Design Principles | Task 1: Exploration

3/2/25 - 17/2/25 (Week 1 - Week 3)

Kimberly Miaw Jya Nee | 0366836

Bachelor of Design (Honours) in Creative Media | Taylor's University

Design Principles

Task 1: Exploration (20%)

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[Tables of Content]

1. Lectures

2. Instructions

3. Task

4. Feedback

5. Reflection

6. Further Readings

7. Quick Links

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[Lectures]

Introduction: Elements & Principles of Design

Visual Communication

• Utilising design to convey purposeful message
• Must be well thought-out and executed
• Learning and applying elements and principles of design

Elements of Design [Individual "building blocks"]

1. Point

• Simplest element of design
• Forms a line when used as repetitive mark
• Two- and three-dimensional figures / forms are created as the points move in space

2. Line

• Active or static / aggressive or passive / sensual or mechanical
• Indicate directions, define boundaries of shapes and spaces, imply volumes / solids / masses, suggest motion or emotions 
• Can be grouped to depict qualities of light, shadow, patterns and textures

3. Shape

• The expanse within the outline of two-dimensional area or three-dimensional object
• Visible when a line / lines enclose an area, apparent change in value (lightness / darkness), colour / texture sets an area apart from its surroundings

• Geometric: precise and regular (circles, squares, triangles)
• Organic: irregular, curved, relaxed, informal

4. Form

• A three-dimensional area
• Volume: When form encloses space
• Major element in sculpture and architecture
• Form must be implied for 2D media (painting, illustration, drawing)

5. Texture

• Tactile qualities / visual representation of surface
• Can be experienced by touching or visual suggestion

• Actual: experienced by touch
• Simulated / Implied: created to look real

6. Space

• The indefinable, general receptacle of all things
• We see the space of the surface all at once in drawings, prints, photographs, paintings
• Defined by its edges (height & width)
• Yet, within these limited boundaries, an infinite number of spatial qualities can be implied

• 3D space is experienced when we are in it
• From the outside, we experience mass
• From the inside, we experience volume

In Graphic Design,

• Space & depth: the area that a shape / form occupies
• Positive: filled space
• Negative: empty space
• Illusion of a 3D space can be suggested through depth (can be achieved by overlapping of images, size variations, placement & perspective)

7. Colour

• Visual byproduct of the spectrum of light as it travels through  a transparent medium / absorbed & reflected off a surface
• Light wavelengths that the human eye receives and processes from a reflected source

Each of the million colours human beings can distinguish is identifiable in terms of just three variables:

• Hue: colours of the spectrum, e.g. yellow and green

• Value: lightness / darkness from white-grey-black
• Tint: white + hue
• Tone: grey + hue
• Shade: black + shade

• Intensity (Saturation / Chroma): purity of a hue
• Pure hue: most intense form of colour (highest saturation & brightest form)
• Added pigment (black, white, grey) + pure hue: intensity diminished & dulled

• Colour schemes: colour groupings that provide distinct colour harmonies
• Monochromatic: variations in value & intensity of a single hue
• Analogous: colours that are adjacent to one another on the colour wheel (each containing the same pure hue)
• Complementary: two hues directly opposite each other on the colour wheel

Principles of Design [Organisational fundamentals that resulted / guided the arrangement of elements]

1. Contrast

2. Balance

3. Emphasis

4. Rules of Third

5. Repetition / Pattern / Rhythm

6. Movement

7. Hierarchy

8. Alignment

9. Harmony

10. Unity

11. Proportion

Lecture 1: Contrast & Gestalt Theory

Contrast

• Juxtaposition of strongly dissimilar elements
• Visual experience will be monotonous without contrast
• Provide visual interest, emphasise a point & express content

Gestalt Theory

• Human brain is wired to see patterns, logic, structure
• "Gestalt" refers to shape or form in German
• Rules that describes how the human eye perceive visual elements
• Aim to show how complex scenes can be reduced to more simple shapes
• Aim to explain how the eyes perceive the shape as a single united form

1. Principle of Similarity

• Human eye tends to perceive similar elements in a design as a complete picture / shape / group (even if separated)
• Brain crafts a link between elements of similar nature

2. Principle of Continuation

• Human eye follows paths, lines, curves
• Prefers to see a continuous flow of visual elements rather than separated objects

3. Principle of Closure

• Human eye prefers to see complete shapes
• The viewer can perceive a complete shape by filling in the missing visual information, if the visual elements are not complete

4. Principle of Proximity

• Process of ensuring related design elements are placed together
• Any unrelated items should be spaced apart
• Close proximity: items are connected / related, and become one visual unit which helps organise / give structure to a layout

5. Principle of Figure Ground

• Objects are instinctively perceived as being either in the foreground or background
• Stand out prominently (the figure)
• Recede into the back (the ground)

6. Law of Symmetry & Order

• Elements that are symmetrical to each other tends 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

7. Law of Uniform Connectedness

• Elements that are connected to each other using colours, lines, frames, other shapes are perceived as a single unit when compared with other elements that are not linked in the same manner (Interaction Design Foundation, 2020)
• Works even when it contradicts other Gestalt Principles (proximity & similarity)

8. Law of Prägnanz (or Simplicity)

• Prägnanz means "good figure" or "pithiness” (literally defined as, “brief, forceful and meaningful in expression”) in German.(Interaction Design Foundation, 2021)
• Human eye likes to find simplicity and order in complex shapes (prevents information overload)

9. Law of Common Fate

• We see objects as a related group when they point in the same direction (Information Design Foundation, 2021)
• Perceive shapes as lines moving along the smoothest path

Lecture 2: Balance & Emphasis

Balance

• The distribution of visual weight in a work of design
• The visual equilibrium of the elements
• Two types: symmetrical & asymmetrical

1. Symmetrical

• Has equal "weight" on each sides of a centrally placed fulcrum
• Equal arrangement of elements on either side of the central axis (horizontal / vertical), resulting in bilateral balance
• Radial balance: elements equally arranged around a central point
• Approximate symmetry: equivalent but not identical forms arranged around the fulcrum line

2. Asymmetrical

• Unequal weight on each side of the composition
• One side might contain a dominant element, which could be balanced with lesser focal points on the other side
• Dynamic & interesting: evokes a sense of modernism, movement, energy, vitality
• Offer more visual variety, although can be difficult to achieve (because the relationship between elements are more complex)

The Golden Ratio

• Also known as phi (Golden Mean / Golden Section)
• A mathematical concept and a number that goes on indefinitely
• Ratio comes from the Fibonacci Sequence (a naturally occurring sequence of numbers)
• Representative of perfect beauty
• Has been used for centuries as a guide to achieve visual balance, harmony, balance & structure

Rules of Thirds

• A composition guideline to create a more dynamic work
• Image is divided evenly into thirds, both horizontally and vertically
• Subject is placed at the intersection of the dividing lines / along one of the lines itself

Emphasis (and Dominance)

• Used to create dominance and focus in a design
• Various elements can be used (colour, shapes, values)

Lecture 3: Repetition & Movement

Repetition (Pattern & Rhythm)

• Make a work of design seem active
• Creates rhythm and pattern
• Variety is essential to keep rhythms exciting and active (and avoid monotony)
• Patterns increase visual excitement by enriching surface interest

Movement

• The way a design leads the eye in, around, through a composition - the path the eye follows
• When objects seems to be moving in a visual image
• Comes from all the kinds of shapes, forms, lines, and curved used

Hierarchy

• Choreography of content in a composition to communicate information / convey meaning
• Directs viewers to the most important information first, and identifies navigation through secondary content

Alignment

• Placement of elements in a way that edges line up along common rows / columns / common centre
• Creates a sense of unity and cohesion
• Contributes to the design's overall aesthetic and perceived stability
• Can also be a powerful means of leading a person through a design

Lecture 4: Harmony & Unity

Harmony 

• The selection of elements that share a common trait
• Becomes monotonous without variety
• The sense of all the elements in a design fit together (theme, aesthetic, style, mood)

Unity

• The repetition of particular elements throughout the design (colours / shapes / materials) to pull the look together
• When elements are composed in such a way that they are balanced and  give a sense of oneness, creating a theme
• May sound similar to harmony, but each play distinct role in the way we experience design

Scale & Proportion

• Both design elements that are related to size
• Scale: size of one object in relation to the other objects
• Proportion: size of the parts of an object in relationship to other parts of the same object
• Used to depict / distract from the ideal

1. Scale 

• Size & dimension of figures and forms relative to a specific unit of measure
• Can be determined in 2 ways: actual measurement and visual estimates based on comparison
• Specify / illustrate details based on the relative sizes of objects
• Substantial deviation from a normal scale relationship can create dramatic results & visual interest 
• Examples of applied use of scale: architectural drawings and scale models

2. Proportion

• The relationship of two or more elements in a composition & how they are compared to one another, in terms of size / colour / quantity / degree / setting / ratio
• Harmonious when a correct relationship exists between the elements with respect to size / quantity
• Effective use of proportion results in harmony & unity

Lecture 5: Symbol, Word & Image

Symbol

• A sign, shape, object that is used to represent something else
• Provide / convey information and story 

• Figurative representations: visuals & graphic symbols (pictorial / abstract / arbitrary)
• Non-figurative representations

1. Pictorial Symbols

• Image-related
• Simplified pictures

2. Abstract Symbols

• Look like the objects they represent but with less details

3. Arbitrary Symbols

• No resemblance at all to the objects / ideas they represent
• Symbol is invented with the meaning constructed
• Many are based on geometric shapes & colour

Word & Image

• Imagery is a vital part of design (print / digital)
• Users & viewers are able to relate to a concept / brand when the right images (suitable & relevant) are used in a design
• Choosing the right words to pair with the imagery can deepen the meaning of the design 
• Typography: design & arrangement of text to convey a message / concept

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[Instructions]

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[Task]

For our first task, we were  required to describe each of the design principles listed and select suitable design examples to demonstrate our understanding.

1. Gestalt Theory 

Gestalt means "shape" or "form" in German. It is principles / laws of human perception on visual elements that explains how humans group similar elements, recognise patterns, and simplify complex images when perceiving objects (Interaction Design Foundation, 2016). 

Some examples of Gestalt Principles / Laws are:

(a) Similarity

• The human eye groups similar elements together, even if they are separate.

(b) Continuation

• The eye follows continuous lines, curves, or paths rather than seeing them as separate objects.

(c) Closure

• The eye completes incomplete shapes by filling in missing visual information.

(d) Proximity

• Related elements placed close together are seen as a group, while unrelated ones are spaced apart.

(e) Figure Ground

• The eye distinguishes objects as either the main subject (figure) or the background (ground).

(f) Symmetry & Order

• Symmetrical elements are perceived as a unified group, similar to the Principle of Similarity.

(g) Uniform Connectedness

• Elements connected by colours, lines, or shapes are seen as a single unit, even overriding other Gestalt principles.

(h) Prägnanz

• The eye seeks simplicity and order in complex visuals to avoid information overload.

(i) Common Fate

• Objects moving or pointing in the same direction are perceived as a related group.

Fig. 1. Gestalt Theory: Chapter 3 Gestalt Theory by Chris Brejon

2. Contrast 

There are many types of contrast in design, such as colour, tone, size, shape, and texture. While contrast can come in different forms, its main purpose is to create difference or opposition between elements in a design.

Fig. 2. Colour Contrast: A B&W Image of a White Swan on Grass by @archivemat on Cosmos

3. Emphasis

Emphasis in design is used to create a focal point on a specific element to highlight its importance in the composition. This can be achieved in various ways, such as adjusting lines, colours, shapes, or value of the element to make it stand out from the others.

Fig. 3. Emphasis: Bauhaus Exhibition - Transform Ausstellung 1923

4. Balance

Balance is an important principle in design, it refers to the visual weight of different elements within a composition. There are two types of balance: symmetrical and asymmetrical. According to Pluralsight, a design that lacks balance can confuse viewers and cause them to overlook the intended message of the design.

Fig. 4. Symmetrical Balance: Several Leaves by @rasmusanilsson on Instagram

5. Repetition

Repetition of elements helps create unity and rhythm in a design. It allows designers to emphasise key elements or information (Medium, 2023). Repetitive patterns can feel comforting and familiar since humans are naturally wired to recognise and respond to patterns.

Fig. 5. Repetition: Ceramic Tiles by @palet.company on Instagram

6. Movement

Applying movement in a composition can lead the viewer’s eye and create a sense of direction. It can also suggest that an object is in motion within an image. Movement can be achieved by manipulating lines, shapes, and curves.

Fig. 6. Movement: Poster by Jerry-Lee Bosmans

7. Harmony & Unity

Harmony is when the elements in a composition work or fit together, whether through a theme, style, aesthetic, or mood. Unity goes hand-in-hand with harmony (Havenly, 2022). Unity can be achieved alongside harmony by repeating certain elements throughout the design to pull everything together. 

Fig. 7. Harmony & Unity

8. Symbol

Symbols are used to represent identities and tell stories (ProAlley, 2023). It can be a sign, shape, or an object. There are 3 types of symbols: pictorial, abstract and arbitrary.

Fig. 8. Symbol: Tree Logos by Yasaburo Kuwayama's Trademarks & Symbols of the World Volume 2

9. Word and Image

Using the right words to pair with an image can further elevate and deepen the meaning of the of a design. Typography is also used express a message, concept or mood.

Fig. 9. Word and Image

For our second exercise in this task, we have to select an artwork that we find interesting and briefly describe why we chose that artwork in about 150-200 words. Then, we would also need to list the design principles observed in the artwork.

Fig. 10. 1899, The Water Lily Pond, Claude Monet

Title: The Water Lily Pond

Artist: Claude Monet

Year: 1899

Size: 93 cm x 74 cm

Medium: Oil paint on canvas

Source: https://www.claude-monet.com/the-water-lily-pond.jsp

I have always been fascinated by the Impressionism movement, and Claude Monet is one of its most iconic figures, with the movement itself named after his famous painting Impression, Sunrise. Among his works, The Water Lily Pond is my favourite. 

This painting of his garden in Giverny captures a peaceful, serene atmosphere. This is achieved  by using analogous colour palette and the softly painted elements harmonising together. The use of lighting in this piece suggests that it  was painted either on a bright morning or during sunset, as seen in how the water lilies, trees and bridge are softly illuminated. I also admire the way he paints water. The floating water lilies in the painting suggests there are movement. It looks weightless and blend seamlessly into the reflective surface of the water below. 

Despite the absence of harsh lines (except for the bridge), the forms remain recognisable by viewers. In another words, it's the process of creating the illusion of detail instead of drawing every little thing. We can still make out what is in the painting which I think is amazing. It reminds me of the quote "less is more", which shows how softness and suggestion can just be as powerful as clarity and detail.

Design principles observed in The Water Lily Pond:

1. Gestalt Theory

(a) Principle of Figure Ground

• The bridge in the painting stands out prominently as the main figure
• The water lily pond and foliage serves as a background, which creates depth in the composition

(b) Principle of Close Proximity

• The water lilies are placed close together, which created a sense of unity in the pond

2. Emphasis

• The bridge is the dominant element in this painting due to its placement (Rule of Thirds), strong geometric structure, and contrast against the lighter background.

3. Balance

(a) Symmetrical & Asymmetrical

• The bridge creates a centre dividing line, but the composition is not perfectly symmetrical
• The reflections of the foliage on the pond's surface add slight asymmetry 

(b) Rules of Third

• The bridge is positioned around the upper third of the composition which creates a strong focal point

4. Repetition

• Water lilies and foliages are repeated throughout the painting

5. Movement

• The irregularly placement of the water lilies suggests natural movement, as if they are floating around the water.
• The curved bridge guides the viewer's eye across the painting
• The leading lines of the pond adds flow and direct attention toward the centre of the scene

6. Harmony & Unity

• The analogous colour palette of this painting and soft brushstrokes creates harmony between each elements
• The elements unites the whole painting together

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[Feedback]

Week 1 (3/2/25)

General Feedback:

Module and Task 1 Briefing. Start to do research on each design principles and explain them while providing suitable images. Then, select an art/design works + include their details.

Specific Feedback:

Done step 1-4 for Task 1.

Week 2 (10/2/25)

General Feedback:

Progress check by Mr Vinod during tutorial and received good feedbacks.

Specific Feedback:

Need to further elaborate on Gestalt Theory and continue finishing up the second exercise.

Week 3 (17/2/25)

General Feedback:

[Submission Week] Completed Task 1. Progress Check by Mr Vinod during tutorial and received good feedbacks. 

Specific Feedback:

Finished up reflection for Task 1. Mr Vinod's Feedback: incorporate design principles observed in artwork into description as well.

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[Reflection]

Experience

Overall, this task was simple and straightforward, but it required extensive research to fully understand and elaborate on each design principle. I also enjoyed exploring Claude Monet’s painting collection while selecting an artwork to study.

Observation

Design principles are essential for creating a visually appealing and cohesive work of art / design. When combined effectively, different principles can add depth, emphasize key elements, and enhance the overall atmosphere of the composition.

Findings 

Understanding design principles allows us to recognize and appreciate the techniques used by other artists and designers in their work. Additionally, studying and applying these principles correctly can help improve our design skills. It reinforces the importance of being intentional when composing a design.

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[Further Readings]

Fig. 11 The Design of Everyday Things by Don Norman

The Design of Everyday Things

With the passage of time, the psychology of people stays the same, but the tools and objects in the world change. Cultures change. Technologies change. The principles of design still hold, but the way they get applied needs to be modified to account for new activities, new technologies, new methods of communication and interaction. 

- Don Norman

ONE: The Psychopathology of Everyday Things | Page 3

Two most important characteristics if good design:

1. Discoverability

• Is it possible to even figure out what actions are possible and where and how to perform them?

2. Understanding

• What does it all mean?
• How is the product supposed to be used?
• What do all the different controls and settings mean?

ONE: The Psychopathology of Everyday Things | Page 4

The Complexity of Modern Devices

• All artificial things are designed
• Not all designed things involve physical structures (services, lectures, rules, procedures)

This book covers everyday things, focusing on the interplay between technology and people to ensure that the products actually human needs while being understandable and usable.

The major areas of design relevant to this book:

1. Industrial Design (form & material)

2. Interaction Design (understandability & usability)

3. Experience Design (emotional impact)

ONE: The Psychopathology of Everyday Things | Page 7

When a machine fails to operate, the operators were blamed for these failures. "Human error" was the immediate analysis.

The moral was simple:

We were designing things for people, so we needed to understand both technology and people.

But that's a difficult step for engineers (their mindset): 

machines are so logical, so orderly. If we didn't have people, everything would work so much better.

"You are designing for people the way you would like them to be, not for the way they really are."

Even experts make errors. So we must design our machines on the assumption that people will make errors. 

Thank You

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