TASK 1 (Exploration)
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03/02/2025 - 17/02/2025 (Week 1 - Week 3)
Chang Wing / 0367807
Design Principles / Bachelors of Design (Honours) in Creative Media / Taylor's University
Task 1 (Exploration)
INSTRUCTIONS
Task 1 (Exploration)
Part 1: Required to describe each of the design principles: Gestalt theory, Contrast, Emphasis, Balance, Repetition, Movement, Harmony & Unity, Symbol, Word & Image and select
suitable design examples to demonstrate understanding.
Part 2: Select one art/design work that piques personal interest, explain in a writeup of about 150-200 words, the reason of choosing that art/design work. List and briefly describe the design principles observed in that art/design work.
Task 1: Part 1
1.0 Gestalt Theory
Gestalt principles or laws, describe how the human eye organises and interprets visual elements. These principles demonstrate how complex scenes can be simplified into more recognisable shapes, allowing viewers to perceive order and structure within a design. They also explain how the eye instinctively groups individual elements into a cohesive whole rather than seeing them as separate, disconnected parts.
The principle of similarity states that the human eye instinctively groups similar elements within a design, perceiving them as part of a unified whole even when they are physically separated. This principle suggests that the brain establishes connections between elements that share common attributes such as colour, shape, size, or texture.
In Figure 1.1, the artwork effectively demonstrates the principle of similarity through the repetition of oval, eye-like shapes resembling the ocelli of a peacock’s feathers. Although the design consists solely of these ocelli shapes without the full structure of the tail feathers, the visual system still perceives and groups them as a cohesive whole, allowing the viewer to recognise them as forming the tail feather of a peacock.
Figure 1.1 Peacock from Artsy Dork
This is another artwork (Figure 1.2) that shows the incorporation of principle of similarity. In this composition, circular shapes collectively suggest the silhouette of a golfer, while areas of similar colour contribute to the perception of distinct forms. The white shapes seamlessly come together to depict the golfer’s hat, clothing, shoes, and golf club, whereas the black areas define the face, pants, and legs. This strategic use of similarity guides the viewer’s perception, creating a cohesive and recognisable figure from otherwise separate elements.
Figure 1.2 Untitled from Pinterest
The principle of continuation suggests that the human eye naturally follows paths, lines, and curves within a design, seeking a seamless flow of visual elements rather than perceiving them as separate, disconnected objects.
The movie poster (Figure 1.3) demonstrates the principle of continuation through the distorted placement of the word "Blame", which follows the leading line of a hallway. Instead of viewing the letters as separate elements, the eye naturally perceives them as a continuous whole, tracing a linear path from the bottom left to the upper right. This flow directs the viewer’s gaze across the composition, leading them from one end of the crime scene to the another end of entrance/exit, symbolising either an escape from or a confrontation with the crime. This use of continuation strengthens visual storytelling.
Figure 1.3 Blame (2010) Movie Poster from Pinterest
1.3 Principle of Closure
The principle of closure suggests that the human eye naturally seeks completeness, allowing viewers to perceive whole shapes even when parts of the visual elements are missing. When a design presents incomplete forms, the brain instinctively fills in the gaps, creating a sense of cohesion and wholeness.
*The original source and context of the artwork remain unknown, above analysis is based on observed design principles and gathered insights.
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Figure 1.4 "TERRAS GAUDA" from Pinterest
The principle of proximity emphasises the importance of grouping related design elements together to create visual cohesion and clarity. When elements are placed close to one another, they are perceived as connected or part of the same group, forming a unified visual unit. Conversely, unrelated items should be spaced apart to avoid confusion and maintain a clear hierarchy.
The movie poster (Figure 1.6) effectively applies the principle of proximity by organising different types of information (venue, release date, movie title, tagline, and cast list) into distinct groupings. Rather than cluttering the design, the placement of similar information in close proximity creates logical clusters, while the intentional spacing (gutter is small, but differences in colour and typography further helps in distinguishing) between different categories helps viewers quickly differentiate between them. This structured layout improves readability, enhances comprehension, and ensures that key details are easily accessible at a glance.
Figure 1.6 Birds Of Prey (2020) Movie Poster by LOUCIDCO from Pinterest
The Principle of Figure/Ground describes how the human eye instinctively differentiates between objects in the foreground (figure) and the background (ground). This visual distinction allows certain elements to stand out prominently, while others recede into the background, creating depth and hierarchy.
The poster (Figure 1.7) demonstrates the Principle of Figure/Ground by utilising positive space (red) to form two passionate faces, while the negative space (white) reveals an emerging flower plant. Within the context of the PlantBottle campaign, this interplay of shapes subtly conveys themes of growth, love, and happiness. Coca-Cola appears to symbolise a flourishing connection, both between people and with nature, aligning with its sustainability message. This thoughtful application of Figure/Ground enhances visual storytelling, making the advertisement both memorable and emotionally resonant.
Figure 1.7 Coca-Cola PlantBottles Ads from ADWEEK
1.6 Law of Symmetry & Order
The Law of Symmetry and Order states that elements that are symmetrical to each other are naturally perceived as part of a unified group. Similar to the Law of Similarity, this principle suggests that the human eye is more likely to group symmetrical objects together rather than those that lack symmetry.
The artwork (Figure 1.8) effectively demonstrates the Law of Symmetry and Order, as the viewer’s eye perceives the symmetrical placement of both hands as a singular, cohesive visual unit. This arrangement creates the illusion of a single pair of eyes, even though the hands are separate and distant from each other.
Figure 1.8 Untitled from Pinterest
2.0 Contrast
Contrast is achieved by placing strikingly different elements side by side (light vs dark, big vs small, old vs new, static vs dynamic etc.). Without contrast, visuals can appear dull and repetitive, lacking the energy needed to engage the viewer. By creating distinction, contrast enhances visual appeal, draws attention to the subject(s), and reinforces the intended message.
In the artwork below (Figure 1.9), contrast is evident through the interplay of light (white) and dark (black), as well as variations in size. The subjects are depicted using negative space, with the stark difference in color making them stand out. Additionally, the larger figure, resembling a nun-like presence, contrasts sharply with the significantly smaller human silhouette, establishing a sense of dominance. This size contrast not only creates a visual hierarchy but also conveys an underlying theme of power and control. The composition subtly evokes religious connotations, suggesting themes of superiority, divinity, or spiritual authority.
*The original source and context of the artwork remain unknown, above analysis is based on observed design principles and gathered insights.
3.0 Emphasis
Emphasis is used to establish dominance and direct focus within a composition. It can be achieved through various elements such as colour, shape, or value, each contributing to the visual hierarchy. By strategically applying emphasis, a designer can ensure that the subject stands out, regardless of its placement within the composition, reinforcing its significance and intended message.
In the artwork below (Figure 1.10), emphasis is demonstrated through the portrayal of the main subject (the woman). Leading lines created by the surrounding environment, such as the floor tiles and ceiling structures, naturally guide viewer's sight towards her. Positioned near the horizon line, she becomes the focal point of the composition. Additionally, the contrast between static and dynamic elements further enhances emphasis. While the woman remains still, the blurred motion of the surrounding crowd conveys a sense of movement and passing time, isolating her as the central figure and reinforcing her significance within the scene.
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Figure 1.10 Untitled from Pinterest
4.0 Balance
Balance refers to the distribution of visual weight within a design, creating a sense of stability and harmony. It ensures that no single element overpowers the composition, allowing the overall image to appear cohesive and visually pleasing. Balance can be achieved either symmetrically or asymmetrically.
4.1 Symmetrical Balance
Symmetrical balance is achieved when visual elements are evenly distributed on either side of a centrally placed fulcrum, creating a sense of stability and harmony. When elements are arranged identically on both sides of a central axis, whether horizontal or vertical, it results in bilateral balance.
Figure 1.11 demonstrates symmetrical balance, with its elements mirrored along both the horizontal and vertical axes, creating a sense of perfect harmony and proportion.
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Figure 1.11 Untitled from Pinterest
4.1.1 Radial Balance
Radial balance occurs when elements are evenly positioned around a central point, radiating outward in a circular manner.
The pattern shown in Figure 1.12 exemplifies radial balance, with its elements evenly distributed from the center, extending outward along the axis to create a visually striking and harmonious pattern. This pattern appears to be formed through cymatics, where sound waves are made visible by creating patterns in a medium like sand or water on a vibrating surface.
Figure 1.12 Untitled from Pinterest
4.1.2 Approximate Symmetry
Approximate symmetry maintains equilibrium by arranging equivalent, though not identical forms around the fulcrum line, offering a balanced yet slightly varied composition.
In the artwork (Figure 1.13), approximate symmetry is evident through the positioning of two non-identical figures (an elderly woman and an elderly man) on both sides of the composition. Their presence is counterbalanced by a centrally placed rock or mountain, which serves as the visual fulcrum. The cloud formation in the background, though positioned in the middle, remains asymmetrical, reinforcing the idea of near-symmetry with slight variations.
The artist appears to use this principle to explore the pursuit of balance. The elderly man and woman seem to long for connection, as if wanting to move toward each other. Their actions seem to suggest an internal conflict, whether to maintain equilibrium or abandon it in favour of connection. This tension between striving for balance and surrendering to desire adds depth to the composition. Additionally, the juxtaposition of male and female figures, positioned as equals on either side of the visual fulcrum, may also suggest a commentary on gender equality.
*The original source and context of the artwork remain unknown, above analysis is based on observed design principles and gathered insights.
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Figure 1.13 L'équilibre parfait by Gilbert Garcin from Pinterest
4.2 Asymmetrical Balance
Asymmetrical balance occurs when visual weight is distributed unevenly across a composition. One side may feature a dominant element, while the other is balanced by a couple or more lesser focal points. This approach creates a more dynamic and engaging visual experience, often evoking a sense of modernism, movement, energy, and vitality. While asymmetrical balance provides greater visual variety, it can be more challenging to achieve due to the complex relationships between elements.
The image (Figure 1.14) exemplifies asymmetrical balance, with the composition of the mannequins appearing visually heavier on the left side compared to the right. Balance is maintained through the mannequins' unified colour and structured gestures, ensuring a sense of cohesion and stability despite the uneven distribution of visual weight.
Figure 1.14 Untitled from Pinterest
4.3 The Golden Ratio
The Golden Ratio, also known as phi, is a mathematical concept represented by an irrational number that extends infinitely. Derived from the Fibonacci sequence, a naturally occurring pattern found in everything from the arrangement of leaves on a tree to the form of seashells, the Golden Ratio has long been associated with aesthetics, harmony, and balance.
The poster (Figure 1.15) seems to subtly follow the Golden Ratio in the way its elements are positioned within and across the grid. While not overtly rigid or symmetrical, the layout appears to adhere to the principles of the Golden Ratio, guiding the viewer’s eye through the composition in a fluid, almost natural way. The elements are arranged in a manner that draws the eye from one point to another, allowing the viewer to experience a visual journey across the piece.
4.4 Rule of Thirds
The Rule of Thirds is a composition guideline used to add dynamism to design, photography, film or painting. It involves dividing an image into thirds both horizontally and vertically, positioning the subject at the intersections of these lines or along one of the lines will create a more balanced and visually engaging composition.
The consecutive shots (Figure 1.17, left to right) from Netflix’s miniseries, The Queen’s Gambit (2020) exemplify the Rule of Thirds, with the subjects, Beth and Townes, strategically placed along the grid lines throughout the scene (Figure 1.18). Beyond creating a balanced composition, this framing subtly reinforces the the shifting dynamic between them. Initially, Beth and Townes are shown separately, each occupying a distinct third of the composition. As the sequence progresses, they gradually share the frame, culminating in Townes’ hand extending from the right third toward Beth in the left third, a visual representation of their growing connection. However, notice how, for most of the sequence, Beth and Townes remain anchored to their respective vertical lines, never crossing into each other’s space, the persistent gap between them, often occupying the central third, reinforces a lingering emotional distance despite their increasing closeness. In my opinion, this intentional use of the Rule of Thirds masterfully conveys Beth and Townes' relationship, so near, yet always separated by an unspoken barrier.
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Figure 1.18 Beth and Townes' Scene (With Rule of Thirds' grid)
5.0 Repetition
Repetition can infuse a design with a sense of movement and continuity, making it feel dynamic. By repeating design elements (shapes, colours, lines etc.), repetition establishes rhythm and pattern, guiding the viewer’s eye across the composition. However, to maintain engagement and prevent monotony, introducing subtle variations within the repetition are essential to keep the rhythm visually stimulating and energetic. Additionally, patterns enhance visual interest by enriching surface details, adding depth, and making the design more captivating.
I wanted to explore repetition in this particular photography of my current favourite girl group and the emotions it evokes that resonate with me. The concept photograph of XG for GRL GVNG (Figure 1.19) exemplifies the use of repetition through elements such as colour, attire, facial expressions, gaze direction, and body posture. At first glance, their identical standing posture conveys a sense of order and being under control, but when paired with their "fierce" expressions, that impression is immediately overpowered by discipline, teamwork, dedication, and shared goals. When viewed in the context of XG’s identity: "Self-appreciation and female empowerment", this repetition elevates the message they convey. It demonstrates how repetition is not just a design technique but also a powerful tool for reinforcing meaning.
Figure 1.19 XG's GRL GVNG Concept Photo from Pinterest
6.0 Movement
Movement refers to how a design guides the viewer's eye across, around, and through a composition with paths the eye naturally follows. In visual design, motion or movement occurs when elements within the image appear to be in motion, drawing the eye along dynamic paths. This movement is created through the strategic use of shapes, forms, lines, and curves, each contributing to a sense of flow and direction within the design.
The photograph (Figure 1.20) captures the fluid grace of a ballerina in motion. The blurred effect, likely achieved through a slow shutter speed, enhances the drama of the image, looking like its preserving each movement of the ballerina in a timeless and ethereal manner. The eye naturally follows the faded trails left by the motion, embodying the design principle of movement. This create a sense of life within the still frame.
Figure 1.20 "Ballet" by Wonderiism, from Pinterest
7.0 Harmony & Unity
7.1 Harmony
Harmony refers to the selection of elements that share a common trait, creating a sense of unity and cohesion. However, without variety, harmony can easily slip into monotony, losing its visual interest. Harmony ensures that all elements in a composition fit together, whether through a shared theme, aesthetic style, or mood. "Togetherness through differences," as noted by Winged Canvas (2021), describing Harmony.
Visual harmony is evident in the artwork (Figure 1.21) which seems to draw inspiration from Michelangelo’s "The Creation of Adam". The deliberate placement of the hands near the center, encircled by a ring, fosters a balanced composition. The circle acts as a unifying element, bridging the contrasting subjects and reinforcing a sense of cohesion. Various elements complement with one another, evoking a sense of connection and harmony that is both purposeful and aesthetically pleasing.
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Figure 1.21 Untitled from Pinterest
7.2 Unity
Unity is achieved through the repetition of specific elements (colours, shapes, materials etc.) throughout the composition to create a cohesive look. Unity occurs when these elements are arranged in a way that creates balance, providing a sense of oneness and a clear theme. While unity and harmony may sound similar, they each play distinct roles in the way we experience design. "Repetition = Unity," as noted by Winged Canvas (2021). Unity focuses on the consistent use of elements, while harmony ensures that all parts of the design fit together.
Figure 1.22 exemplifies unity through the repetition of key elements. The central cube shares the same colour as the kneeling figures' pants, creating a subtle yet effective link. Their similar gestures (kneeling) further reinforce cohesion across the composition. Despite the presence of diverse elements with distinct forms and characteristics, the repetition of color and gesture establishes a structured sense of unity. This deliberate use of unity not only strengthens the composition but also evokes a dark, eccentric atmosphere that appears to allude to themes of ritualistic devotion or worship.
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Figure 1.22 Untitled from Pinterest
8.0 Symbol
8.1 Pictorial Symbols
Pictorial symbols in signage frequently accompany instructions and warnings associated with signs, labels, markings, or instruction manuals. When well-designed, these symbols can efficiently convey instructions, alerts, and other information to people from diverse social and educational backgrounds (Issuu, n.d.).
The illustration (Figure 1.23) below is a pictorial representation that effectively conveys the essence of UX design. It portrays the people as UX designers, actively "organising" wireframes to visually demonstrate their role and purpose in structuring user experiences.
Figure 1.23 "UX Design" from Google Design
8.2 Abstract Symbols
Abstract symbols may resemble the objects they represent, but they are simplified and lack the finer details, focusing instead on capturing the essence or core concept of the subject.
The logo design (Figure 1.24) presents a simplified interpretation of human's left ear and eye. Designer Edwin Contreras crafted this logo for L’oreille gauche (translated as "the left ear" in English), a recording studio in Quebec, drawing inspiration from the name. Steering clear of both cartoonish and overly realistic styles, he aimed to convey the studio's creative yet professional nature (Contreras, 2016). This blend of playfulness and professionalism is effectively achieved through the use of abstract representation, clearly convey its message while maintaining the clean, minimalist aesthetic typical of a logo design.
Figure 1.24 "L’oreille gauche (The Left Ear)", a logo design by Edwin Contreras, from Behance
8.3 Arbitrary Symbols
Arbitrary symbols bear no resemblance to the objects or concepts they represent. These symbols are intentionally designed, with their meanings constructed through context or convention. Often based on geometric shapes and colours, arbitrary symbols require us to learn their meanings, as they do not offer any immediate visual connection to the meaning they signify.
Figure 1.25 "Peace Sign" from Pinterest
Figure 1.26 "Where Did the Peace Sign Come From?" by Tim Marner®, from Youtube
Figure 1.27 "Where Did the Peace Sign Come From?" by Tim Marner®, from Youtube
9.0 Word & Image
*The original title and context of the artwork remain unknown, above analysis is based on observed design principles and gathered insights.
Figure 1.28 Untitled by Mikrokosmos, from Pinterest
Task 1: Part 2
Figure 2.1 Keio department store poster by Shigeo Fukuda, from MCB Collection
Title/Descriptor: Poster for the exhibition Shigeo Fukuda, Keio Department Store, Tokyo
Artist: Shigeo Fukuda
Year: 1975
Medium: Silkscreen Print
Size: 101 x 71.2 cm
Why choose this design?
I stumbled across this artwork (Figure 2.1) on Pinterest completely clueless, but as someone who fond of minimalistic design, this poster instantly caught my eye. Curious, I looked up the artist, skimmed through his work, and immediately FELL IN LOVE with the brilliance of this guy called Shigeo Fukuda.
What draws me to minimalism is its ability to strip everything down to the essentials: the message, the purpose, all crystal clear and unburdened by excess. In a way, it mirrors how society has shifted into a faster pace, where time feels like a luxury and clarity is something we desperately cling to. It almost feels like minimalism emerged as a response to this fear, the fear of wasting time, of losing sight of what truly matters. I think, minimalism, at its best, allows us to focus on the important things, things in life, things that demand to be said.
Of course, minimalism is often debated, sometimes dismissed as a privilege of the upper class, a detachment from the realities of lower-income communities (Tolentino, 2020; Ancel, 2024) and much more. But now we're talking about how minimalism is sometimes seen as a mere expedient design approach, a convenient method lacking in depth or thoughtfulness, and honestly? I get it. Over the years, it has become increasingly commercialised, more of a necessity than a philosophy. Some designs feel rushed, stripped down not for meaning but for efficiency, and I’ve found myself losing passion for this kind of "minimalism". But when I saw Fukuda’s work, it reignited something in me.
Most of his designs (I haven’t seen them all yet) made me want to stop, think, and feel. His works seem to have this ability to distill complex emotions and ideas into something so simple, so effortlessly clear (?), that even someone constantly pressed for time, like me, can immediately grasp and reflect on it. This, to me, is what minimalism "should" be.
That’s why I wanted to break down one of his designs. It’s hard to choose just one, but the poster he designed for his exhibition at the Keio Department Store in 1975 (Figure 2.1) still feels timeless and seems to allow me to resonate more. Even in a modern context, this artwork carries a weight that makes me want to talk about it, from the impression it gives, topics like gender/equality/balance/identity came into my mind. It seems like the more I look in it, the more I could discover?
Design Principles
Balance
The principles of balance are evident in this work (Figure 2.2), particularly through the use of approximate symmetry, which contributes to a structured and ordered aesthetic, enhancing visual unity. The balanced composition could also be seen as a conscious choice to avoid personal inclination to any particular characteristics, allowing viewers to really focus on an author's intended message. This thoughtful approach might helps mitigate potential controversy, although, in some cases, sparking controversy can serve as an effective means for deeper engagement, depending on the context, but in my opinion, as designers, it’s important to recognise that while we have the ability to provoke thought, we also bear the responsibility of ensuring our work aligns with the message we intend to communicate.
Figure 2.2 Balance in Keio department store poster by Shigeo Fukuda
Contrast
The poster (Figure 2.1) showcases a strong contrast through the interplay of light and dark colours, along with elements "traditionally" associated with contrast, such as shoes and heels (Figure 2.3). This deliberate juxtaposition seem to invite viewers to ponder dualistic concepts, encouraging deeper reflection on the contrasting forces at play. To me, the purpose of contrast in this piece transcends mere visual appeal.
Figure 2.3 "Contrast" in Keio department store poster by Shigeo Fukuda (Cropped from Figure 2.1)
Repetition
The repetition of a sole subjects (the legs) within the composition reinforces its significance within the piece (Figure 2.4). This intentional repetition draws the viewer’s attention, saturating the visual field and leaving little room for distraction, directing focus on what the artist might have chosen to emphasise. Beyond its visual impact, this repetition may also symbolise a larger collectives, communities, or even humanity itself, resonating with the piece’s potential exploration of gender. In a contemporary context, it appears to move beyond the traditional discourse of gender binaries and power signifiers (represented by the shoes and clothings), inviting broader interpretations related to transgender identity, gender perception, queer representation, and even more.
Figure 2.4 Repetition in Keio department store poster by Shigeo Fukuda (Cropped from Figure 2.1)
Principle of Figure/Ground
The poster (Figure 2.1) exemplifies the Principle of Figure/Ground. In Figure 2.5, we can observe one leg, adorned with heels, blends with the Ground (the white area), while the other one featuring shoe as Figure (the black area). This interaction between the elements invites viewers to reflect on contrasting characteristics and their interplay.
Figure 2.5 Principle of Figure/Ground in Keio department store poster by Shigeo Fukuda (Cropped from Figure 2.1)
Word and Image
Without historical context, I initially mistook the poster (Figure 2.1) for a modernist artwork. If not for the small text at the bottom (Figure 2.6), I would have assumed as much, though I think it's good enough to be one (laughs). This highlights how the interplay of words and images can clarify context or even completely transform its interpretation.
Figure 2.6 Words in Keio department store poster by Shigeo Fukuda
(Cropped from Figure 2.1)
FEEDBACK
Task 1 (Exploration)
Week 2 (10/02/2025)
General Feedback: Don't choose generic designs, be careful when selecting installation art, photographs are accepted. Can choose more than one design for each design principles.
Specific Feedback: Chosen designs are good to proceed, make sure blog is well formatted and organised.
Week 3 (17/02/2025)
General Feedback: Double check artwork's title for part 2, final reflection is needed in task 3 only, include figure number.
Specific Feedback: Organised, detailed information, good choice of images, proceed.
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