Design Principles: Lectures
6/2/2024 - 19/3/2024 (Week 1 - Week 7)
Seh Zi Qi/ 0355872/ Bachelor of Design(Honours) in Creative Media
Module Name: GCD60804/ Design Principles
Lectures
LIST
INTRODUCTION
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Lecture Recap
Visual Communication:
- Utilising design to convey purposeful messages to a target audience.
- Must be well thought-out and executed.
Elements of Design:
- Individual "building blocks"
Point:
- The simplest element of design.
- Used in a repetitive mark to form a line.
- When moved in a space, it can form 2 to 3-dimensional figures.
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| Fig 1.1, Point demonstration, 13/2/2024 |
Line:
- Can be active or static, aggressive or passive, sensual or mechanical.
- Indicates directions, defines boundaries of shapes and spaces, implies volumes or solid masses and suggests motion or emotion.
- Can be grouped up to create qualities of light and shadow to form patterns and textures.
Fig 1.2, Line demonstration, 13/2/2024
Shape:
- The expanse within the outline of 2 or 3-dimensional objects.
- Visible when:
- Line or lines enclose an area.
- Area apparent change in value (lightness/ darkness).
- Colour or texture sets an area apart from its surroundings.
- Geometric:
- Precise and regular.
- I.e. circles, squares, triangles.
- Organic:
- Irregular, often curving or rounded.
- More informal & relaxed than geometric shapes.
Fig 1.3, Shape Demonstration, 13/2/2024
Form:
- A 2-dimensional area is referred to as a shape while a 3-dimensional area is referred to as a form.
- Form encloses space = volume
- Is a major element within sculpture and architecture
- With 2-dimensional media, painting, illustration or drawings, the form must be implied.
Fig 1.4, Form demonstration, 13/2/2024
Texture:
- Refers to the tactile qualities of surfaces/ visual representation of those qualities.
- All surfaces have textures which can be experienced through touching or visual suggestion.
- Actual:
- Experienced by touch
- Simulated/Implied:
- Created to look like real texture.
Fig 1.5, Texture demonstration, 13/2/2024
Space:
- The indefinable, general receptacle of all things - seemingly empty space around us.
- In drawings, prints, photographs and paintings, the space of the surface can be seen all at once.
- The actual space of each picture's surface is defined by edges - 2-dimensional height & width.
- Even within the limited boundaries, an infinite number of spatial qualities can be implied.
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| Fig 1.6, 2-dimensional space demonstration, 13/2/2024 |
- 3-dimensional space is experienced when we're in it, our own positions to other people, object surfaces and voids at various distances from ourselves.
- Outside = Mass
- Inside = Volume
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| Fig 1.7, 3-dimensional space demonstration, 13/2/2024 |
- In graphic design, space/depth refers to the area that a shape/form occupies, shape can be defined as positive(filled space) or negative(empty space).
- The illusion of a 3-dimensional space can be suggested through depth.
- This can be achieved by overlapping images, the variation of sizes, placement and perspective.
Fig 1.8, Graphic design using space demonstration, 13/2/2024
Colour:
- The visual byproduct of the spectrum of light is either transmitted through a transparent medium or absorbed and reflected off a surface.
- The light wavelengths that the human eye receives and processes from a reflected source.
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| Fig 1.9, Colour via transmission through a transparent medium, 13/2/2024 |
- Distinguished by terms like:
- Hue:
- Colours of the spectrum.
- I.e. Yellow, green, purple.
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| Fig 1.10, Hue, 13/2/2024 |
- Value:
- Lightness or darkness from white through greys to black.
- Black and white pigments can be important ingredients in changing colour values:
- White + hue = tint
- Grey + hue = tone
- Black + hue = shade
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| Fig 1.11, Value, 13/2/2024 |
- Intensity [Saturation/ Chroma]:
- Purity of the hue.
- Pure hue is the most intense form of a given colour/ the highest saturation/ the brightest form.
- With pigment (black, grey or white) of another hue to pure hue, the intensity diminishes and dulls.
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| Fig 1.12, Intensity, 13/2/2024 |
- Colour groupings:
- Providing distinct colour harmonies are called colour schemes.
- Monochromatic: Variations in the value & intensity of a single hue.
- Analogous: Colours on the colour wheel are adjacent, each containing the same pure hue.
- Complementary: Emphasises 2 hues directly opposite each other on the colour wheel.
Fig 1.13, Colour wheel & examples of colour groupings, 13/2/2024
Principles of Design:
- Organisational fundamentals that result from or guide the arrangement of the elements
- Contrast
- Balance
- Emphasis
- Rules of Third
- Repetition/Pattern/Rhythm
- Movement
- Hierarchy
- Alignment
- Harmony
- Unity
- Proportion
TOPIC 1
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Lecture Recap
Contrast:
- The juxtaposition of strongly dissimilar elements.
- With it, the visual experience will be more varied.
- Provide visual interest, emphasise a point and express content.
Fig 2.1, Contrast examples, 17/2/2024
Gestalt Theory:
- The human brain is wired to see patterns, logic or structure.
- Gestalt = shape/ form in German
Gestalt Principles:
- Rules that describe how the human eye perceives visual elements.
- Aim to show that complex scenes can be reduced to simpler shapes.
- Aim to explain how the eyes perceive the shapes as a single, united form rather than separated simpler elements.
Principles of Similarity:
- We tend to perceive similar elements in a design as a complete picture, shape or group; even if elements are separated.
- The brain seems to craft a link between elements of similar nature.
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| Fig 2.2, Principles of similarity, 17/2/2024 |
- We like to follow the paths, lines and curves of a design.
- Prefers to see a continuous flow of visual elements instead of separated objects.
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| Fig 2.3, Principles of continuation, 17/2/2024 |
Principle of Closure:
- We prefer to see complete shapes.
- If the visual element isn’t complete, we can perceive a complete shape by filling in the missing blanks/ visual information.
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| Fig 2.4, Principles of closure, 17/2/2024 |
Principle of Proximity:
- Ensuring related design elements are placed together in a process; unrelated items should be separate/ spaced apart.
- Close proximity means that items are connected/ have a relationship with each other and can become a visual unit as it helps with organisation/ giving structure to a layout.
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| Fig 2.5, Principles of Proximity, 17/2/2024 |
Principle of Figure/ Ground:
- Objects instinctively have either a foreground or background, where they either stand out prominently in the front(figure) or recede into the back (ground).
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| Fig 2.6, Principles of Figure/Ground, 17/2/2024 |
Law of Symmetry & Order:
- Elements that are symmetrical to each other tend to be perceived as a unified group.
- This makes them more likely to be grouped together than objects that aren't symmetrical with each other.
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Additional Notes:
Law of Uniformed Connectedness:
- Elements that are connected to each other by colours, lines, frames or other means are perceived as a group.
- Have to have some common characteristics to be visually recognised together.
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| Fig 2.8, Law of Uniformed Connectedness, 17/2/2024 |
Law of Pragnanz:
- The German term for good figure.
- When the brain helps to perceive ambiguous or complex objects as simply as possible.
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| Fig 2.9, Law of Pragnanz, 17/2/2024 |
Law of Common Fate:
- When objects move towards the same direction or pace, it is perceived as a group.
- A reminder of our brain seeking for patterns and coherence within the world we live in.
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| Fig 2.10, Law of Common Fate (Photo taken by Julia Craice), 17/2/2024 |
TOPIC 2
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Lecture Recap
Balance:
- Refers to the distribution of visual weight in a work of design.
- Visual equilibrium of elements that causes the entire image to look balanced.
- Can either be symmetrical or asymmetrical.
Symmetrical Balance:
- Equal "weight" on equal sides of a centrally placed fulcrum.
- Equal arrangement on either side of a central axis (horizontal or vertical) results in bilateral balance.
- Arranging elements equally around a central point results in radial balance.
- Approximate symmetry = equivalent but not identical forms are arranged around the fulcrum line.
Fig 3.1, Examples of the symmetrical balance of bilateral and radial balance, 19/2/2024
Asymmetrical Balance:
- Unequal visual weight on each side of the composition.
- One side might contain a dominant element which can be balanced with a couple lesser focal points on the other side.
- More dynamic and interesting as it evokes feelings of modernism, movement, energy and vitality.
- Offers more visual variety even though it's much more difficult to achieve as relationships between the elements are more complex.
Fig 3.2, Examples of asymmetrical balance, 19/2/2024
The Golden Ratio [Phi/ Golden Mean/ Golden Section]:
- Mathematical concept and number that goes indefinitely (1.61803...), the occurring number comes from the Fibonacci sequence.
- Perceived as the representative of perfect beauty/ uniquely found throughout nature.
- Used for centuries as a guide to create visual balance in architecture and painting.
- For artists or designers, it's used to bring harmony, balance and structure to one's work and increases the appeal of a design work.
Fig 3.3, Examples of the Golden Ratio, 19/2/2024
Rules of Thirds:
- Composition guidelines to create a more dynamic work of design/ photography/ film/ painting.
- Divided evenly into thirds, both horizontally and vertically; placing the subject on the intersection of those dividing lines/ along one of the lines.
Fig 3.4, Examples of the rule of thirds, 19/2/2024
Emphasis (& Dominance):
- To create dominance and focus in design work.
- Various elements like colour, shape or value can be used to achieve emphasis and dominance.
Fig 3.5, Examples of emphasis and dominance, 19/2/2024
TOPIC 3
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Lecture Recap
Repetition (Pattern & Rhythm):
- Can make a work of design look active.
- Creates rhythm and pattern within the work.
- Variety* is essential as it keeps the rhythm exciting and active to avoid monotony.
- Pattern increases visual excitement by enriching surface interest.
- *Variety is about a change or slight difference in elements and objects and avoids boring composition.
Fig 4.1, Examples of repetition, 19/2/2024
Movement:
- Leads the eyes in, around, and through a composition - the path the eye follows.
- When it occurs within a visual image, the objects seem to be moving but it isn't.
- Comes from different kinds of shapes, forms, lines, and curves.
Fig 4.2, Examples of movement within visual images, 19/2/2024
Hierarchy:
- The choreography of content in a composition communicates information and conveys meaning.
- Directs viewers to the most important information first, then they navigate through secondary content.
Fig 4.3, Examples of hierarchy within web design, 19/2/2024
Alignment:
- The placement of elements in a way that edges line up along common rows/ columns or their bodies along a common centre.
- Creates a sense of unity and cohesion which contributes to the design's overall aesthetic and perceived stability.
- Can also be a powerful means of leading a person through a design.
Fig 4.4, Examples of alignment within food products and web design, 19/2/2024
TOPIC 4
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Lecture Recap
Harmony:
- Involves the selection of elements that share a common trait.
- Becomes monotony without variety*.
- The sense that all of the elements of your design fit together (theme, aesthetic style or mood.)
- *Variety is about a change or slight difference in elements and objects and avoids boring composition.
Fig 5.1, Examples of harmony using colours and shapes, 23/2/2024
Unity:
- Refers to the repetition of particular elements (colours, shapes or materials) throughout your design to pull a look together.
- Occurs when elements are composed in a way where they look balanced and have a sense of oneness, creating a theme.
- Even if similar to harmony, both play a distinctive role when we experience design.
Fig 5.2, Examples of unity, 23/2/2024
Scale & Proportion:
- Both design elements have to do with size.
- Throughout the centuries, designers used size and proportion to depict/ distract from the ideal.
Scale:
- The size of one object in relation to the other objects in a design or artwork
- Refers to the size & dimension of figures and forms relative to a specific unit of measurement.
- Can be determined in 2 ways = Actual measurement & Visual estimates based on the comparison.
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| Fig 5.3, Actual measurement & visual comparison, 23/2/2024 |
- The applied use of scales would be within architectural drawings and scale models.
- Scale is also used to specify or illustrate details based on the relative sizes of objects.
- Substantial deviation = creates dramatic results and visual interest in design/ composition.
Fig 5.4, Scale within architectural and religious drawings, 23/2/2024
Proportion:
- The parts of an object in relationship to other parts of the same object.
- The relationship of 2 or more elements in a composition and how they compare to one another (size, colour, quantity, degree, setting, ratio, etc.)
- Said to be harmonious when a correct relationship exists between the elements with respect to size/ quantity.
- Effective use often results in harmony & unity.
Fig 5.3, Proportion within product design & artwork, 23/2/2024
TOPIC 5
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Lecture Recap
Symbol:
- A sign, shape or object that is used to represent something else.
- In design, it can provide/ convey information that is either one or more sentences of a text or even a whole story.
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| Fig 6.1, The different types of symbols, 23/2/2024 |
Pictorial Symbols:
- Image-related and simplified pictures.
Fig 6.2, Pictorial symbols, 23/2/2024
Abstract Symbols:
- Look like objects that they represent but with less detail.
Fig 6.3, Abstract symbols, 23/2/2024
Arbitrary Symbols:
- Have no resemblance at all to the objects or the ideas they represent.
- Is invented with the meaning constructed; many are based on geometric shapes and colours.
- We have to learn arbitrary symbols.
Fig 6.4, Arbitrary symbols, 23/2/2024
Word & Image:
- Imagery is a vital part of design, print or digital, as it can relate to a concept/ brand if the right images are used within the design; therefore designs must use suitable and relevant images.
- Choosing the right words to pair with the imagery is very important as it deepens the meaning of the design; Suitable typefaces and strategic position of the type will result in a visual hierarchy and balance.
- Typography is the design and arrangement of text to convey a message or concept.
Fig 6.5, Examples of using word & images within branding, 23/2/2024
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