Design Principles (Task 1)

NAME : MYRA ELIDA BINTI ABD AZIS

STUDENT ID : 0358516

GCD60804

TASK 1

INSTRUCTIONS

EXPLANATION

GESTALT THEORY
- In German, "Gestalt" means shape or form

- Rules that describe how the human eye sees visual elements.

- The aim is to show how complex shapes can be reduced to simple shape. Also, how the eyes see shapes as a single united form than the separate simple elements involved.

Fig 1.1

Reference

CONTRAST
- Juxtaposition (the act of placing two or more things side by side often to compare to create an interesting effect) of strong dissimilar elements

- Provide visual interest, emphasise a point and content

Fig 1.2

Principle of Similarity

- We see similar elements as a complete picture, shape or group even if separated.

- The brain crafts a link between elements with similar nature.

Fig 1.3

Principle of Continuation

- The eye follows the paths, line and curves of a design and prefers to see a continuous flow of visual elements than those separated.

Fig 1.4

Reference

Principle of Closure

- The eye prefers to see complete shapes. If not complete, the user perceive a complete shape by filling in the missing visual.

Fig 1.5

Principle of Proximity

- Process of related design elements are placed together and anything unrelated should be spaced apart.

- Close proximity means items connected and become one visual unit which helps to organise to a layout.

Fig 1.6

Principle of Figure/Ground

- Objects are seen as being either in the foreground or background. Either they stand out or recede into the back.

Fig 1.7

Law of Symmetry & Order

- This means elements that are symmetrical to each other tend to be seen as a unified group. This suggests that objects that are symmetrical will be likely be grouped together than objects that are not.

Fig 1.8

EMPHASIS
- To create dominance and focus

- Various elements can be used such colours, shapes or value

Fig 1.9

BALANCE
- Distribution of visual weight in a design

- Visual equilibrium of elements that causes total image to be balanced

- Can be symmetrical or asymmetrical

Fig 1.10

Symmetrical Balance

- Equal "weight" on each sides of a central fulcrum

- Equal arrangement of the central axis

- Elements are equal around a central point resulting radial balance

- Approximate symmetry means equivalent but not identical forms arranged on the fulcrum line

Fig 1.11

Asymmetrical Balance

- Unequal visual weight

- One side of the composition has a dominant elements which can be balanced by more lesser focal points on the other side

- Can offer more visual variety which is difficult to achieve due the elements are more complex

Fig 1.12

Golden Ratio

- Representative of prefect beauty

- Guide to create visual balance in architecture and paintings

- For designers, can be used to bring harmony, balance and structure also increase the appeal of a design work

Fig 1.13

Rule of Thirds

- Composition guideline to create more dynamism to a work of design/photography/film/painting

- Image divided evenly into thirds, horizontally and vertically

Fig 1.14

REPITITION
- Design that seem active, create rhythm and pattern

- Variety is essential to keep rhythms to avoid monotony

- Increases visual excitement by enriching surface interest

Fig 1.15

MOVEMENT
- Leads the eye in, around and through a composition : the path the eye follows

- Motion in visual image happens when objects seems to be moving

- Comes from the kinds of shapes, forms, lines and curves

Fig 1.16

Hierarchy

- Choreography of content in a composition communicate information and meaning

- Directs viewers to the most important information first, identifies navigation through secondary content

Fig 1.17

HARMONY & UNITY
- Placement of edges line up along common rows or columns, or along a common centre

- Creates a sense of unity and cohesion, which contributes overall aesthetic and perceived stability

- Leading a person through a design

Fig 1.18

SYMBOL
- Sign used to represent something else

- Provide information, equivalent to one or more sentences of text

Fig 1.19

Pictorial Symbols

- Image related and simplified pictures

Fig 1.20

Abstract Symbols

- Look like the objects that represent but less details

Fig 1.21

Arbitrary Symbols

- No resemblance to the objects or ideas they represent

Fig 1.22

WORD & IMAGE
- Important to use suitable and relevant images when designing

- Can deepen the meaning of the design based on the image

- Typography is arrangement of text to convey a message or concept

Fig 1.23

UNITED NATIONS' SUSTAINABLE DEVELOPMENT GOALS (UNSDG)

GOAL 14: Life Below Water

- Conserve and sustainably use the oceans, seas and marine resources for sustainable development

- Prevent and significantly reduce marine pollution of all kinds, in particular from land-based activities, including marine debris and nutrient pollution.

- End subsidies contributing to overfishing

Fig 2.1

Reference

Title : Life Below Water

Artist : Mr. Fijodor also known as Fijodor Benzo

Year : 2018

Material : Garbage

The artwork that I have chosen in relation to the UNSDG's "Life Below Water" is by Mr. Fijodor also known as Fijodor Benzo which he made for this specific goal. The reason why chosen this artwork is because it was constructed entirely of garbage from Mr. Fijodor. Our oceans are now showing obvious signs due to humans recklessly throwing garbage everywhere which cause stuff to happen like The Great Pacific Garbage Patch. From the garbage floating everywhere land or sea, microplastic are appearing in foods. He stated that he used a whale as it is the largest marine mammal but the most vulnerable. Moreover, it represent the fragility of the marine ecosystem. - 112 words

The design principles present :

- Symbol

- Harmony & Unity

- Balance (Asymmetrical)

Feedback

Week 2 - Add pictures for the notes

-Wrong principle used for artwork

Week 3 - Add material used for artwork, add links for the reference

Self-reflection