Task 3 (Development & Design)
10/03/2025 - 19/03/2025 (Week 6 - Week 7)
Chang Wing / 0367807
Design Principles / Bachelors of Design (Honours) in Creative Media / Taylor's University
Task 3 (Development & Design)
INSTRUCTIONS
Task 3 (Development & Design)
Select one idea/sketch from Task 2, and develop it by exploring colour, composition, typeface, and positioning while applying design principles. Finalise the idea and create the final design in A4 size, JPEG format and at least 300dpi. Write a 200-word rationale explaining the design decisions, purpose, and applied principles.
Task 3
Week 6:
Sketch from Task 2 (1st Idea)
I chose this sketch (Figure 1.1) because it matches Fukuda's style, and this approach allows me to explore the theme of Schrödinger's Cat in a minimalistic way, keeping the focus on the narrative.
Figure 1.1 Sketch (Idea 1) from Task 2
Sketch Development
I experimented with different colours and patterns to capture the feeling I want that embodies connection, spirituality, and a paradoxical state of mind.
After multiple attempts, I still find the original black-and-white version (Figure 1.1) the most fitting for the theme of exploring mutual relationships. Black and white alone are enough to keep the focus on the narrative, introducing other colours or patterns might shift attention away from the core message, making it feel more decorative than intentional. Another reason: I think this monochrome palette creates a quiet and focused ambiance, like a midnight conversation, or as if lying in bed, lost in thoughts with only myself or the people in mind.
Sketch from Task 2 (2nd Idea)
I developed sketch 2 as well.
Figure 1.4 Sketch (Idea 2) from Task 2
Sketch Development
This sketch (Figure 1.5) explores the nuanced relationship between two individuals and the desire to be understood. I used black and white to represent contrasting qualities, while the yellow background conveys warmth, symbolising empathy and fostering understanding. Together, these elements create a sense of harmony, with the composition (repetition, approximate symmetry) ensuring that the different elements feel cohesive as a whole.
Figure 1.5 Color Exploration
Week 7:
Inspirations
Figure 1.7 Shigeo Fukuda's Work.
Taken from Creative Hall of Fame.
Figure 1.8 "The Son of Man" by René Magritte (1946).
Taken from renemagritte.org.
Sketches
Sketch 1 was chosen to develop into final outcome.
I decided to illustrate a design series exploring mutual relationships through the concept of 'Schrödinger's Cat,' presented as postcards contained within an envelope, each postcard tells a different story.
Design Development, Final Design & Rationales
My designs use Schrödinger's Cat as a metaphor for the human mind, just as the cat exists in a paradox until observed, thoughts and emotions seem to remain uncertain, making true understanding elusive. The idea was to explore mutual relationships and how our perceptions of each other shape (or ruin?) these connections. To express this, I designed the postcards and envelope around three key elements: cat, box, and human. I had chosen to illustrate each design in the Procreate app first then proceed to vectorise them in Adobe Illustrator to retain the organic, hand-drawn quality.
Title: The "Schrödinger's cat" Postcard Series
Postcard Size: 102mm x 152mm (Standard Postcard Size) (*Designs submitted in A4 size)
Postcard Material: 300 gsm Matte Cardstock (smooth, premium feel)
Envelope Size: 120mm x 170mm (Custom) (to fit 10 postcards)
Envelope Material: 250gsm Heavy Matte Paper (sturdy, prevents bending)
Postcard Design (Back)
I researched postcard formatting to ensure the back design includes all the necessary information required for standard mailing (Figure 1.10).
Figure 1.10 Postcard format, taken from inklings
Figure 1.11"Schrödinger's Cat" Postcard Series' back design
Typography
I created a brush in Adobe Illustrator that mimics the silhouette of a cat (Figure 1.12).
I experimented with different compositions of the word "Schrödinger's Cat" using the brush (Figure 1.13, 01 to 03). In this early attempt, I explored how the cats could shape the letters to visually convey the idea of how people or thoughts could connect, reinforcing the theme of mutual understanding and connection. Also explored on patterns (Figure 1.13, 04).
Figure 1.13 Different compositions
However, the style's look in Figure 1.13 feels disconnected from the rest of the postcard series. To create a more cohesive visual identity, I took a different approach to the typography by handwriting it (Figure 1.14), adding a more personal and inviting touch that aligns with the illustration style of the other postcard designs.
The first letter "S" features the cat in box human figure from another design (Figure 1.15), while the typography itself integrates elements of Schrödinger’s Cat: the letter “o” is replaced with a radioactive symbol, the letter “a” with a cat icon, and the connection between "S" and "R" mimics a cat’s tail (Figure 1.14), further reinforcing the theme.
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Figure 1.15 Letter "S"
In the final design (Figure 1.16), I simplified the radioactive and cat symbols to match the look of the other letters. I like how the refined forms create a sturdier appearance while subtly resembling both a box and a cat.
Figure 1.16 Final Design
Postcard (Front & Back) Design 01
I chose to place the typography as the first design in the postcard series, serving as an introduction that reinforces how Schrödinger's Cat's concept is interwoven throughout the entire series (Figure 1.17). This design plays a crucial role as the foundation of the narrative, setting the tone for what follows. I placed the typography along the grid of the Rule of Thirds to ensure visual balance (Figure 1.18).
Design Principles applied: Rule of Thirds, Word and Image, Abstract Symbols
Figure 1.17 Final Design (Front)
Figure 1.19 Back Design
Postcard (Front & Back) Design 02
For the second design in the series, I initially thought of combining word and image as an introduction to the series (Figure 1.19, 01). But since some might treat it as an independent piece, I decided to separate the typography and illustration to let each hold its own focus. Without the typography, the design feels less tied to a single meaning and leaves more room for interpretation. I explored different compositions, forms and colours in Figure 1.19.
This design (Figure 1.20) explores the idea that from one’s perspective, their "friends" (whether referring to the people around us or the genuine thoughts within) exist in a state of ambiguity, much like Schrödinger’s Cat trapped in uncertainty indefinitely. I applied the principle of figure/ground to depict these "friends" as human figures (positive space), with half of their heads forming Schrödinger’s Cat (negative space) within its box (positive space). Whilst the repetition of these elements (cat, box, body figure) conveys a sense of mutual existence, where individuals reflect and shape one another’s impression.
The outstretched hand reaching toward another figure symbolises one's curiosity toward their "friends", prompting reflection on existence, perception, and mutual reciprocation. To maintain the series’ tone, I kept the design in black and white and omitted the cat’s tail in Figure 1.19 design 05, ensuring focus to the upper portion, particularly the cat-human-box figure and the hand. I also aligned the head part along the first horizontal axis of the Rule of Thirds to further emphasise its presence and ensure visual balance (Figure 1.21). The placement of elements around equal height and equal distance between one another distribute visual weight evenly on both sides (left and right), establishing a sense of approximate symmetry.
Design Principles applied: Principle of figure/ground, Repetition, Rule of Thirds, Abstract Symbols, Contrast (Black vs White colour), Approximate Symmetry
Figure 1.20 Final Design (Front) "Hey friend?"
Postcard (Front & Back) Design 03
Inspired by the concept of Schrödinger’s cat, this design (Figure 1.23) 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".
I applied 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.
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".
Design Principles applied: Principle of figure/ground, Contrast (Black vs White colour), Repetition, Abstract Symbols, Symmetrical Balance
Figure 1.23 Final Design (Front) "Are you real?"
Figure 1.24 Back Design
Postcard (Front & Back) Design 04
For the fourth design in the series, I explored on colours and made adjustments to the illustration style (Figure 1.25). Designs 01 and 02 leaned toward a vector art style, while designs 03 and 04 had a more cartoonish feel.
Figure 1.25 Colour and style exploration
After experimenting with the other designs in the series, I settled on a hand-drawn vector illustration style for the entire series. I chose this final version (Figure 1.26) as it feels more in sync with the overall aesthetic. Additionally, I made the radioactive symbol more prominent to reinforce the association with Schrödinger’s cat.
The concept behind this design (Figure 1.26) was to illustrate how true connection remains unattainable, and mutual understanding cannot be formed when one actively avoids making an effort. I applied the principle of figure/ground to create a visual metaphor: a long drapery (positive space) tightly wrapped around Schrödinger’s box (negative space) to visually represent how thoughts become entangled and confined within the mind. The drapery is knotted in a Noose Knot (Figure 1.27), symbolising how, as one walks away, the knot tightens, mirroring the increasing strain and inescapability of unresolved emotions and unspoken words.
Design Principles applied: Principle of figure/ground, Contrast (Black vs White colour), Repetition, Abstract Symbols, Asymmetrical Balance
Postcard (Front & Back) Design 05
For the fifth design in the series, I experimented with both landscape and portrait compositions and made subtle refinements to the form along the way (Figure 1.29 and 1.30).
Figure 1.29 Landscape
Figure 1.30 Portrait
This design (Figure 1.31) explores the relationship between like-minded souls, the tension between the desire to delve into another’s true self and the hesitation to remain within safe boundaries, embracing the beauty of the unknown.
Ultimately, I selected the portrait version as the final design (Figure 1.31) because it resonates not only with the concept of thought but also with a deeper sense of mutual spirituality as whole (not just emphasising on the thoughts). The composition draws attention to the figures’ posture, their subtle lean toward each other, as if caught in an unspoken understanding. The landscape version (Figure 1.29) crops out the lower half of the figures, whereas the portrait orientation preserves their full forms, emphasising their connection through body language and presence, showing deeper sense of mutual spirituality as whole. Additionally, portraits often evoke the intimacy of family portraits, further reinforcing the profound bond between the two subjects.
To enhance visual balance, I positioned the two figures along the vertical grids of the Rule of Thirds, simultaneously creating asymmetrical balance (visual weight of right side greater than left side) within the composition (Figure 1.32).
Design Principles applied: Principle of figure/ground, Contrast (Black vs White colour), Repetition, Abstract Symbols, Rule of Thirds, Asymmetrical Balance
This design (Figure 1.33) reminds me of a photograph of The Twins in Miss Peregrine's Home For Peculiar Children, eerie and a little unsettling, but oddly cute?
Figure 1.31 Final Design (Front) "Perhaps you’re like a gift wrapped in cute rainbows with a radioactive sign on it that one wonders badly what’s inside"
Figure 1.33 Photograph of The Twins in Miss Peregrine's Home For Peculiar Children (2016).
Taken from leannatroi's blog.
Figure 1.33 Back Design
Postcard (Front & Back) Design 06
For the sixth design in the series, the radioactive box in the initial design (Figure 1.34) feels cartoonish. Since I have settled on a hand-drawn vector illustration style for the entire series, I refined the box to resemble more of a silhouette, ensuring it's look aligns with the other elements in the composition (Figure 1.35). The adjustment brings a stronger sense of cohesion, maintaining visual consistency across the whole series.
Figure 1.34 Initial design
The title of this design (Figure 1.35), "Don’t we all agree that an unopened gift charms more?", serves as a continuation of the previous design (Figure 1.31), which posed the idea: "Perhaps you’re like a gift wrapped in cute rainbows with a radioactive sign on it -- something one desperately wonders about but hesitates to open." Both question the same dilemma, whether to satisfy curiosity and uncover another’s true self or to remain within safe boundaries, embracing the allure of the unknown.
From another perspective, this design (Figure 1.35) feels like a prelude to the moment before individuals choose to place themselves inside Schrödinger’s box, before they consciously decide to obscure their true selves. It invites reflection on the ways people construct their own uncertainties, masking their identities in pursuit of security or mystery. The human figure symbolises self-awareness and the process of constructing one’s identity, while the cat represents purity and authenticity, the unfiltered self before it becomes veiled within Schrödinger’s paradox. I kept the composition minimal, free from additional elements to emphasise on the key elements (Schrödinger’s box, the human figure, and the cat) that carry the narrative.
Design Principles applied: Contrast (Black vs White colour), Abstract Symbols, Emphasis, Asymmetrical Balance
Figure 1.35 Final Design (Front) "Don’t we all agree that an unopened gift charms more"
Figure 1.36 Back Design
Postcard (Front & Back) Design 07
For the seventh design in the series, I explored on the colours and changed subtle details (Figure 1.37).
Figure 1.37 Colour exploration
The title of this design (Figure 1.38), "Even so… can we get closer?", serves as a continuation of the previous design (Figure 1.35), "Don’t we all agree that an unopened gift charms more?", forming a larger question: "Don’t we all agree that an unopened gift charms more -- Even so… can we get closer?". This progression conveys the contrast between outward indifference and an unspoken yearning for connection, illustrating how one may appear detached yet secretly longs to be understood.
This design highlights the theme of fostering mutual reciprocity and understanding within relationships, prompting reflection on the barriers individuals create, whether out of fear, hesitation, or self-preservation, and the silent hope that someone might still reach through them.
I selected Figure 1.38 (Final Design) as the only illustration in the series that fully embraces an outline-based approach, rather than using filled shapes to create silhouettes like the others. This choice emphasises transparency, drawing attention to the true self and the unspoken tension between two individuals, reinforcing the desire of seeking connection while exposing one's vulnerabilities.
The depiction of cats within Schrödinger’s boxes, reaching out toward each other on both human figures walking in opposite directions, symbolises the hope that connection can still form, even between strangers or those who outwardly appear indifferent.
To further reinforce this emphasis, both human-cat figures are positioned along the intersection points of the Rule of Thirds grid (Figure 1.39), ensuring they remain focal points within the composition.
Design Principles applied: Contrast (Black vs White colour), Abstract Symbols, Rule of Thirds, Asymmetrical Balance
Figure 1.38 Final Design (Front) "Even so… can we get closer?"
Figure 1.40 Back design
Postcard (Front & Back) Design 08
For the eighth design in the series, I wanted to capture the yearning to break free from solitude and truly connect with like-minded souls, serving as a response to the previous design (Figure 1.38), "Even so… can we get closer?". I explored different positions of the Schrödinger’s cat (a symbolic of thoughts/ genuine self) to find the right balance (Figure 1.41). I also experimented with adding texture to the blood (Figure 1.41, 06 and 07), but it felt more like a decorative touch and deviates from the black and white setting.
I added another cat to reinforce the sense of longing for connection and the search for like-minded souls (Figure 1.42).
I chose the portrait version of the design (Figure 1.43) as it provides more negative space, allowing the cat to stand out within the composition. This arrangement also extends the cat’s movement, reinforcing the sense of distance and the challenge of seeking like-minded souls. Placing the cats along the first horizontal line of the Rule of Thirds draws attention to them while maintaining visual balance within the composition. This design also incorporates the interplay between positive and negative space (Principle of figure/ground), where the collapsed human figure with its head covered in the Schrödinger’s box emerges from the solid black form, while the negative space takes the shape of spreading blood.
This design (Figure 1.43), "Closer...", is not only a response to the previous design's theme but also introduces the concept of the "Afterlife", questioning whether true connection can only be achieved beyond the constraints of existence. It reflects on the idea that perhaps souls can only fully understand each other once freed from the burdens of life, or that the search for understanding transcends even death itself. The cat breaking free from Schrödinger’s box to reach another cat suggests a pursuit of connection beyond imposed boundaries, while the collapsed human figure and spreading blood hint at the weight of that pursuit, whether as sacrifice, inevitability, or transformation.
Design Principles applied: Contrast (Black vs White colour), Principle of figure/ground, Abstract Symbols, Rule of Thirds
Figure 1.43 Final Design (Front) "Closer..."
Figure 1.44 Rule of Thirds
Figure 1.45 Back Design
Postcard (Front & Back) Design 09
For the ninth design in the series, it depicts the Schrödinger’s cat itself within its own box (mirroring the concept of the envelope enclosing the designs, much like the Schrödinger’s box itself). This serves as a metaphor for one’s thoughts, authentic self, and self depiction, elevating the Schrödinger’s Cat concept to a deeper exploration of self-perception and uncertainty. Figure 1.46 shows the development of the Schrödinger's cat.
Figure 1.46 Colour and form exploration
I picked the design in Figure 1.47 because it aligns the most with the overall aesthetic of the series (utilising black and white filled shapes and principles of figure/ground to create strong silhouettes). The contrast of white against a black background further emphasises (emphasis) the subject, reinforcing its presence within the composition.
Design Principles applied: Contrast (Black vs White colour), Abstract Symbols, Emphasis
Figure 1.48 Back design
Postcard (Front & Back) Design 10
For the final design in the series, I experimented with repetition to create patterns that symbolises individuals/ thoughts (represented by the Schrödinger’s cats) coming together in to convey the idea of fostering empathy, understanding, and mutual respect despite existing barriers (Figure 1.49). As the finale piece of the postcard series, this design encapsulates the overarching theme of connection. I applied tessellation techniques to develop the pattern in Design 01.
Expanding on this idea, I illustrated two Schrödinger’s cats appearing to embrace each other (Figure 1.50) and incorporated them into Designs 02 and 03, exploring different compositions of repetitive patterns to the theme of connection and unity.
I finalised the last design of the series (Figure 1.51) without using the arrangements in Figure 1.49, as they felt somewhat generic. Instead, I opted for a more organic approach, positioning the recurring elements in a fluid, central composition that forms a larger crowd of embrace, creating a sense of warmth and intimacy. This design serves as the series’ closing message, accompanied by the title "Whatever, let’s cuddle," representing acceptance, mutual reciprocation, and the breaking of barriers through closeness.
Design Principles applied: Repetition, Contrast (Black vs White colour), Principle of figure/ground, Abstract Symbols, Asymmetrical Balance
Figure 1.51 Final Design (Front) "Whatever, let’s cuddle."
Figure 1.52 Back Design
Envelope Design (Front & Back)
For the front design of the envelope (Figure 1.53), I placed the typography along with a short descriptor indicating that it contains a postcard series.
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Figure 1.53 Envelope Design (Front)
For the back design of the envelope (Figure 1.54), I included the radioactive symbol to reflect the idea that the envelope, much like Schrödinger’s box, holds one’s thoughts and unspoken uncertainties, leaving its contents open to interpretation.
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Figure 1.54 Envelope Design (Back)
Mockup
Figure 1.55 Envelope (Left: front; Right:back) mockup
Figure 1.56 Postcard in photo frame mockup
Figure 1.57 Postcard 01 (front) mockup
Figure 1.58 Postcard 02 (front) mockup
Figure 1.59 Postcard 03 (front) mockup
Figure 1.60 Postcard 04 (front) mockup
Figure 1.61 Postcard 05 (front) mockup
Figure 1.62 Postcard 06 (front) mockup
Figure 1.63 Postcard 07 (front) mockup
Figure 1.64 Postcard 08 (front) mockup
Figure 1.65 Postcard 09 (front) mockup
Figure 1.66 Postcard 10 (front) mockup
*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 3 (Development & Design)
Week 6 (10/03/2025)
General Feedback: Design must be in A4 size background (Make sure it's atleast 300 dpi). The design shouldn't look like a sketch already when presented next week.
Specific Feedback: Both idea 1 and 2 is fine but prefers Sketch 1, can go with the original Black & White version; Only develop Sketch 2 if time allows. Explore different compositions, play with repetition/pattern/scale, can try other formats (T-shirt design, printed art etc.). Finalise things up for next week.
Week 7 (17/03/2025)
General Feedback: Submission on 19 March. Double check submission requirements.
Specific Feedback: Impressive; Ensure visual consistency in all designs (either change all to the cartoonistic style or vice versa); Submit 3 things: Individual postcard designs, all postcard designs in one image, mockup images.
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