DESIGN PRINCIPLES - TASK 1: EXPLORATION
DESIGN PRINCIPLES - TASK 1: EXPLORATION
03/02/2025 - 23/02/2025 / Week 1 - Week 3
Begimbaeva Aidina / 0380489
Design Principles / Bachelor of Design (Hons) in Creative Media
Task 1 : Exploration
INSTRUCTION
LECTURES
Week 1
Introduction: Elements & Principles of Design
Design is all around us, from logos to app interfaces. It helps us make decisions, such as which clothes to choose or which movie to watch.
Visual communication is about conveying information through design. To create effective solutions, it is important to understand the elements (the basic building blocks) and principles (the rules for organizing them).
Design elements
- Point - a basic element that can form lines and shapes.
- Line - can be dynamic or static, create textures and convey emotions.
- Shape - closed area, can be geometric (clear shapes) and organic (irregular contours).
- Volume (shape in 3D) - a three-dimensional form with a sense of depth. In 2D it is created by shadows, light and perspective.
- Texture - conveys tactile sensations, can be real (physically tangible) and visually imitated.
- Space - the area around and inside objects, can be positive (occupied by elements) and negative (emptiness).
- Color - affects emotion and composition. Basic characteristics:
- Hue (Hue) - the color itself (red, blue).
- Saturation (Intensity) - the purity of the color.
- Lightness (Value) - the degree of darkening or lightening.
Design Principles
Principles help organize elements and create a harmonious design:
- Contrast - highlighting differences to attract attention.
- Balance - even distribution of elements (symmetrical and asymmetrical).
- Accent - highlighting the main object.
- Rule of thirds - a 9-part grid helps to set compositional accents.
- Repetition/rhythm - creates structure and dynamics.
- Movement - guides the viewer's eye.
- Hierarchy - the order of elements by importance.
- Alignment - creates neatness and connection.
- Harmony - brings elements together in a coherent pattern.
- Unity - creates design integrity.
- Proportion - the ratio of the size of the elements.
Contrast
Contrast is the opposition of elements (colors, shapes, sizes). Without it, the design becomes boring. Contrast makes the composition expressive and helps to highlight key elements.
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| Figure 1.1 Contemporary artist whose work is taken from pinterest . |
This illustration perfectly demonstrates the contrast through the use of light and shadow.
- Inside the bookstore, warm yellow-orange shades create a cozy atmosphere, while the street outside is depicted in cold navy blue and black tones.
- The clear light and shadow contrast emphasizes the difference between the inside (where it is warm, safe) and the outside (darkness, night).
- The silhouettes of the people inside emphasize the effect of contrast: their figures stand out against the background of the glowing window, which makes the composition expressive.
- The light bulb outside adds an additional source of contrast, enhancing the depth of the scene.
This work illustrates how contrast helps to convey mood by creating a dynamic between light and shadow.
Gestalt theory
Gestalt (from German Gestalt - “form”, “image”) are laws of perception that explain how the eye perceives groups of objects as a whole.
Gestalt principles or laws are rules that describe how the human eye perceives visual elements. They aim to show how complex scenes can be reduced to simple shapes. Also, these principles explain how the eye perceives shapes as a whole rather than as separate simpler elements.
1. The principle of similarity
similar elements are perceived as part of the same group, even if they are not related.
The human eye tends to perceive similar elements in a design as a complete picture, shape, or group, even if the elements are separated. The brain seems to craft a connection between elements of a similar nature.
2. The principle of continuity
The eye tends to follow lines and shapes, creating a fluid perception.
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.
This image clearly shows the principle of Continuation from Gestalt theory.
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| Figure 1.3 Image taken from pinterest |
- The central element - a winding road - directs the viewer's eye from the foreground to the depth of the composition.
- The eye naturally follows the path, moving from the human figure to the light on the horizon.
- Smooth, flowing lines enhance the sense of movement and depth.
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 the missing visual information. (Connect them by imagining the missing part)
The principle of Closure in Gestalt psychology states that our brain “completes” the missing parts of an object, perceiving it as a complete form, even if the outline or details are not fully drawn.
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| Figure 1.4 logo WWF |
Example: you can see this well in the WWF logo with the panda, where there are only a few spots on a white background, but we automatically “augment” the outlines and see a solid image of the panda.
4. 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 with each other and become one visual unit which helps to organise or give structure to a layout.
The principle of Proximity in Gestalt psychology says that we perceive objects that are close together as connected or belonging to the same group. If items are visually separated from each other, the brain reads this as a lack of connection between them.
- Elements that relate to the same idea or task should be placed side by side.
- Irrelevant elements, on the contrary, should be “pushed apart” so as not to confuse the viewer.
- This creates a visual hierarchy and makes it easier to understand the structure.
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| Figure 1.5 Poster “Swiss Style” (by Josef Müller-Brockmann) |
5. Principle of Figure/Ground
Objects are automatically 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). You can see two images in one image depending on how you position the two images.
The principle of figure and background (Figure/Ground) in Gestalt psychology means that we automatically divide a visual scene into a foreground (figure) and a background (background). What we emphasize as “figure” is perceived more clearly and attracts attention more actively, while the rest goes into the “background”.
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| Figure 1.5 (Sky and Water I, 1938) by the Dutch artist M. C. Escher. |
Example: engraving “Sky and Water I” (Sky and Water I, 1938) by the Dutch artist M. C. Escher.
In the upper part of the work we see white birds on a black background, and below - black fish on a white background.
The figure (birds or fish) and the background “change roles”: what is first perceived as a background gradually becomes a figure, and vice versa. This illustrates how the brain switches between “foreground” and “background”.
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.
The Law of Symmetry & Order says that symmetrical elements are perceived as a single group and look more coherent. If a composition has axial symmetry or mirror reflection, the viewer subconsciously groups such objects together.
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| Figure 1.6 “Beethoven” (1955) by Josef Müller-Brockmann. |
Topic 2: Balance & Emphasis
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.
1. 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) results in a bilateral balance. Arranging elements equally around a central point results in radial balance. Approximate symmetry is whenequivalent but not identical forms are arranged around the fulcrum line.
Symmetrical balance is the even distribution of the “weight” of a composition around a central axis (vertical or horizontal). If you fold the design in half along an imaginary line, both sides will match or be very similar.
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| Figure 1.7 Taj Mahal |
2. 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 fewer local 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.
Asymmetrical balance is a visual equilibrium in which the “weight” of the composition is balanced without mirror symmetry. Objects are arranged so that one large element can be balanced by several small ones that differ in shape, color or tone.
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| Figure 1.8 (The Great Wave off Kanagawa) by artist Katsushiki Hokusai. |
Example:“The Great Wave off Kanagawa” (The Great Wave off Kanagawa) by artist Katsushiki Hokusai.
The large wave occupies the left side, while Mount Fuji is small and on the right. The overall composition seems to be balanced, though not symmetrical.
3. The Golden Ratio
Also known as phi, the Golden Ratio (Golden Mean, Golden Section) is a mathematical concept and a number that goes indefinitely, the ratio itself comes from the Fibonacci sequence which occurs sequence of numbers that leave 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 in nature and it has been used as a guide to create visual balance in architecture and paintings as it can bring harmony, balance and structure to one's work. It can also increase the appeal of design work.
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| Figure 1.9 The Golden Ratio |
Example:The architecture of the Parthenon in Athens. The proportions of the temple are said to be close to the golden ratio, giving it a special aesthetic harmony.
4. Rule of Thirds
It is a composition guideline to create more dynamism in a work of design/photography/film/painting. An image is divided evenly into thirds, both horizontal and vertical, and the subject of the image is placed at the intersection of those dividing lines, or along one of the lines itself.
The rule of thirds is a compositional rule in which the frame is mentally divided into 9 equal rectangles (2 vertical and 2 horizontal lines). The main objects are placed at the intersections of these lines or along them to add dynamics and balance the composition.
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| Figure 1.10 the landscapes of Claude Monet |
In Claude Monet's landscapes, the horizon line is often on the lower horizontal of the “grid” and the main focus (such as a boat or bridge) is shifted to the intersection of lines on the right or left. This creates a sense of space and enhances the expressiveness of the scene.
Emphasis and Dominance
Emphasis in design creates a dominant element and focus for the viewer. This can be achieved by contrasting color, shape or tone, making the key object the most prominent in the composition.
Emphasis is used to create dominance and focus in a design work. There are various elements can be used to create emphasis (colour, shapes or value) to achieve dominance.
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| Figure 1.12 “Liberty Leading the People” (Delacroix) |
Topic 3: Repetition & Movement
Repetition could make a work of design seem active and the repetition of elements creates rhythm and pattern within the work. Variety is essential to keep rhythms exciting and active and to avoid monotony while Pattern in creases visual excitement by enriching surface interest.
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, and composition.
Movement
Movement in design is the way the viewer's eye “travels” through a composition, following lines, shapes and rhythms. The visual effect of movement occurs when objects or lines appear to be “flowing” or “dynamic” in the frame.
- Use of diagonals: diagonal lines and sloping shapes are automatically perceived as more “energetic” than horizontals and verticals.
- Repetition and rhythm: the rhythmic repetition of elements seems to “lead” the eye through the work, creating the illusion of movement.
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| Figure 1.14 “Nude descending the stairs” |
“Nude descending the stairs” (1912) by Marcel Duchamp. The artist shows multiple phases of the figure's movement, superimposing them on each other, which creates the impression of continuous movement and leads the eye from top to bottom throughout the painting.
Hierarchy
Hierarchy is the prioritization of content, allowing the viewer to notice the most important things first, before moving on to the details. It sets the order of reading and perception, emphasizes key elements and makes it easier to navigate through secondary information.
Example:
In a newspaper, magazine, poster layout, the headline is the largest and most contrasting so that it immediately attracts the eye, the subheading is slightly smaller, and the main text is even smaller. This ensures smooth reading: first the “main thing”, then the details.
Alignment is the arrangement of elements so that their edges or center axes are aligned along common horizontals, verticals, or axes. It gives a composition coherence, neatness, and visual logic, and can guide the eye along a particular path.
Example:
In web design, blocks of text and images are often aligned on the left border. This makes it easier to read and creates a single “column”, forming a more professional and clear look.
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| Figure 1. 16 Swiss Style poster (designed by Josef Müller-Brockmann) |
Magazine layout
In most glossy magazines, text columns, images and captions are aligned along a single vertical guide. This provides a neat “column” of text and a clear perception of the materials.
Infographics
In infographics, elements (text blocks, icons, charts) are often arranged along common horizontals or verticals to make it easy for the user to “read” the data.
Websites
Modern websites often feature “grid grids,” which are used to align product cards, blog articles, etc. This gives a sense of order and professionalism.
Week 2
Topic 4: Harmony & Unity
Harmony
Harmony in design is achieved by combining elements that share common characteristics, such as theme, style, or mood. It creates a cohesive and visually pleasing composition. However, without variation or contrast, harmony can lead to monotony. To maintain balance, incorporating differences in angles, lighting, or composition can add interest and depth.
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| Figure 1. 17 “Annunciation” by Leonardo da Vinci. |
In this work, Leonardo combines harmonious proportions and balanced composition to create a sense of calm and order. The variety of details and tones adds depth and interest.
Unity
Unity in design refers to the intentional repetition and arrangement of elements to create a cohesive and visually harmonious composition. It ensures that all components work together seamlessly, giving the design a sense of completeness and balance. Unity can be achieved through consistent color schemes, repeated patterns, alignment, and a clear visual hierarchy. When done effectively, it enhances readability, engagement, and overall aesthetic appeal.
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| Figure 1. 18 Van Gogh's "Starry Night" |
Van Gogh's "Starry Night" – The swirling brushstrokes create a sense of movement while maintaining a cohesive color palette.
Scale and Proportion
It's all about size.
Scale in design refers to the size of one element in relation to another element. It's a dimension of figures or forms that have a specific unit of measure. It's used to specify the sizes of objects. Example: architectural drawings and scale models.
It can be determined in two ways:
- Actual Measurement
- Visual estimated based on comparison
Proportion refers to the relationship of two or more elements in a composition and how they compare to one another (Size, colour, quantity, degree, setting). When a correct relationship exists, the proportion is harmony and unity.
Topic 5: Symbol, Word & Image
Symbol
Symbols have been used for centuries and they can be a sign, shape, or object that is used to represent something else.
There are two branches for symbols:
- Figurative Representations
- Visuals
- Graphic Symbols
- Pictorial Symbols
- Abstract Symbols
- Arbitrary Symbols
- Non-Figurative Representations
Pictorial Symbols are image-related and simplified pictures.
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| Figure 1. 19 Pictorial Symbols |
Abstract symbols simplify objects while maintaining enough recognizable features to convey meaning. These symbols strip away unnecessary details, focusing on essential forms and shapes.
Other Examples of Abstract Symbols:
- Nike Swoosh – Represents movement and speed.
- Apple Logo – A minimalist apple silhouette symbolizing knowledge and innovation.
- Olympic Rings – Abstract interlocking circles representing unity among continents.
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| Figure 1. 20 Apple Logo |
Arbitrary Symbols
Arbitrary symbols have no visual resemblance to the objects or ideas they represent. Their meanings are assigned by cultural conventions, historical context, or societal agreements. Many arbitrary symbols are constructed using geometric shapes and colors, making them recognizable only through learning and association.
Examples of Arbitrary Symbols:
- Peace Symbol – A combination of semaphore signals that now universally represents peace.
- Yin-Yang – A Taoist symbol representing balance and duality.
- Hashtag – Initially used for numbering but now signifies trends on social media.
- Traffic Signs – Colors and shapes are used to indicate meaning (e.g., red means stop).
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1 The iconography of American Sign Language | by Joe Winter | UX Collective |
Word and Image
Image and text in design should work together to reinforce meaning and create an emotional connection with the audience. A well-chosen image makes the message more persuasive, and the right font and layout can enhance the perception of the design.
An example of a successful combination of word and image is the movie poster of The Grand Budapest Hotel. The facade of the hotel in the image immediately sets the atmosphere, and the stylized font of the title supports the aesthetic of the film, creating a sense of luxury and retro style. This makes the design memorable and cohesive.
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| Figure 1. 22 Poster The Grand Budapest Hotel |
TASK 1 : EXPLORATION
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| Tranquil Coastal Escape in Oil Painting Artist:Nicolas AQO | Digital Illustrator Year: 2020 Medium: Oil Painting Size: 20.3 cm × 27.3cm (8 inches × 10.75 inches) |
The reason I chose this artwork
I selected this artwork because it evokes a strong sense of tranquility and escapism. The open window overlooking the sea creates an inviting atmosphere, making me feel as if I could step into this peaceful coastal world. The combination of the deep blue ocean, the distant sailboats, and the blooming pink roses brings harmony to the composition, making it visually captivating and emotionally soothing. The warm sunlight reflecting on the tiled floor enhances the cozy and dreamy mood, reinforcing the idea of serenity and relaxation.
The use of colors, perspective, and repetition in the elements of this painting truly immerse the viewer in a picturesque moment. I find myself imagining the soft sea breeze and the delicate scent of the roses, which makes this piece feel incredibly alive and inviting.
Design Principles that I observed
Harmony
The painting achieves harmony by combining elements that share a soft, warm, and inviting quality. The pink roses, blue ocean, and golden sunlight all contribute to a cohesive and visually appealing scene. The balance between nature and human presence creates a sense of unity without feeling monotonous.
Unity
This artwork demonstrates unity through the repetition of certain elements. The repeated presence of pink roses in different areas helps tie the composition together, while the boats on the water and the clouds in the sky add a rhythmic visual flow. The window acts as a frame, guiding the viewer’s eyes naturally through the scene.
Repetition
Repetition is evident in the multiple rose bushes, the reflection of light on the floor, and the recurring elements of boats in the ocean. This repetition strengthens the structure of the artwork, making it feel cohesive and intentional.
Word and Image (If applicable for a book cover or design project)
If this painting were used for a book cover or design, it would pair well with elegant and serene typography. The dreamy atmosphere could be complemented with poetic or sophisticated lettering to enhance the message of escape, beauty, and relaxation.
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The Woman in the Garden Artist:Claude Monet Year: 1867 Medium: Oil Painting Size: 82cm × 100cm |
The reason I choose this artwork:
I chose to create this artwork titled "Woman in the Garden" inspired by the style of the artist Claude Monet. This piece reflects my deep appreciation for the beauty of nature and the vibrant energy that gardens bring. When I look at this painting, I feel the warm sunlight filtering through the leaves, the soft rustle of the trees, and the peaceful atmosphere that only a garden can provide. The woman in the painting is so connected to her surroundings, embodying the feeling of serenity and freedom that a garden can give.
I also wanted to incorporate elements of movement and joy. The artist's use of soft brush strokes and subtle color transitions makes the scene feel alive, almost as though the flowers are swaying in the breeze. The combination of nature’s calmness with the woman’s energy in the garden creates a perfect balance between tranquility and vitality.
The addition of the clown figure in the background, inspired by the playful spirit of circuses, adds an intriguing contrast to the serenity of the garden, reminding us that there is always a little joy and fun to be found in life, no matter where we are.
Design Principles that I observed:
In this artwork, I observed the use of contrast through the combination of soft pastels in the flowers and the brighter, more playful colors used for the clown. This creates a dynamic balance that draws the viewer's eye across the piece. Despite the contrast, the colors blend harmoniously, evoking a sense of warmth and joy.
The principle of unity is also evident in the way the woman, the garden, and the clown interact with one another. The woman’s posture and the flowers around her seem to blend into the environment, creating a peaceful flow. The clown figure, though different in style, still fits into the overall narrative of the painting, adding depth to the story without disrupting the calm nature of the scene.
Repetition is another key element I noticed. The flowers in the garden repeat in patterns, guiding the viewer’s eye around the scene, while the way the woman’s attire mimics the colors of the flowers brings everything together in a cohesive visual design.
FEEDBACK
Week 2:
Specific feedback - Replace the picture from the lecture notes. Instead of following the exact description from the slides, put it in your own words. Once you have made the changes to the picture, you can begin to select works of art that inspire you and pique your interest.
Week 3
This week, I received positive feedback on my understanding and use of images. However, I was advised to replace one picture as it doesn’t quite fit. Additionally, I forgot to include links for some images, which I need to correct. Apart from that, everything was good.
REFLECTIONS
Experience
I thoroughly enjoyed completing this assignment over the course of three weeks. In the process, I didn't just look for works of art for lecture notes, I actually analyzed them and studied the details and principles used in them. This helped me better understand how art can be applied to educational materials. Choosing the artwork was difficult because each one is interesting and valuable in its own way.
Observations
I realized that I needed more preparation before I started working with illustrations. It was challenging at first to find appropriate examples because each piece combines several design principles at once. This assignment helped me develop my observation skills and learn to analyze visual content more deeply. It was very interesting to analyze which principles the author used and how they work together.
Findings
I noticed that I have become better at managing my time. I can now complete tasks on time and follow instructions clearly. I have seen and learned a lot of interesting designs from all over the world.
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