01 - Week 03
Ilhan Rayan bin Khairul Anwar / 0361205
Design Principles / Bachelor of Design (Honours) in Creative Media
Task 1 - Exploration

---

LECTURES 

Introduction: Elements & Principles of Design

• Visual communication is about utilising design to communicate purposeful messages to a targeted audience.
• Designs must always be well thought-out and executed.
• There are seven elements of design, those being:
• Point
• The simplest element of design.
• A point used as a repetitive mark forms a line.
• As the point moves in space, other 2D and 3D figures are created
• Line
• They can be active, static, passive, aggressive, sensual, or mechanical.
• They can indicate directions, define boundaries of shapes and spaces, imply volumes or solid masses, and suggest motion or emotion.
• 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 2D area or within a 3D 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 are geometric and organic.
• Geometric shapes tend to be circles, squares, triangles, and other shapes that are precise and regular.
• Organic shapes are irregular, often curving or rounded and are more relaxed & informal than geometric shapes.
• Form
• Whereas a 2D area is referred to as a shape, a 3D area is called a form.
• When form encloses a space, it's called volume.
• Form is often a major element in sculpture and architecture.
• With 2D 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, a.k.a 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
• 3D space is experienced when we are in it, starting with our own positions in relation to other people, objects, surfaces, and voids at various distances from ourselves.
• From an outside view, we experience mass.
• From an interior view, we experience volume.
• In graphic design, space refers to the area that a shape or form occupies. Space can be defined as positive or negative.
• The illusion of a 3D space can be suggested through depth, which can be achieved by overlapping of images, variation of sizes, and placement and perspective.
• Color
• The visual byproduct of the light spectrum as it is transmitted or absorbed and reflected off a surface.
• Colour is the light wavelengths that the human eye receives and processes.
• Each of the millions of colours human beings can distinguish is identifiable in terms of just three variables:
• Hue: The colours of the spectrum (red, orange, yellow, etc)
• 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 produces tint, grey added produces tone, and black added produces shade.
• Intensity / Saturation: The purity of a hue.
• A pure hue is the most intense form of a given colour, a hue in it's highest saturation is it's brightest form.
• With pigments (black, white, grey) when it's added to another hue, it diminishes and dulls it's intensity.
• 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 a colour wheel, each containing the same hue.
• Complementary colour schemes emphasise two different hues that are directly opposite each other on the colour wheel (example: red & green, blue & orange, yellow & purple
• In a work of design, the elements of design are the individual building blocks used while the principles of design are organisational fundamentals that either guides the arrangement of the elements or is the result of the way the elements are arranged.

Topic 1: Contrast & Gestalt Theory

• 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.
• Colour can play a huge role in providing contrast.
• Gestalt Theory: A German theory that the human brain is wired to see patterns, logic, and structure. Gestalt refers to "shape" or "form" in German.
• Gestalt principles / laws are rules that describe how the human eye perceives visual elements. These principles aim to show how complex scenes can be reduced to simpler shapes. They aim to explain how our eyes perceive shapes as a single, united form rather than separate smaller elements.
• Principle of Similarity:
• The human eye perceives similar elements in a design as a complete picture, even if those elements are separated.
• The brain crafts 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, we 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 with each other and become a visual unit which can help organise and give structure to a layout. 
• Principle of Figure/Ground:
• Objects are instinctively perceived as being in either the foreground or the background. They either stand out prominently in the front or recede into the back.
• Law of Symmetry & Order:
• 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.

Topic 2: Balance & Emphasis

• Balance refers to the distribution of visual weight in design and is the visual equilibrium of the elements that causes the entire image to appear balance. 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 sides of a central axis (horizontal or vertical) results in a 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 a fulcrum line. 
• Asymmetrical Balance has unequal visual weight on each side of a composition. One side of the composition might have a dominant element which could be balanced by a couple of lesser focal points on the opposing side.
• More dynamic and interesting as it evokes feelings of modernism, movement, energy, and vitality.
• Asymmetrical balance offers more visual variety, although it can be more difficult to achieve due to the relationships between elements being more complex.
• The Golden Ratio
• A mathematical concept derived from the Fibonacci sequence, a naturally occurring sequence of numbers that can be found everywhere, such as the number of leaves on a tree to the shape of a seashell.
• Over the centuries, many have seen the Golden Ratio as the representative of perfect beauty and 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 and can increase the overall appeal of the work.
• Rule of Thirds
• A composition guideline to create dynamism to a work of art, design, photography, or film.
• An image is divided evenly into thirds both horizontally and vertically, the subject of the image is placed either at the intersections of those dividing lines or along one of the lines.
• Emphasis & Dominance
• Emphasis is used to create a main focus in a design work and various elements can be used to create emphasis such as colour, shapes or values, to create dominance.

Topic 3: Repetition & Movement

• Repetition could make a work of design seem active and the repetition of design elements can create rhythm and patterns within the work. Variety* is essential to keep rhythms exciting and active in order to avoid monotony. Patterns increase visual excitement by enriching the surface interest.
• *Variety is the change or slight difference in elements and objects in composition in order to avoid a boring composition. Variety can also involve varying angles, exposure, composition, etc.
• Movement is the path a design leads the eye in, around, and through a composition. Motion / movement in a visual image occurs when objects seem to be moving inside the image. Movement in a visual image comes from the different shapes, forms, lines, and curves that are used.
• Guiding Lines can help aid in creating pathways in visual design.
• Hierarchy is the choreography and order of content in a composition to communicate important information and convey meaning. Visual hierarchy directs viewers to the most important information first before moving onto secondary content.
• Alignment is the placement of elements in a way that the edges line up along either common rows, columns or the centre. Alignment can create a sense of unity and cohesion which contributes to a design's overall aesthetic and stability. 
• Alignment can also be a powerful means of guiding a person through a design.

Topic 4: Harmony & Unity

• Harmony involves the selection of elements that share a common trait but can become monotony without enough variety. Harmony is the sense that all of the elements in a design work together and share a similar theme, aesthetic, style, or mood.
• Unity refers to the repetition of particular elements throughout a design that can pull a look together, such as colours, shapes, or materials. Unity occurs when these elements are composed in a way that makes them balanced and helps towards creating a theme. 
• Although Unity and Harmony sound similar, they each have different roles in design.
• Scale and Proportion are both design elements related to size and throughout the centuries, designers have used these principles to depict or distract from the ideal.
• Scale is the size of one whole object in relation to other objects in a design or artwork and refers to the size and dimensions of figures relative to a specific unit of measurement via actual measurements or visual estimations based on comparisons. 
• Architectural drawings and scale models are examples of scale being applied.
• 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 composition.
• Proportion in art and design refers to the relationship of the size of a part(s) in an object in relation to other parts of the same object. Usually compared in regards to size, colour, quantity, degree, setting, ratio, etc.
• Proportion is said to be harmonious when there's a correct relationship between the elements with respect to size and/or quantity.
• Effective use of proportions in design often result in both harmony and unity.

Topic 5: Symbols, Words & Images

• A Symbol is a shape, sign, or object that is used to represent something else and can provide or convey information equivalent to one or more sentences of text, sometimes even a whole story.
• There are two categories of symbols: Figurative Representations and Non-Figurative Representations.
• In Figurative Representations, there are two more branches, those being Visuals and Graphic Symbols.
• Graphic Symbols are divided into three types: Pictorial, Abstract, and Arbitrary
• Pictorial Symbols are image-related and simplified pictures. Very useful for educational materials.
• Abstract Symbols can look like the objects they're representing but with less details. Often simplified versions of real world elements.
• Arbitrary Symbols have no resemblance at all to the objects they're based on / represent. The symbol is invented with the meaning built into it and many are based on geometric shapes and colours. These symbols have to be learnt rather than understanding them through visual understanding.
• Imagery is a vital part of design it allows for users to be able to relate a concept or a brand to their design if the right images are used. It is important to find suitable and relevant images when designing.
• Word Choice is another important factor to note as it can deepen the meaning of the design if paired well. Suitable typefaces and it's positioning can also result in visual hierarchy and balance in the design.
• Typography is the design and arrangement of text to convey a message or concept.

---

INSTRUCTIONS

---

PRACTICAL

Task 1 - Exploration

For this Task, we were given the objective of watching the lecture videos provided to us on Design Principles as well as selecting a United Nations Sustainable Development Goal (UNSDG), find an art work that best reflects that goal and provide reasoning as to why we believe that art work best represents the SDG. I decided to go with SDG 13: Climate Action as I've always liked that SDG and is in my opinion, one of the most important SDGs that needs to be tackled as it holds the ability to change the future of this world.

Figure 1.1: UNSDG 13 - Climate Action

The main objective of this SDG is to take action against climate change and it's drastic impacts on our world as it's a global challenge that affects everybody regardless of where they are. The goal emphasises on mitigation and adaptation strategies to combat this issue and hopes to have international cooperation in tackling this issue.

Figure 1.2: "Ashes" by Wenqing Yan, 2021 (Link)

I chose this design in relation to my UN SDG goal as it reflects the artist’s dream of being able to breath the fresh air and go outside after the California wildfires back in 2021 which made it difficult for him to breathe, along with that the artist has stated their fears of climate change and how they believe it'll only worsen over time. Their choice to make the interior of the helmet similar to a terrarium with all of the plants growing right next to the person inside makes it feel as if they're there to protect what's left while also trying to survive off of it, which further emphasises on the artist's message of climate change and how it'll eventually destroy the nature of this world.

Design Principles I Noticed:

• Gestalt Theory (Principle of Closure)
• Contrast
• Colour
• Emphasis & Dominance
• Unity
• Guiding Lines

---

FEEDBACK

Week 2:

What I have is pretty good, I could expand more on some of the stuff I noticed in an "additional thoughts" section.

---

REFLECTION

Experience

I found this task to be surprisingly simple as all we were required to do was to find an art piece that connected to an SDG and look for design principles in the design. I'm glad that I learned what the main design principles were as I didn't know many of them beforehand and being given the task of looking for them helped for me to understand some of them better.

Observation

At first I thought finding an art piece / design that represented an SDG to be challenging as I felt that many works of art out there could be similar to an SDG but not represent it at all. I'm glad I was lucky enough to find an art piece that I really liked, was connected to an SDG, and had an SDG that I personally really find important.

Findings

I found this task to be pretty interesting overall as it felt like there was more of a focus on the learning rather than performing any practical work.