TASK 1 (Exploration)
TASK 1 (Exploration)
February，02，2025
Week1-Week3
Xing Yu / 0361463
Design Principles GCD60804/ Bachelor of Design (Hons) in Creative Media
INSTRUCTIONS
LECTURES
Introduction of Elements & Principles of Design
Visual communication is about utilizing design to convey purposeful messages to a target audience.
ELEMENTS OF DESICN
Point ：
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.
Line ：
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
Shape：
Refers to the expanse within the outline of 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-circles, squares, triangles, etc.- tend to be precise and regular.
Form：
Whereas a two-dimensional area is referred to as a shape, 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.
Texture:
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 canbe experienced by touching orthrough visual suggestion.
Two categories of texture - actual(experienced by touch) & simulated or implied (created to look like the real texture).
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.
Three-dimensional space is experienced when we are in it, beginning with our own positions in relation to other people, objects surfaces and voids at various distances from ourselves. 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).The illusion of a three-dimension space can be suggested through depth. This can be achieved by overlapping of images, the variation of sizes, placement and perspective.
Colour:
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. 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:
Hue: Colours of the spectrum, e.g. yellow and green.
Value: This refers to the lightness or darkness from white through Greyston black.
Black and white pigments can be important ingredients in changing colour values. White added to a hue produces a tint. Adding grey to a hue would result in a tone. Black added to a hue produces a shade of that hue.
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 huein its highest saturation, in its brightest form.
With pigment (black, white or grey)of another hue is added to a pure hue, its intensity diminishes and is dulled.
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 the colour wheel, each containing the same pure hue.
Complementary colour schemes emphasize two hues directly opposite each other on the colour wheel.
PRINCIPLES OF DESICN
Topic 1: Contrast & Gestalt Theory
Contrast & Gestalt：
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.
PRINCIPLE OF SIMILARITY: Similar elements are treated as a whole, even if they are separate from each other.
PRINCIPLE OF CONTINUATION: The human eye tends to continue its visual flow along a path, line, or curve, rather than as a stand-alone element.
PRINCIPLE OF CLOSURE: Even if the shape is incomplete, the human eye will still fill in the missing parts, making it a complete form.
PRINCIPLE OF PROXIMITY: Adjacent elements are considered connected, while those that are separated by a distance are considered unrelated.
PRINCIPLE OF FIGURE/GROUND: The human eye automatically distinguishes between the foreground (subject) and the background, emphasizing the visual hierarchy.
LAW OF SYMMETRY & ORDER: Symmetry elements are more easily perceived as a whole, bringing visual stability and a sense of structure.
Topic 2: Balance & Emphasis
Balance:
The balance in the design is reflected in the rational distribution of visual weight.
The various design elements work in harmony with each other to create a harmonious visual effect.
Elements can be arranged symmetrically or asymmetrically to achieve visual balance.
Emphasis & Dominance:
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 & Movement
Repetition/Pattern/Rhythm:
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 & Unity
Hierarchy:
Harmonyinvolves the selection of elements that share acommon 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 away 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.
Topic 5: Symbol, Word & Image
Arbitrary Symbol
Don't look like what they represent.
Invented with the meaning constructed.
Often use shapes and colors, like simple geometric ones.
Fig 3.1
Word and Image
Use suitable and relevant images when designing.
Choosing the right words to pair with the imagery.
Fig 3.2
TASK 1
Pick and briefly describe one goal from the United Nations Sustainable Development Goals (UNSDG).
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.
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.
I choose the Goal 13 - CLIMATEACTION
Take urgent action to combat climate change and its impacts.
Title ：Ship on Stormy Seas
Artist's Name : Ivan Aivazovsky (1817-1900)
Object type : painting
Date : circa 1850s
Medium : oil on canvas
Dimensions height : 20.5 cm(8 in); width: 28.5 cm(11.2 in)
Collection : Private collection
Source/Photographer : Rorotheum Lot No.159
Source Link:
File:Ivan Aivazovsky - Ship on Stormy Seas.jpg - Wikimedia Commons
Fig 3.3 Ivan Aivazovsky : Ship on Stormy Seas
This artwork is in line with UNSDG Goal 13 climate action. The stormy weather in the work is closely related to the United Nations Sustainable Development Goals, which call for urgent action to combat climate change and its impacts.
In this work, a ship can be seen sailing in a stormy sea, surrounded by low clouds and black-blue waves. It enables the viewer to intuitively feel the insignificance and helplessness of human beings in the face of natural disasters.
Rising sea levels due to global warming have led to an increase in extreme weather such as storms, hurricanes, and a range of marine disasters. It may affect the nearby coastal fisheries, the navigation industry. The painting symbolizes the intensification of climate change, so it warns people to take urgent measures to combat climate change and take care of the marine environment to reduce the impact of natural disasters on humans.
This artwork uses both the principles of contrast and emphasis. Harmony is both applied to the design principle in Aivazovsky's work, achieving a harmony in the midst of storms and rough waves through the harmony of color and light and shadow, as well as between sea water and clouds. The contrast between the glassy water in the near distance contrasts with the black and blue water and the black ships in the center of the storm, and the light in the distant clouds contrasts with the low, dark clouds in the near distance.
In this work, a ship can be seen sailing in a stormy sea, surrounded by low clouds and black-blue waves. It enables the viewer to intuitively feel the insignificance and helplessness of human beings in the face of natural disasters.
Rising sea levels due to global warming have led to an increase in extreme weather such as storms, hurricanes, and a range of marine disasters. It may affect the nearby coastal fisheries, the navigation industry. The painting symbolizes the intensification of climate change, so it warns people to take urgent measures to combat climate change and take care of the marine environment to reduce the impact of natural disasters on humans.
This artwork uses both the principles of contrast and emphasis. Harmony is both applied to the design principle in Aivazovsky's work, achieving a harmony in the midst of storms and rough waves through the harmony of color and light and shadow, as well as between sea water and clouds. The contrast between the glassy water in the near distance contrasts with the black and blue water and the black ships in the center of the storm, and the light in the distant clouds contrasts with the low, dark clouds in the near distance.
FEEDBACK
Mr. Martin said that there are pictures and words in the principle of text and images, but how to support this idea, to some extent, can be used correctly and integrated into the design. Then I re-looked for another picture to correct it.
REFLECTION
ExperienceIn the initial stages of this assignment, I explored design principles in depth. Throughout the process, I analyzed various case studies and understood how these principles worked in real-world applications.
ObservationIn my research and practice, I observed that every successful design follows a structured set of principles, even if it is spontaneous or innovative.
DiscoveryA key discovery was the importance of user-centered design. While experimenting with different principles, I realized that the most visually striking designs are not necessarily the most effective. Instead, the best designs prioritize clarity, functionality, and user engagement.
FURTHER READING
《Universal Principles of Design》
Universal Principles of Design was first published in 2003 by William Lidwell, Kritina Holden, and Jill Butler. It is a guide to design principles that combines theory, practice, and psychology. The book covers 200 key design principles, covering cognitive science, visual perception, human psychology, and more.
Each chapter of the book revolves around a specific design principle. For example, the book introduces Contrast, Consistency, and Gestalt principles.
FURTHER READING
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