Design Principles - Task 1
5.2.2024 -20.2.2024 /Week 1-Week 3
Tai Tong En/ 0363164
Design Principles / Bachelor of Design (Honours) in Creative Media
Task 1
Tai Tong En/ 0363164
Design Principles / Bachelor of Design (Honours) in Creative Media
Task 1
LECTURES
Introduction: Elements & Principles of Design
1. Point
- A point or dot is the 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
- Lines can be active or static, aggressive or passive, sensual or mechanical.
3. Shape
- Two general category of shapes - geometric (circles, squares, triangles) & organic (Irregular).
4. Form
- A three-dimensional area is called a form. When form encloses space, the space is called volume.
- With two-dimensional media, such as painting, illustration or drawing, form must be implied.
5. Texture:
- All surfaces have textures that can be experienced by touching or through visual suggestion.
- Two categories of texture - actual (experienced by touch) & simulated or implied (created to look like the real texture).
6. Space
- Space is the indefinable, general receptacle of all things - the seemingly empty space around us.
- The actual space of each picture's surface is defined by its edges - the two dimensions of height and width.
- 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).
- This can be achieved by overlapping of images, the variation of sizes, placement and perspective.
7. Colour
- Each of the millions of colours human beings can distinguish is identifiable in terms of just three variables:
1. Hue: Colours of the spectrum, e.g. yellow and green.
2. Value: This refers to the lightness or darkness from white through greys to black.
3. Intensity: Also called saturation or chroma, it refers to the purity of a hue. A pure hue is the most intense form of a given colour, it is the hue in its highest saturation, in its brightest form.
- Colour groupings that provide distinct colour harmonies are called colour schemes.
1. Monochromatic colour schemes: based on variations in the value and intensity of a single hue.(Example: Blue with different shade)
2. Analogous colour schemes: based on colours adjacent to one another on the colour wheel, each containing the same pure hue. (Example: Red-Orange)
3. Complementary colour schemes: emphasise two hues directly opposite each other on the colour wheel. (Example: Yellow & Purple, Red & Green)
- PRINCIPLES OF DESIGN : Organisational fundamentals that resulted from or guides the arrangement of the elements.
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
Topic 1: Contrast & Gestalt Theory
Gestalt Theory
1. 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.
2.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.
3.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.
4.Principle of Proximity
- The process of ensuring related design elements are placed together.
- Close proximity indicates that items are connected or have a relationship to each other and become one visual unit which helps to organize or give structure to a layout.
5.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).
6. 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: Emphasis and Balance
BALANCE
Symmetrical Balance
- Has equal "weight" on equal sides of a centrally placed fulcrum.
- Arranging elements equally around a central point results in radial balance
Asymmetrical Balance
- Unequal visual weight on each side.
- 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.
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.
- 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
- 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 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.
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.
Topic 4: Harmony and 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.
SCALE
- 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.
- 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:
1. Actual measurement
2. Visual estimates based on comparison
PROPORTION
- Proportion refers to the size of the parts of an object in relationship to other parts of the same object.
- 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.
Topic 5: Symbol, Image and Word
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.
1. Pictorial symbols: Image-related and simplified pictures.
2. Abstract symbols: Look like the objects that they represent but have less details.
3. 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 colours.
WORD AND 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.
- 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.
Topic 6: Visual Analysis
INSTRUCTIONS
Week 2
Instructions:
1. Pick and briefly describe one goal from the United Nations’ Sustainable Development Goals (UNSDG).
2. Select an existing art/design work that revolves around that goal of your choice. 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). Some works may not have all these but provide as complete as possible.
3. Explain, in about 100-150 words, why you chose that design in relation to the UNSDG goal and list the design principles you observed in that design.
2. UNSDG Goals
Fig 1.1 UNSDG Goals
Name: Tai Tong En
Student ID: 0363164
Topic: No poverty
Title of Art/ Design work:
Artist’s/ Designer’s name: Nour Hamze
Media: Pinterest
Source Link: https://www.pinterest.com/pin/43136108925112271/
Explanation
The photo I chose provides a compelling narrative that removes the complexities of social inequality and focuses on the stark contrast between wealth and poverty. At its core is a profound commentary on pervasive economic inequality and the challenges inherent in achieving a world without poverty.
At the center of the composition is a large palm, resembling that of Tathagata Buddha, its height symbolizing abundance and prosperity. Sitting atop this symbol of opulence is a noble lady cloaked in wealth and privilege. As I gaze upon her, she is reclining at an ornate dining table surrounded by decadent food and extravagant luxuries. Her presence exudes an aura of power, a stark reminder of the privileges enjoyed by the elite.
In stark contrast, beneath the shelter of the palm is a scene of desolation and neglect. The air was thick with smoke, casting a shadow over the barren land below. Here, amid garbage and ruins, marginalized people eke out a meager living, their faces etched with the exhaustion of poverty and deprivation. They persevered despite harsh circumstances, and their resilience is a testament to the immortal human spirit.
The contrast between the wealthy woman and the underprivileged masses is a potent critique of the systemic injustices that characterize modern society. It exposes the structural obstacles that support marginalization and poverty, highlighting the critical need for revolutionary transformation.
I've drawn attention to one of the most urgent problems of our day by selecting this picture: the ongoing disparity between the rich and the poor. It is a call to action that pushes us to address the underlying causes of poverty and to support laws that advance fairness and social justice.
Essentially, the picture is a conversation starter and a means of introspection, making me think about my personal and societal roles in the battle against poverty. It serves as a reminder that the wellbeing and dignity of every member of society should be the primary indicators of real progress, rather than the wealth of an elite few. We may work towards a world where poverty is no longer a barrier to human flourishing via empathy, solidarity, and collective action.
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