WEEK 02: Design Principles Lectures and Exercise 2

 DESIGN PRINCIPLES

WEEK 2: Lectures

NAME: Adeline Wong Chyn Nee

I.D: 0344017

COURSE: Bachelors of Design in Creative Media

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It's the second week of the Design Principle lecture and I took out some time on Monday morning to listen to the lecture while having my breakfast. I personally feel that it is refreshing to listen to Ms. Jinshi's voice in the morning, as she has a pleasant and sweet voice, which ultimately allows me to focus on her words and lesson. I hope to meet her one day, whether it is through online classes or through face-to-face classes on the campus.

LECTURE NOTE 2

In week 2, we learned about :

1. Balance
2. Emphasis
3. Repetition
4. Movement
5. Hierarchy
6. Alignment

Balance and Emphasis exist in not only design but the elements that surround us. As a student, I never really studied these few sub-topics on an intricate level before as I did not realize the importance and effects they could bring to a design. Through this lecture, I learned some knowledge that I can use in my future design work through the straightforward details and clear examples shown by Ms. Jinchi.

Balance & Emphasis

• Balance

I learned that there are 2 types of balance

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) resulting in the bilateral balance
• Arranging elements equally around a central point results in radial balance
• Approximates symmetry is when equivalent but not identical forms are arranged around the fulcrum line

Some examples of symmetrical balance are:

Bilateral balance:

Fig. 1.1 Example of bilateral balance shown through a motif batik

Bilateral balance is shown when an invisible line is drawn in the middle and the two sides are symmetrical, mirroring each side.

Radial balance: 

Fig. 1.2 Example of radical balance shown through a Diwali graphic design work

Radical balance is a form of symmetrical balance where elements within an image radiate outwards from a central point, that way they create an even pattern, adding depth to the picture which helps the audience to focus on the subject in the centre.

Approximates symmetry: 

Fig. 1.3 Example of approximate balance is shown through a painting

Approximates symmetry is when the design can have an equal division in the image, however, the elements in the design are not exactly the same.

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 lesser focal points on the other side
• More dynamic and interesting. It evokes feelings of modernism, movement, energy and vitality.
• Asymmetrical balance offers more variety, although it can be more difficult to achieve because the relationship between elements is more complex 

Some examples of asymmetrical balance are:

Fig. 1.4 Example of asymmetrical balance is shown through a photograph

The left side is heavier, and it suggests that there is a vastness that is expanding to the other side of the photograph.

Fig. 1.5 Example of asymmetrical balance is shown through a poster

This poster’s image is at the top right corner and it is paired and balanced by an equally big typeface. Even though the background colour is red (a dominant colour), it still leaves a white space that balances the red.

Next, we touched on the topic of The Golden Ratio which was very interesting to me because of the way I heard artists, painters, illustrators, designers, or photographers can use a simple curve to create such beautiful work, so I was very intrigued about it and would like to learn it and be able to apply it onto my work in the future.

The Golden Ratio (Golden Mean, Golden Section)

• Also known as phi, the Golden Ratio is a mathematical concept and a number that goes on indefinitely (1.618033988749895…). The ratio itself comes from the Fibonacci sequence, a naturally occurring sequence of numbers that can be found everywhere, from the numbers of leaves 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 throughout nature.
• The Golden Ratio has been used for centuries as a guide to creating visual balance in architecture and paintings.
• For designers, illustrators, or digital artists, the Golden Ratio can be used to bring harmony, balance and structure to one’s work. It can also increase the appeal of design work.

After learning what is The Golden Ratio, I decided to get hands-on to try drawing the curve myself for the first time, it was not my best attempt but I'm sure there will be improvements as it was my first curve.

Fig. 1.6 My attempt at drawing the curve.

I followed Ms. Jinchi and drew one golden ratio curve.

For the Golden Ratio to form, we have to take a square, multiply one side by 1.618 to get a new rectangle with harmonious proportion and keep applying the golden ratio formula to the new rectangle, and we will get an increasing amount of smaller squares.

The golden ratio appears in nature and is applied to designs,

Fig. 1.7 The Golden Ratio on a seashell

It is then applied to design work like web design.

Fig. 1.8 A web design following The Golden Ratio

Rule of Thirds

It is a composition guideline to create more dynamism to a work of design/ photography/ oil/ painting.

Fig. 1.9 A photography captured with The Rule of Thirds

An image is divided evenly into thirds, both horizontally and vertically, and the subject of the image is placed at the intersection of those lines, or along with one of the lines itself.

Fig. 1.10 A book cover designed with The Rule of Thirds

Emphasis and dominate

• Emphasis is used to create dominance and focus in design work.
• Various elements can e used to create emphasis, such as color, shapes, or value, to achieve dominance

An example of emphasis and dominance is:

Fig. 1.11 A piece which shows emphasis through its chosen color, red

LECTURE 3 

Repetitive & Movement

In Lecture 3, Ms. Jinchi showed us few images and asked what the students thought about them.

Fig. 1.12 A yellow zebra crossing line

Fig. 1.13 Stainless steel window grail

Fig. 1.14 Floors of balconies on a building

Fig. 1.15 A photograph of a religious prayer

My initial thought was how the image brought my eyes from and towards a point. It seems to me that these images seem to have the ability to tell a story, it does not feel static but rather active and alive. Through this sub-topic, I realized the effect movement has on design and I shall start applying them to my future design works.

Repetition, pattern, and rhythm 

1. Repetition could make a work of design seem active.
2. The repetition of elements of design creates rhythm and pattern within the work.
3. Variety is essential to keep rhythms exciting and active and to avoid monotony.
4. Pattern increase visual excitement by enriching surface interest

These are some examples of repetition:

Shawl (Selampai)

Fig. 1.16 A beaded shawl called "Selampai"

Fig. 1.17 A beaded shoe

Repetition creates a pattern, however, variation added to the pattern creates movement.

These are some examples of repetition with added movement:

Fig. 1.18 A closed composition of butterflies of different sizes

Fig. 1.19 A open composition of lizards and flowers of different sizes

After that, we are shown a small clip of an animation from Disney which shows repetitive applied motion pictures.

Gif. 1.20 A snippet of the animation shown

Repetition appears in book design as well, the lines act as spaces that separate the typeface, it is also the line where the pigeons stand so the work does not look too static. 

Fig. 1.21 1 A book cover design

Movement

1. The way a design leads the eye in, around and through a composition- the path the audience’s eyes follow
2. Motion or movement in a visual image occurs when objects seem to be moving in a visual image.
3. Movement in a  visual image comes from the kinds of shapes, forms, lines, and curves that are used.

Example:

Fig. 1.22 Design of movement

Strategic placements of the triangle create movements throughout the composition which helps guide the eye of a viewer.

Fig. 1.23 Design of movement

Repetition of the alternate direction of left and right of the typeface creates movement for the eye of a viewer.

Lastly, we watched an advertisement video of a skincare product which shows the movement through its effects used.

Hierarchy

1. Hierarchy is the choreography of content in a composition to communicate information and convey meaning.
2. Visual hierarchy directs viewers to the most important information first and identifies navigation through secondary content.

Examples of the hierarchy are:

Fig. 1.24 Web design example

Fig. 1.25 Web design example

A red shade of colour similar to the company’s brand colour is used to catch the users’ attention. So even though the company name is small, the red colour contrasts with the white, making it visible. The website focuses mainly on the services provided, hence the second information being the white words “Hire the best service providers for your everyday needs”. 

Alignment

1. Alignment is the placement of elements in a way that edges lineup along common rows or columns or their bodies along a common center.
2. Alignments create a sense of unity and cohesion, which contributes to the design's overall aesthetic and perceived stability.
3. Alignment can also be a powerful means of leading a person through a design.

Examples:

Fig. 1.26 Taylor's Design School web design example

The article is placed on the left side, and the tweet info is on the right, the alignment here is a direct example of a good alignment website

Fig. 1.27 TIMES magazine front cover example

Alignment is on the right for this magazine, while the subject image is on the left.

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INSTRUCTIONS (Exercise 2)

• Choose 2 principles from (Emphasis/ Balance/ Repetition/ Movement).
• Produce 2 for each chosen principle.
• Progress is to be shown to and discuss with the lecturer during practical class.
• Any choice of material can be used.

The progress and final work must be uploaded to our blog, specifically:

• Visual research
• Idea exploration and description
• Final outcome in PDF and short rationale
• Feedback by the lecturer
• Reflection on the particular exercise

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VISUAL RESEARCH (Repetition)

For exercise 2, I chose repetition and movement for my subject choice of design. In order to put out a proper and meaningful design, I researched repetition to better understand the requirements and purpose of a design of repetition.

In definition:

Repetition is simply repeating a single element many times in a design. For example, you could draw a line horizontally and then draw several others next to it. There 3 methods of repetition, repetition, pattern, and rhythm.

The 3 methods of repetition:

Repetition: Repetition is simply repeating a single element many times in a design.

Fig. 2.1 Repetition

Pattern: Patterns are simply a repetition of more than one design element working in concert with each other. A seamless pattern is one where every element within a design combines to form a whole.

Fig. 2.2 Pattern

Rhythm: When you repeat elements, the intervals between those repetitions can create a sense of rhythm in the viewer and a sense of movement.

Fig. 2.3 Rhythm

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MY IDEA (Repetition)

While coming up with ideas for my repetition design, I looked around my house to discover that repetition appears in most things, like dining chairs, dishes on a drying rack, and even ceiling lights. That is when I thought to myself, "What are the things that are repeated when being done in action?" I looked around my house and saw that my grandmother is at the altar table throwing Jiao Bei, also known as Moon Blocks, they are crescent-shaped wooden divination tools originating from China, which are used in pairs and thrown to seek divine guidance in the form of 'yes' or 'no' questions. The moment I saw my grandmother throw them repeatedly, I got my idea of creating a repetition design of Jiao Bei.

As the Jiao Bei is thrown then hits the ground, the 'yes' and 'no' answers will be determined by the fallen placement or position. The Jiao Bei is thrown multiple times to answer several questions in a single prayer session.

Fig. 2.1 Repetition design idea

SKETCHES (REPETITION)

Fig. 2.2 Development of Jiao Bei design

First, I designed the basic shape of a Jiao Bei, which is crescent-shaped. I then duplicated it into 2 and reflected one to make both shapes face each other, I added shadings and highlight to create depth and form which at the same time produces a 3D effect.

Fig. 2.3 Creating of repetition in design

To create the repetition part of my design, I simply placed them in 7x3 vertical rows. This repetition basically represents the repeated throwing of the Jiao Bei.

Fig. 2.4 Final Design

To add significance and meaning to my design I decided to add shadows and highlight on all of the pieces except for one of the piece of the pair of Jiao Bei right in the middle, which represents the 'yes' answer while all the other ones represent 'no'. 

Fig. 2.5 Final PDF (Repetition)

This design is called 'The Answer You Wanted'

All of the Jiao Bei in the design is indicating 'no' except for the pair of Jiao Bei in the middle.

While one throws the Jiao Bei, they ask a question wishing to see the answer they want in order to solve their curiosities or sometimes concerns, and when that answer finally appears they stop throwing them and looking for answers as the Jiao Bei helped to reassure their thoughts and doubts.

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VISUAL RESEARCH (Movement)

For my second design of this exercise, I have decided to work on a design of the movement. It seems like a vague principle of design to work with. So I am looking forward to work on this one.

To understand the exercise better and execute it well, I did research on the movement of design. The definition of movement is the path the viewer’s eye takes through the work of art, often to focal areas. Such movement can be directed along lines, edges, shape, and color within the work of art. 

Fig. 2.6 Movement in sculpture piece

This is a furniture piece artwork by Orta Milklos, the designer creates irregular organic shapes and lines which creates focus on the connecting flow of the whole piece.

Fig. 2.7 Movement in photography

This photography is created by Tom Zielinski, a Polish photographer. It shows a series of artistic and experimental movement photography called “Modern Drag Downs”.

The photographer captures various movements of a female nude body to portray its dynamic fading in this stunning black and white series. This creates a fantastic, almost ghostly, and beautiful mood.

MY IDEA (Movement)

Fig. 2.8 'Shits & Sausages' card game

For my movement exercise, I took inspiration from a card game called 'Shits & Sausages' created by David Shrigley. The illustrations are sketch-like and slightly abnormal outline drawing style. One card, in particular, caught my attention and it is the yellow card in the middle, it shows a 'head' smelling a sausage however it looks like the head had to moved towards the sausage to smell it, we can picture that from the red flow of lines behind the head.

Fig. 2.9 Small intestine

Initially, when I thought of the word 'movement', something rang in the back of my mind (bowel movement) however I didn't really execute it at first as I thought it was a silly idea. However, I thought to myself that I should give it a try, and perhaps when I execute the idea well, people wouldn't think it's weird, but a rather refreshing idea.

In the end, I went with this idea instead of the card game idea because of the unique idea.

SKETCHES (Movement)

Fig. 3.1 Sketch one (Movement)

My sketch of the card game idea, but added a new 'head' that connects to the other side of the 'body' which is what creates the movement. I felt that the idea was there but it would be difficult to execute well and meaningful at the same time. 

I changed my mind and chose the other path a.k.a bowel movement.

Fig. 3.2 Sketch two (Movement)

One thing led to another, and I'm now creating a design of movement using bowel movement as my inspiration, and definitely not because I relate to this subject, but solely because it is an interesting topic to work on.

Fig. 3.3 First execution (Movement)

I personally didn't like the first idea at all, the shape and form were not what I have imagined the intestine to look like. So I decided to try altering the shape slightly.

Fig. 3.4 Initial final Design

Dr. Charles' feedback

The movement of this design can be improved with the 'icing piping effect'.

He mentioned that as of now, the intestine lacks connectivity as it is placed in front of a white background.

After hearing his feedback, I decided to make a few changes. The following is my final design.

Fig. 3.5 Final Design

I added on some effects on the intestines by creating big to small sizes for the shape, slightly snaky-like and hopefully, it is like how Dr. Charles described it, 'icing piping effect'.

I also added a gradient background to make use of the negative space and lastly, I connected the intestine to the top of the frame in order to create connectivity between the subject and background.

Fig. 3.5 Final PDF design (Movement)

REFLECTION

Throughout this exercise, I had a lot of fun experimenting with creating 3D-like designs with the help of gradients. Although some of the ideas I came up with on my second exercise might seem peculiar for some but I feel that I am happy with the ideas I came up with for my second exercise and hope to continue this spirit for the rest of the exercises and projects. Lastly, I hope my intestine design helped those who are struggling with constipation as it weirdly did for mine.

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REFERENCE:

Repetition, Pattern, and Rhythm. (2020, August 16). The Interaction Design Foundation. https://www.interaction-design.org/literature/article/repetition-pattern-and-rhythm

Petzold, D. (2013, September 4). Experimental Movement Photography by Tom Ziebinski. WE AND THE COLOR. https://weandthecolor.com/experimental-movement-photography-by-tom-ziebinski/23123