Task 1 (Exploration)

 Week 1-3

Farida Joice Jayanti (0368061)

Design Principles / Bachelor of Design (Hons) in Creative Media

Task 1 (Exploration)



LECTURE
     
Introduction: Elements and Principles of Design 

A. Elements of Design

    Elements of design are the building blocks of design. They are used to compose a work of art through the principles of design.

      1. Point
Fig 1.1 Repetitive points can form a line
  • A point or dot is the simplest element of design.  
  • A point 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

Fig 1.2 Types of Lines

  • A line is a continuous mark made on a surface by a moving point or the edge created when two shapes meet. 
  • 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.

      3. Shape

Fig 1.3 Types of Shapes

  • Shape refers to a two-dimensional element with an area on a plane or the expanse within the outline of two-dimensional area or within the three-dimensional object.  
  • It becomes visible when a line or lines enclose an area or when an apparent change in value (lightness/darkness), color or texture sets an area apart from its surroundings. 
  • There are two general category of shapes – geometric & organic.  
  • Geometric shapes refer to circles, squares, triangles, etc. They tend to be precise and regular.  
  • Organic shapes are irregular, often curving or rounded, & seem relaxed & more informal than geometric shapes. They tend to be more natural and freeform, like the shapes we see in nature.

      4. Form

Fig 1.4 Examples of Form

  • Form refers to a three-dimensional element with volume in space.  
  • When form encloses space, the space is called volume. 
  • Form is often a major element in sculpture and architecture.  
  • With two-dimensional media, such as painting, illustration or drawing, form must be implied (for example, using shading and perspective to create a 3D effect).  

      5. Space

Fig 1.5 Positive and Negative Space by LaPastillaAzul

  • Space is the distance or area around, between, or within objects/elements in a work.  
  • 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. 
  • Three-dimensional space is experienced when we are in it, beginning with our own positions in relation to other people, objects and voids at various distances from ourselves. From the outside, we experience mass, while 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).
      6. Texture
  • Texture is the surface quality of a space, or how it appears to feel: rough, smooth, spiky, soft, hard, and glossy, etc.  
  • Textures can be actual (experienced by touch) & simulated or implied (created to look like the real texture).  
  • Textures can be created by using pattern designs 

      7. Colour

Fig 1.7 The Colour Wheel and Value Range

  • 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.  It is the light wavelengths that the human eye receives and processes from a reflected source.  
  • Colour incorporates three variables: hue, saturation, and value range.  
  • Hue refers to the colours of the spectrum.  
  • Saturation, also called intensity, refers to the purity of a hue. A pure hue is the most intense form of a given colour, as it is in its highest saturation or its brightest form. When pigment (black, white, or grey) of another hue is added to a pure hue, its intensity diminishes and is dulled.  
  • Value refers to the lightness and darkness from white through the greys to black. Black and white pigments can be important ingredients in changing colour values. White added to a hue produces a tint. Adding a grey to a hue would result in a tone. Black added to a hue produces a shade of that hue.  
  • Colour groupings that provide distinct colour harmonies are called colour schemes. 
  • Monochromatic colour schemes are based on the variations in the values 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 emphasize two hues directly opposite from each other on the colour wheel. 

B. Principles of Design

    Principles of design are the arrangement and use of elements of design and subjects in a work of art. It is a way of composing a work of art. Principles of design are the key element that contributes to the overall composition and makes a graphic design work effectively.

      1. Contrast

Fig 1.8 Contrast

  • Contrast is the juxtaposition of strongly dissimilar elements. Contrast refers to the differences between elements of design or subjects in a work of art.  

  • Contrast can provide visual interest, emphasize a point, express content, and create an impact. It is attractive to the eye, creates a focus, and aids organization of information within a design.

      2. Emphasis

Fig 1.9 Emphasis

  • Emphasis refers to using a focal point or center of interest in the design to create dominance and focus.  

  • Focal point refers to an area in the composition that has the most significance, an area that the artist wants to draw attention to as the most important aspect.  

  • Subordination is defined as minimizing or toning down other compositional elements in order to bring attention to the focal point.  

      3. Balance

Fig 1.10 Balance

  • Balance refers to the way the parts of a composition are arranged. It can also be described as the “visual weight” of a work of art. It is the visual equilibrium of the elements that causes the total image to appear balanced.  

  • There are two types of balance: symmetrical balance and asymmetrical balance.  

  • Symmetrical balance (formal balance) refers to when everything in the design is equally distributed, looking the same on both sides. It has equal “weight” on equal sides of a centrally placed fulcrum/axis (horizontal or vertical), resulting in bilateral symmetry. Arranging elements equally around a central point result in a radial balance. Approximate symmetry is when equivalent but not identical forms are arranged around the fulcrum line.  

  • Asymmetrical balance (informal balance) refers to when the distribution of elements is uneven, where one side seems visually heavier than the other. It has 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.  

  • Asymmetrical balance offers more visual variety as it is more dynamic and interesting, although it can be more difficult to achieve because the relationships between elements are more complex.

      4. The Golden Ratio

Fig 1.11 The Golden Ratio

  • The Golden Ratio is a mathematical concept, coming from the Fibonacci sequence, a naturally occurring sequence of numbers that can be found everywhere.  

  • Over the centuries, many have perceived the Golden Ratio as the representative of perfect beauty or is uniquely found throughout nature. It has been used as a guide to create visual balance in architecture and paintings.  

  • The Golden Ratio can be used to bring harmony, balance, and structure to one’s work while also increasing their appeal.

      5. Rules of Third

Fig 1.12 Rules of Thirds applied on a photo of a tree
covered in snow by Alexander Kovalev

  • 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.

      6. Repetition, Pattern, and Rhythm

Fig 1.13 Repetition

  • The repetition of elements of design creates rhythm and pattern within the work. Repetition could make a work design seem active.  

  • Repetition can be used to create a sense of unity and consistency throughout a design. Repetition creates a particular style and creative cohesiveness, creates emphasis, hierarchy structure, and strengthens a design.  

  • Repetition is impressionable as people find comfort and attraction to familiarity and consistency. However, variety is essential to keep them exciting and active, and to avoid monotony.  

  • The intervals between repetitions can create a sense of rhythm in the viewer and a sense of movement. There are five types of visual rhythm, namely random rhythm, regular rhythm, alternating rhythm, flowing rhythm, and progressive rhythm.  

  • Pattern increases visual excitement by enriching surface interest.

      7. Movement

Fig 1.14 Example of Movement

  • Movement shows action and directs the viewers eye through a work of art.  

  • 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.

      8. Hierarchy

Fig 1.15 Hierarchy and Alignment

  • 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. 

      9. 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.

    10. Harmony and Unity

Fig 1.16 Harmony and Unity

  • Harmony is the sense that all of the elements of a design fit together. They may fit the same theme, aesthetic style, or mood.  

  • Harmony involves the selection of elements that share a common trait or similarity. It can become monotony without variety or contrast.  

  • Variety is about a change or slight difference in elements and objects in composition, to avoid a boring composition. Variety can also involve varying angles, exposure, composition, etc.  

  • Unity refers to the repetition of particular elements throughout a design to pull the look together, whether they’re colours, shapes, or materials.  

  • Unity in an artwork creates a sense of harmony and wholeness by using similar elements within the composition and placing them in a way that brings them all together. It can be improved by echoing the influence of a contrasting colour. The influence of any colour being used in the design should appear in each quarter.  

  • Although unity and harmony may sound similar, they each play distinct roles in the way the viewers experience the design.

    11. Scale and Proportion

Fig 1.17 Scale and Proportion

  • Scale refers to the size of one object in relation to the other objects in a design or artwork. It is the size and dimension of figures and forms relative to a specific unit of measure, determined by either actual measurement or visual estimates based in comparison.  

  • Scale can be used to specify or illustrate details based on the relative sizes of objects. Substantial deviation from a normal scale relationship can create dynamic results and visual interest within the design or composition.  

  • Proportion refers to 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, colour, quantity, degree, setting, etc.  

  • Proportion is said to be harmonious when a correct relationship exists between the elements with respect to size or quantity. The effective use of it often results to harmony and unity.  

  • Large and small proportions can help communicate the relationship between the subjects. It can also show level of important things or their hierarchy within the design.

  

Gestalt Theory

A. Introduction to Gestalt Principles

    Gestalt is German for “unified whole”. German psychologists Max Wertheimer, Kurt Koffka, and Wolfgang Kohler created the Gestalt Principles in the 1920s to understand how people make sense of the confusing things they see and hear. 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.

B. Gestalt Principles

Fig 1.18 Examples of the Gestalt Laws

      1. Proximity (Emergence)
  • The law of proximity describes how the human eye perceives connections between visual elements. It is the process of ensuring related design elements are placed together. Any unrelated items should be spaced apart.  
  • Simple shapes arranged together can create a more complex image  
  • 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.   
      2. Closure (Reification)
  • 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.  
  • Closure can be used creatively to gain user’s trust and admiration as they will appreciate it when they see pleasing “wholes” made from cleverly placed elements like lines, dots, or shapes.
      3. Unified Connectedness
  • The law of unified connectedness states that elements that are connected to each other using colours, lines, frames, or other shapes are perceived as a single unit when compared with other elements that are not linked in the same manner, creating a “grouping effect”.
      4. Continuity
  • 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. The human eye follows the path even if an obstacle hides it or its flow is “broken” by interlinking or bisecting visual elements.
      5. Figure/Ground (Multistability)
  • 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).  
  • Figure/ground can be applied in many ways, but chiefly to contrast elements.  
  • Multistability refers to the switching sensation when looking at images that are ambiguous and present two or more meaningful interpretations.  
  • Figure/ground and multistability are sometimes confused to be the same. However, there is a slight difference between the two. In most cases, background and foreground are stable, but in some cases, it can contribute to multistability.
      6. Präganz (Simplicity)
  • The human eye likes to find simplicity and order in complex shapes, preventing viewers from being overwhelmed by information overload.
      7. Similarity (Invariance)
  • The human eye tends to build relationship between similar elements within a design, perceiving them 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.  
  • We can see the similarity principle in branding and design system guidelines.
      8. Symmetry and 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.
      9. Common Fate
  • This law observes that when objects point in the same direction, they are seen as a related group. It states that the eyes perceive shapes as lines moving along the smoothest path.

 

Symbol, Image, and Words 

A. Symbol

Fig 1.19 Types of Symbols

    A symbol is 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

  • Pictorial symbols are image-related and simplified pictures. They resemble the objects they represent.  

  • These symbols can be characterized as silhouettes, shadows, or profiles with no surface detail.

      2. Abstract Symbols

  • Abstract symbols can look like the objects that they represent but have less details.  

  • Good abstract symbols are intuitive and should be understandable.

      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, with many of them based on geometric shapes and colours.  

  • Arbitrary symbols have to be learned.

B. Image and Words

Fig 1.20 Example of Image and Words

      1. Image

  • Imagery is a vital part of design, be it print or digital. Users are able to relate to a concept or a brand if the right images are used in a work of design. Therefore, it is important to use suitable and relevant images when designing.

      2. Words

  • Typography is the design and arrangement of text to convey a message or concept.  

  • Choosing the right words to pair with the imagery is 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.


    

TASK 1: EXPLORATION


 


FEEDBACK


Comments

Post a Comment

Popular posts from this blog

Exercises 1 & 2

Image
    Farida Joice Jayanti (0368061) Information Design /  Bachelor of Design (Hons) in Creative Media Exercises 1 & 2 LECTURE L.A.T.C.H The L.A.T.C.H model information organization is created by Richard Saul Wurman, who coined the term "information architect" in his book called "Information Anxiety". L.A.T.C.H stands for Location, Alphabet, Time, Category, and Hierarchy.       1. Location Location is the technique of arranging data based on its geographical location.   It is used to compare information coming from different sources.       2. Alphabetic  The alphabet method arrange information by the initial letter of the item name in their alphabetical order.   It is recommended to use this method  if there is a huge amount of information and no better classification system.   Examples of this method can be found in dictionaries, contact lists, etc.        3. Time Used for events that ...
Read more