Design Principles - TASK1
3/2/2025-Ending Week
FENG SHIWEN / 0374595
Bachelor of Design in Creative Media / Design Principles
Taylor's University
TABLE OF CONTENTS
2. Lectures
3. Task 1
4. Feedbacks
INSTRUCTIONS
LECTURE
ELEMENTS OF DESIGN
1. 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.
- 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 lightand shadow and to form patterns and textures.
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- 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.
- Organic - irregular,often curving or rounded, & seem relaxed & more informal than geometric shapes.
4. 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.
- With two-dimensional media, such as painting, illustration or drawing, form must be implied.
- 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 can be experienced by touching or through visual suggestion.
- Two categories of texture - actual (experienced by touch) & simulated or implied (created to look like the real texture).
- 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.
7. 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.
Colour (cont'd)
- Hue: Colours of the spectrum, yellow and green.
- Value: This refers to the lightness or darkness from white through greys to 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 hue in 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 emphasise two hues directly opposite each other on the colour wheel.
TASK1
Describe each of the design principles listed below and select suitable design examples to demonstrate your understanding.
Word and Image
1. Gestalt Theory
Concept:
Gestalt theory originates from psychology and explains how people perceive visual elements as a whole rather than as separate parts. Key principles include proximity, similarity, continuity, closure, and figure-ground relationships.
Examples:
Logo Design: The IBM logo uses evenly spaced horizontal lines, which our brain perceives as a single word rather than separate lines.
2. Contrast
Concept:
Contrast is the use of differences in color, shape, size, texture, or typography to make certain elements stand out and improve readability and visual appeal.
Examples:
Poster Design：The black-and-white color contrast in the “Schindler’s List” movie poster, where the red coat of a little girl draws attention.
3. Emphasis
Concept:
Emphasis highlights a specific visual element to create a focal point and direct the viewer’s attention.
Examples:
Book Cover Design：Bold, enlarged, or color-highlighted typography draws attention, such as the large “1984” text on George Orwell’s book cover.
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4. Balance
Concept:
Balance refers to the distribution of visual elements to create stability and harmony. It can be symmetrical (evenly balanced) or asymmetrical (uneven but visually stable).
Examples:
Brand Logos：The Apple logo is asymmetrical but still visually balanced.
5. Repetition
Concept:
Repetition involves using the same colors, shapes, patterns, or typography multiple times in a design to create consistency and reinforce brand identity.
Examples:
Corporate Branding (Visual Identity)：McDonald’s consistently uses the golden “M” logo and red-yellow color scheme worldwide.
6. Movement
Concept:
Movement guides the viewer’s eyes along a path within the design, creating a sense of flow and direction.
Examples:
Advertising Design：Nike ads often feature athletes in dynamic poses with tilted angles and motion blur to enhance movement.
7. Harmony & Unity
Concept:
Harmony ensures that different design elements work well together without conflict, while unity ensures the design looks cohesive and belongs to a single composition.
Examples:
Brand Identity：Starbucks maintains visual unity with its signature green theme across logos, store interiors, packaging, and advertisements.
8. Symbol
Concept:
Symbols use simplified graphics or icons to represent concepts or ideas, often with strong recognition and meaning.
Examples:
Logo Design：The Olympic rings symbolize unity among five continents.
9. Word and Image
Concept:
The combination of text and imagery enhances communication, making the design more engaging and effective.
Examples:
Movie Posters：The “Jaws” poster shows a shark approaching from below, combined with the bold title “Jaws,” creating a strong impact.
🔎🔎🔎
1.Select an art/design work that piques your interest.
2. Upload the image of the art/design work (JPEG file, min. A4
size, 300dpi) in your Task 1 blogpost.
3. 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 of the art/design work and the source).
4. Explain, in a writeup of about 150-200 words in the Task
1 blogpost, why you chose that art/design work.
5.List and briefly describe the design principles you observed in
that art/design work in the Task 1 blogpost.
- The Design Work I Am Interested In:
Title: Blade Runner 2049 Official Poster
Designer: LA (Design Studio)
Year: 2017
Size: Variable (Used for movie promotion). The photo size here is 2000 x 2962 pixels.
Medium: Graphic Design, Digital Art
- Reason for Choosing This Work
I find this poster fascinating because it not only grabs attention but also effectively conveys the movie’s themes—an exploration of technology and humanity, as well as the harsh and dystopian vision of the future. The design’s bold use of colors and symmetry makes it a powerful piece that enhances the storytelling and emotional impact of the film.
- Design Principles Observed in This Work
- Color Contrast: The left side features a cool blue tone, while the right side has a warm orange hue, creating a strong visual impact. This contrast not only enhances the poster’s eye-catching appeal but also reflects the film’s themes. Blue symbolizes coldness, technology, and a futuristic feel, while orange represents mystery, decay, and the unknown. This color contrast subtly conveys the two opposing worlds in the film—one being a highly technological city and the other a desolate wasteland.
- Lighting Contrast: The lighting on the characters’ faces is carefully designed. For instance, K (played by Ryan Gosling) is illuminated by cool-toned light on one side of his face, while Rick Deckard (played by Harrison Ford) is bathed in warm light. This interplay of lighting enhances the three-dimensionality of the characters while also symbolizing their differences and connections.
- Character Contrast: K appears calm and composed, whereas Deckard looks more rugged and weathered. This visual contrast reinforces their respective roles in the story and highlights the generational and experiential differences between them.
- Symmetrical Layout: The two main characters are positioned side by side, each occupying equal visual space. This creates a sense of stability while emphasizing their duality in the film’s narrative.
- Balanced Use of Color: While the left and right sides feature contrasting colors, they are evenly distributed across the composition, preventing one side from visually overpowering the other. This ensures a harmonious and aesthetically pleasing design.
- Typographic Balance: The title is placed at the bottom center, anchoring the design and ensuring that the viewer’s focus remains on the central characters before moving down to the film’s name.
FEEDBACK
WEEK2
Specific Feedback: I see you are looking for covers and posters, good choices, if you really like things like covers, you can focus on design with this area. You can highlight comments with examples of each principle.
WEEK3
Specific Feedback: You can also take a more critical view and think about design choices, elements in the poster, etc., in your analysis. All in all, good choice.
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