Task 1: Exploration
- Module Information Booklet for this Module (MIB)
The design principles taught in this module:
• Gestalt theory
• Contrast
• Emphasis
• Balance
• Repetition
• Movement
• Harmony & Unity
• Symbol
• Word and Image
Learning Goals:
1. To explore and observe the various design principles.
2. To demonstrate understanding of design.
Elements of Design
- A point or dot is the simplest element of design.
- A point is used as a repetitive mark to form a line.
- As the point moves in space, other two and three dimensional figures and forms are created.
George Seurat, 1885
Figure 1.1
- Lines can be active or static, aggressive or passive, 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 also be grouped to depict qualities of light and shadow and to form patterns and textures.
Jean Gorin, 1953
Figure 1.2
- Refers to the expanse within the outline of a 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 category of shapes; geometric & organic.
- Geometric; circle, squares, triangles, etc. Tend to be precise and regular.
Radhika Choudhary, 2020
Figure 1.3
- A three dimensional area is called a form.
- When form encloses space, the space is called volume.
- Form is often a major element in sculpture and architecture.
- With a two dimensional media, such as a painting, illustration or drawing, form must be implied.
Henry Moore, 1938
Figure 1.4
- In visual communication design, texture refers to the tactile qualities of surfaces or to the visual representation of those qualities.
- All surfaces have textures that can be experienced by touching or through visual suggestion.
- Two categories of texture; actual that’s experienced by touch and simulated or implied which is created to look like the real texture.
Krogh Andersen, 2024
Figure 1.5
Space
- Space is 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 its edges; the two dimensions of height and width.
- Yet, within these limited boundaries, an infinite number of spatial qualities can be implied.
- 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.
『超人X』
Sui Ishida, 2021
Figure 1.6
- Colour is the visual byproduct of the spectrum of light as it is either transmitter 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.
Principles of Design
Gestalt Theory
- The human brain is wired to see patterns, logic, structure.
- “Gestalt” refers to “shape” or “form” in German.
- 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.
I have chosen this artwork (Figure 2.1) as I believe it
follows Gestalt principles to create a unified, striking visual. With the
Principle of Closure makes our brain complete the fragmented shapes, forming
what looks like a figure of a butterfly. The principle of symmetry & order
brings balance, as both sides mirror each other, bringing in unity. The
principle of figure/ground helps separate the glowing center from the
background, making it the focal point. The principle of continuation guides our
eyes to the sharp, extending lines. The principle of similarity groups the
extending spiky patterns together, making them feel connected. Even though the
image is abstract, our brain is capable of recognizing its form.
Contrast
- Contrast is the juxtaposition of strongly dissimilar elements.
- Without contrast, visual experience would be monotonous.
- Contrast can provide visual interest, emphasize a point and express content.
I have chosen this illustration (Figure 2.2) as it makes
good use of contrast to grab attention. The bold pink outfit of the character
(Giorno Giovanna) stands out sharply against the cool teal background, making
the figure in the center of it all. The strong contrast in colors draws the
viewer’s eye directly to the Giorno. The smooth, simple yet dreamy background
contrasts with the intricate details of the clothing, hair, and shading. Adding
a sense of depth and complexity.
There’s also a contrast between Giorno’s fixed stance and
the soft, flowing petals surrounding him. The petals seem light and natural,
while Giorno's form is defined, creating a balance of strength and elegance.
Light and shadow enhance this contrast, defining Giorno’s figure and creating a
three-dimensional effect. The highlights on his face, hands, and clothing
emphasize movement, preventing the image from feeling flat.
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.
The Message Hidden within The Pattern, Arcane
Riot
Games & Fortiche, 2024
3840 x 1632
Digital Illustration
Figure 2.3
Figure 2.3 uses emphasis through color, value, and shape to create dominance and focus. The glowing golden tones of the central structure contrasts sharply with the dark, muted foreground, making it stand out. High contrast between light and dark guides the viewer’s eye toward the bright focal point, with the surrounding darkness being its frame. The curved, organic shape in the foreground creates a tunnel like effect, naturally leading into the structure. The intricate geometric details and glowing elements within the structure adds to visual interest, as it’s the dominant part of the scene. The use of warm lighting brings the sense of mystery and wonder, inviting curiosity to what it is. The balance between light and shadow not only highlights the structure but adds depth to it too.
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.
I have picked this illustration (Figure 2.4) due to its uses
of asymmetrical balance. By placing the bus stop sign on the left while the
open sky and landscape fill the right. The sign is a strong focal point, but
the vast sky balances it. The dark, solid shape of the sign contrasts with the
soft, blended clouds, creating a stable yet dynamic scene.
The rule of thirds is also used. The horizon sits near the
lower third, and the sign aligns with the left vertical third which gives the
composition a natural dynamic. The scattered clouds add depth, making the scene
feel peaceful and yet slightly melancholic. The balance between man made and
natural elements enhances the visual of the illustration.
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.
Coca Cola, 2013
564 x 786
Digital Illustration
Figure 2.5
This digital illustration (Figure 2.5) uses repetition
effectively by arranging multiple Coca-Cola bottles in a curved pattern. The
shape of the bottles in the way they’re arranged, creates a visual rhythm that
resembles a smiling face, making the design feel lively and engaging. The
placement of the bottles enforces the feel of joy, while the curve adds
movement, preventing the image from feeling stiff.
The bold red background brings in contrast, making the white
bottles stand out. Though the bottles are identical, their decreasing size as
they move into the distance adds variety, keeping the design dynamic. The
repetition, combined with variation, avoids monotony and makes the illustration
visually exciting and memorable. The design also uses patterns to guide the
viewer’s eye across the image, completing the overall composition. By repeating
brand elements, it creates a strong connection between Coca-Cola and positive
emotions.
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 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 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.
Marcus Sedgwick, 2025
564 x 898
Digital Illustration
Figure 2.6
The design (Figure 2.6) effectively creates a sense of
movement through the circular arrangement of figures, leading the viewer's eye
in a spiral motion toward the center of the composition. The repetition of
figures, combined with their flowing gestures and curved positioning, enhances
the illusion of motion, making the image feel dynamic and engaging. The shadows
in the background further contribute to the sense of movement, reinforcing the
idea of continuous motion.
In terms of hierarchy, the placement of the title text
follows the spiral pattern, making it a focal point within the composition. The
bold, white typography contrasts sharply against the red background, ensuring
that it's crucial information. The author's name is positioned at the bottom,
maintaining a structured flow that guides the viewer naturally through the
visual elements.
Alignment plays a crucial role in maintaining order and
balance within the composition. The figures are evenly spaced along the curved
path, creating harmony while emphasizing the circular motion. The placement of
text aligns with the visual movement, reinforcing unity between typography and
imagery. The layout ensures clarity while maintaining an aesthetically pleasing
arrangement.
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 and 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 measurement and Visual estimates based on comparison.
- 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.
La Viande Limousine
Studio Frederic Tacer, 2007
400 x 600 mm
Digital Illustration
Figure 2.7
Figure 2.7 uses a simple color scheme of red, white, and
blue. They fill the space with wavy lines that resemble untamed ribbons. The
lines twist and turn, creating a path way throughout the image. A figure of a
cow can be visualized. Its body seemingly separated, with its back in front of
the frontal body of the cow. They are quite small compared to the waves, which
immediately draws your eye to the contrast in scale. The blue and red ribbons
also weave in front of and behind each other, creating visual depth.
The words "LA VIANDE LIMOUSINE AU CAFÉ DU
COMMERCE" are neatly placed on the lower part of a red ribbon. It’s subtly
included. The design is remarkably clean and very effectively uses basic shapes
and colors. The wavy lines repeat consistently, which clearly creates a sense
of unity. The colors work quite well together, and this obviously makes the
poster harmonious.
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).
Pictorial Symbol
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 colours.
- We have to learn arbitrary symbols.
Hajime Isayama, 2009
784 x 1003
Digital Illustration
Figure 2.8
The image (Figure 2.8) shows a symbol which has two wings
inside a shield. One wing is blue, and the other is white which the shield
being gray. The wings look like feathers or perhaps the symbolize birds in
flight.
This symbol is pictorial because it resembles wings. The
wings represent freedom or the ability to fly. The shield might stand for
protection and unmendable strength. The meaning depends on what you already
know. It is likely an arbitrary symbol, where the viewer has to learn what the
symbol means.
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.
Figure 2.9 pairs a strong visual with a powerful message.
That’s why I have chosen it. A woman with determined eyes is flexing her arm.
She wears a red and white polka dot headscarf. This imagery conveys strength
and capability.
The words "We Can Do It!" are bold and in a
sans-serif font. They appear in a blue speech bubble above her head. The
typeface is clear and confident. This enforces the message of empowerment. The
typography is placed strategically. It immediately tells the viewer what the
image is about.
The visual of the woman and the text work together. They
create a message of determination. The image is simple and direct. This allows
it to be easily understood. The words and image support each other to convey a
message of female strength and resolve.
The yellow background makes the blue and red colors pop. This creates contrast
and visual interest. The woman's determined gaze and strong pose create
movement. The viewer eyes drawn from her face to her arm. The poster uses
asymmetrical balance. The figure is on one side, balanced by the text on the
other. The overall design creates harmony. The colors and imagery fit together
well to convey a message of female empowerment and unity.
Artwork that Piqued My Interest
This cover of Choujin X (Superhuman X) by Sui Ishida is
striking and bold. The negative space along side the saturated red background
is in contrast to the desaturated face. It immediately brings the viewers'
attention to the point of the artwork; the individual's eerie look and how the
overall artwork is composed. With the portrait being present around the middle
left of the frame it exposes only half of the individual, the other part
hidden. The use of the colour cyan near the hollowed-out eye socket somehow
could emphasize the devoid of emotions being locked behind a mask. Expressing a
loss of self. Texture plays a significant role in this piece as well. Rustic
and almost geometric brushstrokes (soft and sharp) blending both realism and
abstraction. In some areas, like the lips and the center of the mask, are more
defined, to align the viewers' attention to the humanity of the individual
versus their loss of it. Overall, Sui Ishida uses contrast, color, and form to
evoke emotion skillfully. It captures the essence of being placed outside the
circle of normality, being superhuman.
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