Design Principles - Task 1

'Gestalt' is German for 'shape' or 'form'. A study was made to observe how the human mind processes shapes and patterns to become information; hence, the "GESTALT THEORY/PRINCIPLES" came to be.

The aim was to show how normally complex scenes could be simplified to simpler shapes and still convey the same information. The study also showed that the human mind perceives shapes and a single cohesive form. The principles are as such:

Similarity : we often perceive similar elements in a design as one single object, even though said elements are separated.
Continuation : our eyes often follow the paths of lines in a design to create this sense of continuous flow.
Closure : even if a design looks "incomplete", the human eye is able to perceive its complete shape by filling in the missing visual information.
Proximity : elements that are of close proximity indicates a connection or relationship to the human eye.
Figure/Ground : elements that, when together, can be perceived as both foreground and/or background.
Symmetry & Order : our eyes perceive symmetrical objects as one unified group.

Fig. 2.1.1 An example of Principle of Figure/Ground. (Source)

2.2 Contrast

The juxtaposition of starkly different elements creates what we call "CONTRAST"; without it, visual experience would be too repetitious. Contrast aids in creating visual appeal, emphasizing a point, and effectively conveying a message.

Contrast can be found in:

Entertainment (movies, video games etc.)
Web design
Posters
Interior Design
Architecture
Photography
Book covers

Example:

Video 2.2.1 "I Expect You To Die 2 | Opening Credits" by Schell Games, YouTube.

Above is the opening credits to the game: "I Expect You To Die 2: The Spy and The Liar", a VR action puzzle video game that revolves around the player overcoming numerous puzzles to prevent Zoraxis, a megacorporation in the game, from assuming global control.

It's opening credits suitably uses contrast to depict objects in a simple way; as in, objects and subjects are often bright in comparison to the mostly dark and dull backgrounds. An exception being:

Fig 2.2.1 "I Expect You To Die 2 | Opening Credits" by Schell Games [1:38]

The male singer having his main colours be black with white accents to starkly contrast with the brighter green and yellow background. The contrast also helps to accentuate the singer's powerful pose even if there are barely any details.

2.3 Emphasis

"EMPHASIS" can help to create dominance and give focus to a subject in a design. Multiple elements can help to create emphasis via shapes, colours and size.

Fig. 2.3.1 Emphasis: Setting the focal point of your design (Source)

2.4 Balance

The distribution of visual weight in a design is referred to as "BALANCE". Balance can be symmetrical or asymmetrical.

Symmetrical Balance

Equal balance between a centrally-placed fulcrum*
Equally arranged elements on either side of an axis, horizontal or vertical
Arranging in radial balance

Fig. 2.4.1 Malaysian Wau Design (Source)

Above is a horizontally-balanced intricate design of a traditional Malaysian kite also known as a 'Wau'.

Fig. 2.4.2 Radial Balance in Photography (Source)

Asymmetrical Balance

Unequal visual weight on each side of a design
More dynamic and interesting
Can be used to convey movement or energy
More visual variety

Fig. 2.4.3 The Great Wave off Kanagawa (Source)

Above is a Japanese wood print known as the Hokusai wave. It employs asymmetrical balance to convey a sense of movement and intensity. With the boats carrying people diagonally underneath the waves and the wave's own size and curvature, balance is achieved. Furthermore, a portion of a different wave on the extreme right counterbalances the motion on the left. The landscape is further balanced by the hint of depth added by Mt. Fuji in far background.

Fig. 2.4.4 Asymmetrical balance in web design. (Source)

Next, we have a web design for a digital agency made by Piqo Studio. The straight black lines on the left balances nicely with the colourful and curvy shapes on the right.

The Golden Ratio

Fig. 2.4.5 The Golden Ratio (Source)

The Golden Ratio is a mathematical ratio that is found in various aspects of nature, art, architecture, and design. To put it simply, two quantities are in the golden ratio if the ratio of the sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one.

The use of the Golden Ratio can help create more visually appealing designs with harmonious layouts and compositions.

An example of a design that's said to perfectly follow the Golden Ratio is Jean-Honoré's 'The Swing':

Fig. 2.4.6 Jean-Honoré Fragonard [1767] (Source)

Rule of Thirds

A composition guideline that helps to frame a subject and create dynamism. As the name states, a composition can be evenly broken down into thirds, horizontally and vertically.

Rule of Thirds could be applied to:

Films
Photography (especially landscape)
Paintings
Advertisements
Book covers

Fig. 2.4.7 Rule of Thirds being used in a 'Harry Potter' film (Source)

Above is a scene from the movie "Harry Potter and the Deathly Hallows: Part 1". Hermione (girl on the right) perfectly aligns with the 2nd vertical guideline whilst the other two characters in the background, Dittany (crouching) and Ron (lying down), align nicely with the 2nd horizontal guideline.

2.5 Repetition & Movement

Repetition

"REPETITION" in design refers to the use of the same or similar elements throughout a design. It creates consistency, unity, and a sense of coherence within the design.

Repetition can :

involve repeating shapes, colors, patterns, textures, or other visual elements.
help establish visual rhythm and flow within the design, guiding the viewer's eye and creating a sense of order.
enhance visual appeal and make the design more memorable by reinforcing key elements.

However, it's important to add variety to the repetition as without it, the repetitious design could be seen as too monotonous or boring. Adding variety means incorporating different elements, compositions, angles or objects into the design.

Fig. 2.5.1 Repetition in a simple closed composition (Source)

Movement

The visual flow of a design that leads the eyes in, around and through a composition is called "MOVEMENT". It is achieved by arranging elements (such as lines, shapes curves etc.) in such a way that the illusion of motion appears.

Fig. 2.5.2 Movement in a typographic design by Wayne McGregor (Source)

2.6 Harmony & Unity

Both Unity and Harmony might sound the same but the way each plays a role in design is slightly different.

Harmony is when elements relate to one-another in a design.

Unity is when elements in a design fit into the overall concept or theme.

Harmony

The careful selection and placement of elements that share a similarity is involved to achieve "HARMONY". Like Repetition, however, variety is important to avoid making a harmonious design into a monotonous one.

Fig. 2.6.1 An example of Harmony in furniture design (Source)

Unity

"UNITY" refers to the arrangement and selection of elements that help create "oneness" to a certain theme.

Fig. 2.6.2 Fan artwork of the film "Princess Mononoke" by Studio Ghibli (Source)

For example, above is a fan artwork by Wenqing Yan of the film "Princess Mononoke" by Studio Ghibli. The characters in the middle are composed in such a way that they make an invisible triangle that points towards the yellow light coming through the opening of the forest. The main characters happen to be sitting in the middle of said triangle, giving focus to them. All in all, the composition of the piece helps to unify it.

2.7 Symbol

"SYMBOLS" help to convey information through a simple graphic; from general information to a whole story. Symbols can fall under two representations: figurative and non-figurative. Figurative representation can also be split to another two parts: visuals and graphic symbols. Lastly, graphic symbols can be broken down to three types: pictorial, abstract and arbitrary.

Pictorial Symbols

Symbols that are simplified representatives of the actual form/object.

Fig. 2.7.1 Graphic of the pathway of blood flow through the heart (Source)

Abstract Symbols

Even more simplified representatives of the actual form/object; usually with less detail.

Fig. 2.7.2 Common symbols found outside public toilets (Source)

Even looking at the simple symbols above, the viewer can figure out which symbols are for whom. The standard human symbol on the very left represents male, the symbol next to it wearing a dress represents female and lastly, the person in a wheelchair represents people with disabilities.

Arbitrary Symbols

Unlike the previous two, arbitrary symbols DO NOT resemble the forms/objects they are meant to represent. Many of its symbols use geometric shapes and colours to construct meaning. Simply, a viewer must experience it to understand an arbitrary symbol.

Fig. 2.7.3 Arbitrary symbols/icons (Source)

A lot of modern arbitrary symbols relate to digital content (as shown above). These symbols help a viewer to navigate and process information digitally through simple icons. However, as stated before, a viewer must experience seeing the context behind said icons at least once to fully understand the icons' purposes.

2.8 Word & Image

Images play a vital role in conveying messages in a design; hence why, carefully choosing appropriate and relevant images are important. Words also go hand-in-hand with images whereby it can help to elevate an image's message or the other way around. Knowledge in typography is key in choosing the right type to convey themes.

Fig. 2.8.1 My Mindfulness Journal by Anna Black. (Source)

Above is a journal book cover, "My Mindfulness Journal" by Anna Black. The softness of the cover with the silhouette of a head clearly conveys the "mindfulness" aspect. The sun and flying birds within the head also helps elevate the message.

2.9 Additional Principles

Hierarchy

In design, "hierarchy" is the arrangement of visual elements in a way that clearly conveys their importance or relevance in order. Hierarchy is mostly important in websites, articles, apps etc. through ease of navigation.

Fig. 2.9.1 Text size and type in Visual Hierarchy (Source)

Alignment

When elements are arranged along a common axis or guideline, it creates a sense of unity and order in design; this is known as "alignment". It creates a sense of visual coherence and unity, improving readability and visual appeal.

Fig. 2.9.2 Alignment in action in an advertisement (Source)

Scale & Proportion

In design, "scale" describes how an element's proportional size within a composition affects its visual impact and dominance. Scale is essential in helping to create hierarchy, contrast and emphasis.

"Proportion", on the other hand, describes how an element's dimensions relate to one another within a composition to create balance and harmony. To achieve coherence and visual stability, it involves keeping aesthetically attractive ratios and proportions between various elements.

Fig. 2.9.3 Shonen Jump Issue 35 Cover: My Hero Academia (Source)

Above is a Shonen Jump (a weekly shonen manga anthology) Issue Cover where the main character of it (Izuku Midoriya from My Hero Academia) is positioned in such a way that exaggerates his pose. And with exaggerations, the ability to properly play with the character's proportions is important; of which, the art in the cover successfully achieves.

3. UNSDG GOALS

After looking over all the 17 UNSDG goals, I decided to choose "Life Below Water".

3.1 Life Below Water

Fig. 3.1.1 "Life Below Water" Goal of UNSDG (Source)

The 14th Goal of UNSDG, "Life Below Water" refers to the conversation of oceanic and marine resources for a more sustainable future. Due to the worsening effects of ocean warming, acidification, eutrophication, and plastic waste, the ocean is currently in a state of emergency. Furthermore, overfishing is still a worrying trend that is depleting more than one-third of the world's fish populations.

As fish are a major part of the Earth's ecosystem, it is imperative that the world strives for a more sustainable future in which the risk of destroying the marine ecosystem is non-existent. Hence why the UNSDG has put forth "Life Below Water" as an urgent goal.

3.2 Chosen Design

Fig. 3.2.1 "Overfishing"

Feliana Sutanto

159mm x 225mm

Traditional Watercolour, Poster

Source: https://www.behance.net/gallery/8848659/Overfishing

Overfishing represents one of the main culprits to the worsening of oceanic and marine life. The high demand for fish in a massive portion of the world's diet stands as a reason for why overfishing happens. As stated by Feliana, this poster features one of the most in-demand fish, the Blue Fin Tuna. It properly conveys how disproportionately humans are taking away the Blue Fin Tuna without realising its finiteness. The lone Blue Fin Tuna outside compared to the cramp and crowded Blue Fin Tunas in the net help create the sense of the scarcity left once every other fish is taken away. Hence, I've chosen this design as it properly conveys the faults of overfishing and its unsustainability in the long run; perfectly relating to the "Life Below Water" UNSDG goal.

Design Principles present:

Emphasis
Contrast
Balance
Repetition
Hiearchy

4. CLASS FEEDBACK

Week 2

Class: Feedback session on our Task 1.

General Feedback: Remember to watch all the lecture videos and summarise within the blog post.

Specific Feedback: Sir asked me to briefly describe the design principles I found within my chosen design.

Week 3

Class: Briefing on Task 2 and also final feedback session for Task 1. The deadline was extended to Sunday (25th) since there were many still unsure about the task.

General Feedback: Include source links and citations if needed.

Specific Feedback: Sir told me to disregard last week's instructions and only state the design principles without any explanation as that would only be applied in Task 2.

5. REFLECTION

5.1 Experience

When I first entered the physical class, I was met with a sense of familiarity since the class was held in a classroom which also held my typography class during my previous semester. So, it slightly helped me in adapting to the new module. Even though it was the first few weeks of the short semester, it definitely still felt slightly rushed since we wanted to catch up with the limited time we had to work on our Task(s). Since there were maybe around 40-50 students in the class, the time we had for feedback was quite short (around 5 mins to 10 mins if lucky). Besides that, it was a normal experience in the classroom, nothing too crazy.

In terms of the actual task, it was a quite easy since it was mostly learning about all the different principles and slowly trying to find them in a design that was related to the UNSDG goal theme.

5.2 Observations

I wasn't really aware of the UNSDG goals before joining Design Principles so it felt fresh to learn something new whilst also learning something I was already familiar with. Seeing my classmates also be able to find unique artworks based on their choice of UNSDG goals was nice to see.

5.3 Findings

I found that this Task was quite easy to do as it mostly just research on UNSDG and also in the artwork I selected. Though, for the design principles that I pin-pointed on the selected design, I did mostly choose them based on my initial impressions of the artwork rather than diving deeply into analysis. Fortunately though, the deep analysis would only be necessary for the next task.

6. FURTHER READING

Fig. 6.1 "The Design of Everyday Things" by Don Norman (Source)

In the 3 week's time we had for this Task, I managed to read a bit of Don Norman's "The Design of Everyday Things". The book dives into the world of everyday objects and what makes them tick. He talks about stuff like why some things are intuitive to use while others leave you scratching your head. Norman's all for user-friendly design and how good design can make life easier for everyone. He brings up real-life examples in a casual and easy-to-understand way. Overall, this book is very detailed with its explanation of different aspects within design however, there were very few graphics so it might be boring to student's who learn more visually rather than through large texts.

Fig. 6.2 Solving the Correct Problem, page 209-210.

Here, Don Norman states that designers have a different way of tackling problems compared to engineers and business people. Instead of jumping straight into solving stuff, they're all about digging deep to figure out what's really going on. Good designers focus on understanding what people really need and can handle, making sure that whatever they come up with is not just useful and practical but actually enjoyable to use. This is human-centered design, where they keep tweaking and testing until they get it just right. First, they nail down the problem, and then they find the perfect solution, making sure everything fits like a glove.

🌊

Qistina Nuralya Maria Binti Azly (0354180)

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