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TASK 2 (Visual Analysis & Ideation)

24/02/2025 - 03/03/2025 (Week 4 - Week 5)

Chang Wing / 0367807 

Design Principles / Bachelors of Design (Honours) in Creative Media / Taylor's University

Task 2 (Visual Analysis & Ideation)


INSTRUCTIONS


Task 2 (Visual Analysis & Ideation)

Assess and analyse the art/design work chosen in Task 1, focusing on its design principles, size, placement, purpose, and effectiveness. In blog post, recap the Task 2's brief, write a 300-350 word visual analysis referencing the lecture notes, and sketch 3 ideas for improving the design with a 30-50 word rationale for each. Include visual references (with citations) and provide lecturer feedback.




Task 2: Visual Analysis & Ideation

The Artwork Chosen From Task 1

Figure 1.1 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


Visual Analysis

Observation

The design work (Figure 1.1) is vertically oriented, with its height exceeding its width, making it a portrait composition. Colour in the upper half of the composition is predominantly white, while the colour in the lower half of the composition is primarily black. The black area forms the silhouette of repeated legs clad in pants and shoes, whereas the white area forms the silhouette of repeated legs with heels. These legs are positioned side by side in a counterchange pattern, with the heeled leg pointing downward and the leg with shoes pointing upward. A block of text is present: "SHIGEO FUKUDA: May 23 to 28, 1975 (Symbol) KEIO DEPARTMENT STORE・5F ART GALLERY, TOKYO" (Figure 1.2) at the bottom of the composition. The text varies in capitalisation, with 'SHIGEO FUKUDA' in uppercase, 'May' in mixed case, 'KEIO DEPARTMENT STORE' and 'TOKYO' in uppercase. The text is centrally aligned towards the lower section of the design.


Figure 1.2 Texts in Keio department store poster by Shigeo Fukuda (Cropped from Figure 1.1)




Analysis

Balance is shown in the poster (Figure 1.1) through approximate symmetry (Figure 1.2). Contrast is established through the interplay of light (White) and dark (Black) colours. Repetition is present in the recurring leg motifs (Figure 1.3), forming a regular rhythm that guides viewer’s gaze from left to right and vice versa. The repeated vertical lines also lead the eye toward both ends of the legs, emphasising the variation in elements (shoes and heels).

A dynamic relationship between positive and negative space was established through the use of principle of figure/ground, with the leg in heels blending into the background (white area), while the leg in pants and shoes stands out as the figure (black area), this also reinforces contrast within the composition.

Hierarchy is achieved through scale and placement, with larger graphical elements dominating the composition, drawing initial attention before leading the eye to the smaller text. The principle of proximity is applied by clustering graphical elements in the center while positioning the text at the bottom, distinguishing different types of information. 

Figure 1.2 Balance in Keio department store poster by Shigeo Fukuda


Figure 1.3 Repetition in Keio department store poster by Shigeo Fukuda (Cropped from Figure 1.1)



Interpretation


This poster presents a structured and balanced composition, yet this balance seems to be challenged by the strong contrasts such as black and white, shoes and heels (elements that are "traditionally" seen as opposite). The deliberate use of these contrasts seem to encourage reflection on the concepts of dualism (the relationship between the contrasting elements), equality (the near-perfect balance within the composition, countered by the disparity of colour), and unity (how these contrasting elements come together, creating a cohesive whole). 

Slater (2018) notes that it is unsurprising for this design piece of Fukuda (Figure 1.1) to depict a conflict between the sexes, as the poster was designed in 1975, during a peak in the feminist movement, which in the late 1970s focused on equality rather than dominance. The repetition of leg motifs (Figure 1.3) may further symbolise collective identities, communities, or even humanity as a whole, reinforcing the piece’s potential exploration of "gender". Given this, it is difficult to separate the topic of "gender" from the interpretation of this piece. However, another possible reading is that the design simply reflects the venue of Fukuda’s exhibition, the Keio Department Store, a store that sells both men’s and women’s clothing.

In a contemporary context, this design piece could seem to move beyond the traditional discourse of gender binaries, which in turn open up doors to broader interpretations. The interplay of shoes and clothing as signifiers of identity could seem to invite discussions on gender perception (binary/non-binary representation, fluidity etc.). By presenting contrasts not as rigid divisions but as interdependent forces, this piece (Figure 1.1) seem to remain relevant in ongoing conversations about gender, identity, societal constructs and maybe more.

Figure 1.4 Shigeo Fukuda's Work. Taken from Creative Hall of Fame.





3 Ideations for Improvement

*While I have used my design principles knowledge to suggest improvements for the selected design, it is important to note that these suggestions are not meant to alter or undermine the original context and intent of the author. Any proposed changes are solely intended as explorations of alternative possibilities, while still respecting the core message and creative vision of the original work.



Idea 01 - Refining Typography for Clearer Message

The original text at the bottom of the poster (Figure 2.1) works in providing context, but if the goal is for it to function more effectively as a poster focused on communicating informations of Fukuda's exhibition, its small font size might make it easy to overlook, potentially leading to a misinterpretation of the poster as a modernist artwork rather than an exhibition poster (which I did, as mentioned in description for Task 1 Part 2: Word & Image). 

A more minimalist, modern and larger (in font size) typeface could be used instead to improve readability and better align with the contemporary aesthetic of the design. This would also make the text more adaptable to modern contexts, such as computer screens, large advertising displays, and social media platforms. 



Figure 2.1 Sketch 01



Idea 02 - Create a Distinct Separation Between Art and Information

As mentioned in Task 1 (description for Task 1 Part 2: Word & Image), this poster design is strong enough to stand on its own as a piece of artwork, in my opinion. With that in mind, one approach could be to treat it as a standalone artwork within the composition by separating the exhibition information from the conceptual elements (Figure 2.2). 

This approach aligns with the principle of proximity, where related elements (such as exhibition details) are grouped together to create a clearer, more intuitive layout. This would allow viewers to absorb the exhibition details without distraction, while still appreciating the graphic design as an independent piece, if, the goal is for it to function more effectively as a promotional poster for the exhibition (as mentioned in Idea 01).

The graphic design and typography would be centrally aligned to maintain the balance of the original composition (Figure 2.3).



Figure 2.2 Sketch 02


Figure 2.3 Balance in Keio department store poster by Shigeo Fukuda



Idea 03 - Integrating Typography Through Shadows

If the goal is to further emphasise the artwork’s conceptual depth while maintaining its strong graphic focus, incorporating subtle typographic elements could enhance its message. The existing design already invites multiple interpretations, particularly around the theme of "Balance" and its possible connections to equality. If I were to reinforce this idea, a midtone could be introduced to the legs with the shoes, creating shadow-like details resembling fabric creases. However, instead of purely organic folds, these shadows could subtly form the word "BALANCE", inspired by the concept of Ambigrams (Figure 2.5), a word or symbol that can be read in multiple orientations.

By embedding typography within the composition in this way, the design could communicate its theme on both a visual and conceptual level without disrupting the overall balance of the piece. This integration would maintain the duality present in the original work (Figure 1.1) (Can be viewed upright/inverted), ensuring that it remains readable whether viewed upright or inverted (Figure 2.6 and Figure 2.7). Additionally, this approach aligns with the principle of Figure-Ground, where the interplay between positive space (the shadows forming fabric creases) and negative space (the counter space shaping the word "BALANCE") allows the typography to emerge subtly within the composition. This reinforces the theme of balance not just in meaning but also in visual structure, enhancing the artwork’s conceptual depth. 

That being said, this is just a personal conceptual approach to open up new interpretations. However, I’m not entirely convinced by how it creates visual variation in the legs with shoes, while the legs with heels remain unchanged. This contrast could unintentionally contradict the theme of absolute balance and equality, which raises further considerations on whether the modification truly aligns with the intended concept. 


Figure 2.4 Sketch 03




Figure 2.5 Ambigram from Pinterest


Figure 2.6 Breakdown of Sketch 03 (Upright view)


Figure 2.7 Breakdown of Sketch 03 (Inverted View)



Figure 2.8 Clearer breakdown of Ambigram





The initial objective was to explore alternative possibilities to enhance the selected design (Figure 1.1) in different contexts, applying personal knowledge of design principles while preserving the core theme of the original work (based on personal understanding of the module brief, but I have misunderstood it). Following Dr. Jin Chi's feedback, I was advised to develop 3 new sketches that propose a fresh interpretation instead, inspired by the selected design (Figure 1.1), as incorporating original artwork in the sketches are considered as plagiarism.

Here's the new sketches (Figure 2.9 to 2.13, Figure 2.15): 

 
Rationale

When I look at Fukuda’s work (Figure 1.1), I personally thought of the idea of fostering a sense of understanding between peoples, despite different genders. The discussion of "gender" "equality" and "inequality" seems to be a central theme, but in my opinion, perhaps what truly matters is “understanding” itself, one that transcends gender and reaches a point where it no longer dictates how we connect with one another. In a way, this could be another way of achieving "balance".

As a response to Fukuda’s work, I want to explore what seems to be the deeper challenge of understanding: the complexity of human perception and the inherent difficulty of truly knowing another person. It seems impossible to fully read someone else’s mind, and intentions often feel ambiguous, making genuine understanding almost unattainable.

Through this reinterpretation, I wanted to delve further into the nature of uncertainty in people’s interaction, how much of understanding others is shaped by assumption rather than truth? Hopefully, it sparks thoughts on "embracing uncertainty" and "developing empathy" beyond just the topic of gender.


Idea 01 - Schrödinger's Cat

Inspired by the concept of Schrödinger’s cat, these designs (Figure 2.9 to 2.12) metaphorically depicts the human mind as Schrödinger’s cat in a box. Just as the cat exists in a paradoxical state until observed, human thoughts and emotions seem to remain uncertain, almost like we can never truly know what’s going on in someone else’s mind. This raises the question: If understanding is always incomplete, should we still trust? Should we still embrace it? Should we still empathise despite never fully knowing? It is up to the viewer to decide the answer, but deep down, I hope that by raising these questions, we might take a step closer to fostering better "understanding" between one another, perhaps achieving a "different" kind of "equity" "balance".

The overall look of these sketches (Figure 2.10 to 2.12) draws inspiration from Fukuda’s poster (Figure 1.1), applying the principle of figure/ground to shape positive spaces (black) into the silhouette of a box and the lower half of a human face, while the negative space (white) forms the silhouette of Schrödinger’s cat, this blends various elements into a whole as an approach to metaphorically represent the human mind as Schrödinger’s cat in it's box. The interplay of light and dark (white and black) establishes contrast, enhancing the distinction between forms and improving the clarity of the intended message.

Figure 2.9 Sketch Break down


The sketches (Figure 2.10 to 2.12) present various compositional explorations of Idea 01:

In Sketch 1.1 (Figure 2.10), the subject is positioned along the right third of the grid following the Rule of Thirds to ensure a visually pleasing look. This composition emphasises individuality over a broader collective. It tend to invite viewers to engage with the experience of understanding others' feelings/shows how one personally interprets and processes such emotional encounters.

Figure 2.10 Sketch 1.1 (Left), Rule of Thirds (Right)



In Sketch 1.2 (Figure 2.11), repetition is introduced, the subject is duplicated and placed in symmetrical balance, reminiscent of the yin and yang. This composition seems to shift the focus from individual perception (it still could be) to the relationship between the two subjects, suggesting mutual reflection and shared emotions or experiences. To me, it speaks to the desire to find like-minded individuals who resonate with one’s feelings, in turn fostering "understanding" and "empathy".

Figure 2.11 Sketch 1.2



In Sketch 1.3 (Figure 2.12), variation is introduced within repetition, with the central figure differing from the others. The shift from a cat’s silhouette to a human mind symbolises the idea that one can only truly know their own thoughts, while others remain unknowable, further emphasised by the boxed enclosure around the mind. This variation highlights the struggle of perceiving another’s thoughts, mirroring the paradox of Schrödinger’s Cat and the tension between uncertainty and assumption. The idea of this composition seems to challenge the notion of achieving “understanding,” and instead prompting viewers to question how it can be established in the first place. To me, this questioning serve as the first step toward fostering better "understanding" between one another.

Figure 2.12 Sketch 1.3



This piece will be titled "Schrödinger’s Cat" or "The Schrödinger’s Cats" depending on which composition was chosen, and I hope it provides a glimpse of the concept that aligns with my intended message. With that said, my goal with this piece is to spark thought and open it up to different interpretations. I hope it resonates with some, but ultimately, how someone feels when looking at it is entirely up to them, the intention was to create a piece that provides a personal and unique experience for each that looks at it.




Idea 02 - State of Mind

The concept behind this sketch (Figure 2.13) is to explore the nuanced relationship between two and the desire to be understood. The subjects are arranged in approximate symmetry to establish a sense of balance, reinforcing the idea of an equal and reciprocal connection. I used repetition (the "man" figures) to establish visual unity and sense of shared presence.


Figure 2.13 Sketch 2


Figure 2.14 Visual References (Shigeo Fukuda's Work. Taken from Creative Hall of Fame)



Idea 03 - Two Birds

The concept behind this sketch (Figure 2.15) expands on Idea 02, exploring the nuanced relationship between two individuals and the desire to be understood. Both subjects are depicted in suits, representing souls bound by responsibilities and obligations yet still seeking like-minded souls who resonate (Bird fly from left towards another cage). Repetition of the same elements between the two reinforces this shared experience, strengthening the connection between them. I placed the subjects along the Rule of Thirds grid (one along the left third vertical line and the other along the right third vertical line) to ensure a visually balanced composition (Figure 2.16).

Figure 2.15 Sketch 3

Figure 2.16 Rule of Thirds



Figure 2.17 Visual References (Art by Peter Walters. Taken from Pinterest)



*Declaration of Authenticity: This work is the result of original research, concepts, and ideas. AI has been occasionally used to refine grammar and improve the flow of writing, but it has not contributed to the creation of content, analysis, or research. 



FEEDBACK

Task 2 (Visual Analysis & Ideation)

Week 4 (24/02/2025)

General Feedback: Design principles should be in the "Analysis" part; Allowed to write more than the allocated word amount; Could provide article links as source to back statements.

Specific Feedback: Complete visual analysis part first, do not use image of the original artwork in the sketches, keep the sketches as part of learning journey, come up with 3 new sketches.



Week 5 (03/03/2025)

General Feedback: Come up with 2 or 3 ideas to develop further on the sketches chosen on Task 3, don't jump straight to execute the final design.

Specific Feedback: Likes the concept of Idea 01 (prefers Sketch 1.2), followed by Idea 02. Continue to develop and elaborate the sketches (all 3 ideas could be developed, following own preference) in Task 3. Add images of visual references, proceed to Task 2 submission.








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