Design Principle Task 1: Exploration

Include the MIB for Design Principles
Recap the design principles ( Gestalt theory, Contrast, Emphasis, Balance, Repetition, Movement, Harmony & Unity, Symbol, Word and Image)
Pick and briefly describe one goal from the United Nations' Sustainable Development Goals (UNSDG)
Select an existing art/design work that revolves around that goal of your choice. Beneath the image, include the credit line of the art/design work (title of art/design work, artist's/designer's name, year, size, medium, source link)
Explain, in about 100-150 words, why you chose that design in relation to the UNSDG goal and list the design principles you observed in that design

Lectures

Week 1:

DR Yip provided us with a detailed and concise briefing on the design principles course, making it easy for us to understand the course content and the assignments to be submitted. She also informed us that the lecture class on Tuesday will involve watching pre-recorded sessions, and face-to-face physical classes with the teacher are only required for the courses we have registered for.

Introduction Element & Principle of Design

Lecture 1 Introduction PDF

Visual communication uses design to convey meaningful messages to a target audience. Design must be carefully planned and executed. Understanding and applying the elements and principles of design are essential for effective communication through design.
Elements of design are individual "building blocks". (Point, Line, Shape, Form, Texture, Space, Colour)
Principles of design are organisational fundamentals that result from or guide the arrangement of the elements. (Contrast, Balance, Emphasis, Rules of Third, Repetition/ Pattern/ Rhythm, Movement, Hierarchy, Alignment, Harmony, Unity, Proportion)

Elements of design

1. Point

The basic element in design is a point, which forms lines and creates other shapes and forms as it moves in space.

2. Lines

Lines possess diverse attributes, including being active, static, aggressive, passive, sensual, or mechanical.
Lines can indicate directions, define shapes, imply volumes, express emotions, and can be grouped to form patterns and textures.

3. Shapes

Shapes refer to the space within the outline of a 2D area or a 3D object.
They become visible when enclosed by lines or when there's a noticeable change in value, colour, or texture.
Shapes are categorized into geometric and organic types.
Geometric shapes (like circles, squares, and triangles) tend to be precise and regular.
Organic shapes: Irregular, often curving or rounded, appear more relaxed and informal than geometric shapes.

Fig1.1 Point, Line and Shape, Week 1(6.2.2024)

4. Form

Two-dimensional areas are shapes, while three-dimensional areas are forms.
When a form encloses space, it creates volume.
Form is a crucial element in sculpture and architecture.
In two-dimensional media such as painting, illustration, or drawing, form must be implied.

5. Texture

In visual communication design, texture refers to the tactile qualities of surfaces or their visual representation.
All surfaces have textures that can be experienced by touch or through visual suggestion.
The texture is categorized into an actual texture (experienced by touch) and simulated or implied texture (created to look like the real texture).

6. Space

Space is the general receptacle of all things, the seemingly empty area around us.
In drawings, prints, photographs, and paintings, we see the space of the surface all at once.
The actual space of each picture's surface is defined by its edges - the two dimensions of height and width. Three-dimensional space is experienced when we are in it, beginning with our own positions in relation to other people, objects, surfaces, and voids at various distances from ourselves.
In graphic design, space refers to the area occupied by a shape or form and can be positive (filled space) or negative (empty space).
The illusion of three-dimensional space can be suggested through depth, achieved by overlapping images, variations of sizes, placement, and perspective.

Fig1.2 Form, Texture and Space, Week 1(6.2.2024)

Fig1.3 Space, Week 1(6.2.2024)

7. Colour

Color is the visual byproduct of the light spectrum transmitted through a transparent medium or reflected off a surface.
Humans perceive millions of colours based on three variables: hue, value, and intensity.
Pure hue represents the highest saturation and brightness of a colour.
Colour schemes, including monochromatic, analogous, and complementary, aim to provide distinct colour harmonies.

Fig1.4 Colour, Week 1(6.2.2024)

Design Principles

1. Contrast

Contrast involves placing strongly dissimilar elements together.
It prevents visual monotony and adds interest to the composition.
Contrast can emphasize specific points and convey content effectively.
In addition to these, there are some other common types of contrast, such as colour contrast, size contrast, shape contrast, typography contrast, and space contrast.

Colour Contrast

Colour contrast is the visual disparity between colours in a design.
It involves using notably different colours, such as light and dark tones or complementary colours.
Colour contrast helps to create visual interest and emphasize important elements in the design.

Fig2.1 Orange and Black colour contrast by Eiko Ojala, Week 1 (6.2.2024)

Shape Contrast

Shape contrast utilizes different shapes to create visual disparities.
It can highlight focal points or establish a visual hierarchy.
Shape contrast enhances visual appeal and guides the viewer's attention in design.

Fig2.2 Shape Contrast on Pinterest， Week 1 （6.2.2024）

Space Contrast

Space contrast involves deliberately adjusting the allocation of space between elements in a design to create visual interest and hierarchy.
It emphasizes certain elements, making them stand out, or creates balance and harmony.
Space contrast helps guide the viewer's eye, establish focal points, and enhance the overall composition of the design.

Fig2.3 Space Contrast on Pinterest， week 1 （6.2.2024)

2. Gestalt Theory

The human brain naturally seeks patterns, logic, and structure.
"Gestalt" translates to "shape" or "form" in German.
Gestalt principles are rules describing how the human eye perceives visual elements.
These principles aim to simplify complex scenes into simpler shapes.
They also explain how the eyes perceive shapes as a single, unified form rather than separate elements.
Principle of Proximity， Principle of Similarity， Principle of Continuity， Principle of Closure， Principle of Symmetry， Principle of Figure-Ground

Proximity principle

Close elements are perceived as a group.
Used in design for organization and hierarchy.

Fig2.4 Proximity Principle Art on Pinterest, Week 1 (6.2.2024)

Principle of Similarity

Similar elements are perceived as related.
Used in design for cohesion and emphasis.

Fig2.5 Principle of Similarity on Pinterest, Week 1 (6.2.2024)

Principle of Continuity

Elements arranged in continuous lines or patterns are perceived as related.
Used in design for flow and coherence.

Fig2.6 Principle of Continuity on Pinterest, Week 1 (6.2.2024)

Principle of Closure

When parts of a visual stimulus are missing, the brain fills in the gaps to perceive a complete object or shape.
Used in design to suggest completeness and encourage interpretation.

Fig2.7 Principle of Closure by Artsy Dork, Week 1 (6.2.2024)

Principle of Symmetry

Symmetrical elements are perceived as a unified whole.
Used in design for balance and harmony.

Fig2.8 Principle of Symmetry by Uiethma, Week 1 (6.2.2024)

Principle of Figure-Ground

Objects are perceived as figures or ground based on arrangement.
Used in design to create focus and depth.

Fig2.9 Poster Principle of Figure-Ground on Pinterest， Week 1 （6.2.2024）

3. Balance

Balance Definition is the distribution of visual weight in design.
Visual Equilibrium is the elements' balance that creates overall balance.
Symmetry and Asymmetry: Symmetrical or asymmetrical balance.

Symmetrical Balance

Equal weight on each side of a central fulcrum.
Equally arranged elements on either side of a central axis (horizontal or vertical) for bilateral balance.
Equal arrangement around a central point for radial balance.
Approximate symmetry: equivalent but not identical forms around the fulcrum line.

Fig 3.1 Type of Balance, Week 1 (6.2.2024)

Asymmetrical Balance

Unequal visual weight on each side of the composition.
One side may have a dominant element, balanced by one or more smaller focal points on the other side.
More dynamic and engaging.
Evokes feelings of modernism, movement, energy, and vitality.
Asymmetrical balance offers greater visual variety but can be harder to achieve due to complex relationships between elements.

Fig3.2 Asymmetrical Balance, Week 1 (6.2.2024)

The Golden Ratio

Known as phi, the Golden Ratio is a mathematical concept derived from the Fibonacci sequence, that appears in nature.
The Golden Ratio has long been associated with perfect beauty and is prevalent in nature.
It's been used for centuries in architecture and art to achieve visual balance.
Designers and artists use the Golden Ratio to bring harmony and appeal to their work.

Fig3.3 The Golden Ratio, Week 1 (6.2.2024)

Rule of Third

Composition guideline for dynamic design/photo/film/painting.
The image is divided into thirds, and the subject is placed at intersections or along lines.

Fig 3.4 Rule of Third, Week 1 (6.2.2024)

4. Emphasis and Dominance

Emphasis creates dominance and focus in design.
Elements like colour, shape, or value are used for emphasis.

Fig4.1 Emphasis and Dominance, Week 1 (6.2.2024)

5. Repetition

Pattern and Rhythm
Repetition brings activity to design.
It establishes rhythm and pattern.
Variety is crucial for maintaining excitement and preventing monotony.
Patterns elevate visual interest.
Variety refers to introducing changes or slight differences in elements and objects within a composition to prevent monotony. It can also involve varying angles, exposure, composition, etc.

Fig5.1 Repetition, Week 1 (6.2.2024)

Fig5.2 Repetition, Week 1 (6.2.2024)

Close composition: Elements are arranged tightly, filling the frame with minimal empty space.
Open composition: Elements are dispersed, leaving areas of empty space or visual expansiveness within the frame.

Fig5.3 Repetition, Week 1 (6.2.2024)

6. Movement

Design directs the eye's movement within a composition, creating a visual flow path.
Motion in a visual image occurs when objects appear to be in motion within the image.
Movement within a visual image is derived from the types of shapes, forms, lines, and curves utilized.

Fig6.1 Movement, Week 1 (6.2.2024)

Fig6.2 Movement, Week 1 (6.2.2024)

7. Hierarchy

Hierarchy organizes content to convey meaning effectively.
Visual hierarchy guides viewers to important information first and aids in navigating secondary content.

Fig7.1 Hierarchy, week 1 (6.2.2024)

8. Alignment

Alignment refers to positioning elements so that their edges line up along common rows or columns, or their bodies align along a central axis.
Alignment fosters unity and cohesion, enhancing the overall aesthetic and perceived stability of the design.
Alignment can also effectively guide viewers through a design.

Fig8.1 Alignment, week 1 (6.2.2024)

9. Harmony

Selecting elements with a common trait.
Monotony without variety.
Ensuring all design elements fit together, whether in theme, style, or mood.
Variety refers to introducing changes or slight differences in elements and objects within a composition to prevent monotony. It can also involve varying angles, exposure, composition, etc.

Fig9.1 Harmony, Week 2 (13.2.2024)

10. Unity

Repeating elements like colours, shapes, or materials for cohesion.
Achieving balance and coherence to establish a theme.
Unity and harmony, though similar, play distinct roles in the design experience.

Fig10.1 Unity, Week 2 (13.2.2024)

11. Scale and Proportion

Scale: Object size relative to others in design.
Proportion: Size of object parts in relation to each other.
Designers historically use scale and proportion to depict or deviate from the ideal.

Scale

Size relative to a unit of measure.
Determined in two ways： Actual measurement and Visual estimates based on comparison
Architectural drawings and models show applied scale.
Scale specifies details based on relative sizes.
Deviating from a normal scale can create dramatic visual effects.

Fig11.1 Two types of Scale, Week 2 (13.2.2024)

Fig11.2 Scale, Week 2 (13.2.2024)

Proportion

Comparing elements' sizes, colours, quantities, etc., i.e. ratio.
Harmonious proportion: Correct relationship between elements in size or quantity.
Effective proportion yields harmony and unity in design.

Fig11.3 Proportion, Week 2 (13.2.2024)

12. Symbol

Represents something else; it could be a sign, shape, or object.
In design, symbols convey information equivalent to text or even a whole story.
Two types of symbols: Figurative and Non-Figurative Representations

Fig12.1 Symbol, Week 2 (13.2.2024)

Figurative Representations can be divided into two types: Visuals and Graphic Symbols
Graphic Symbols can be divided into three types: Pictorial Symbols, Abstract Symbols and Arbitrary Symbols.

Fig12.2 Types of Symbol, Week 2 (13.2.2024)

Pictorial Symbols

Image-related and simplified pictures.

Fig12.3 Pictorial Symbol, Week 2 (13.2.2024)

Abstract Symbols

Look like the objects that they represent but have fewer details.

Fig12.4 Abstract Symbol, Week 2 (13.2.2024)

Arbitrary Symbols

No resemblance to represented objects/ideas; meanings constructed.
Invented symbols: Meaning constructed; often based on geometric shapes and colours.
Learning is required for arbitrary symbols.

Fig12.5 Arbitraty Symbol, Week 2 (13.2.2024)

13. Word and Image

Imagery: Crucial for print and digital design; enhances user connection with concepts or brands.
Pairing words with imagery: Important for design meaning; proper typeface choice and strategic text placement create visual hierarchy and balance.
Typography: Designing and arranging text to convey messages or concepts effectively.

Fig13.1 Word and Image, Week 2 (13.2.2024)

Fig13.2 Design Principles Example in Pinterest， Week 2 （13.2.2024）

Observation of Image with Design Principles

Fig14.2 Contrast

The contrast of colours will further highlight the subject and increase visual impact, making the viewer's memory more profound. Typically, contrast is composed of two colours, such as black and white, red and black, orange and black, and so on.

In this image, there is a black-and-white colour contrast, and I have circled the tree in red lines.

Fig14.3 Gestalt Theory

In this painting, Gestalt Theory is utilized to encourage viewers to relate the elements of the artwork, making it easier for the brain to comprehend and see the complete picture. The image depicts a crowd dispersed on the beach, but due to the density, they combine to form the image of the Statue of Liberty.

Fig14.4 Balance

Balance is employed in this artwork to create a sense of equilibrium, preventing any emphasis and maintaining stability while increasing attractiveness. Moreover, the overall coherence guides the viewer's attention. The red line in the middle serves as the central axis of the image, with consistent elements on both sides.

Fig14.5 Emphasis

In this artwork, emphasis is employed. By contrast, it highlights the house in the middle of the picture and also utilizes the black and white contrast to draw the viewer's attention. Additionally, the surrounding identical trees serve to diminish distractions, thereby accentuating the elements and messages the author intends to emphasize.

Fig14.6 Repetition

Repetition is employed in this artwork, where the background consists of simple colours. Triangles are repeated and slightly rotated, creating a sense of space. Through the consistent repetition of unified elements, the viewer's gaze is drawn in, producing a visual effect. Additionally, the repetition of lines is often used to create many visually appealing artworks.

Fig14.7 Movement

In this artwork, movement is utilized. Although the image itself is not in motion nor capable of movement, the direction of lines and shapes creates a sense of dynamism and vitality, enhancing the viewer's engagement and capturing their attention as if they were moving along with the movement depicted. In addition to line transitions, changes in the size or spacing of elements in the image can also reflect movement.

Fig14.8 Hierarchy

Hierarchy is employed in this picture, guiding the audience's attention layer by layer to gradually comprehend the message the author intends to convey, making it easier for viewers to understand. Through arrangement, size, and inclination angle, this artwork demonstrates the technique of hierarchy, directing the viewer's gaze progressively downward.

Fig14.9 Alignment

In this image, the use of alignment and balance is somewhat similar, both involving structural, organizational, and aesthetic principles. Employing these techniques creates a sense of comfort for the viewers, providing a feeling of unity without appearing abrupt or odd. It allows the elements in the composition to blend and harmonize more effectively, making it a preferred approach for most people.

Fig14.10 Harmony and Unity

In this image, there is a presence of harmony and unity. The colours in the picture share the same tone, blending together seamlessly without giving a jarring sensation. It's both harmonious and balanced, with interrelated elements complementing each other to achieve a cohesive and effective presentation.

Fig14.11 Scale and Proportion

The scale technique is prominently featured in this picture, where the author adjusts the size of emphasized objects to make them stand out prominently in the composition, attracting viewers' attention due to their conspicuousness. Additionally, larger elements tend to draw more attention, contributing to a sense of hierarchy, and creating a unique atmosphere.

Fig14.12 Symbol

This is a symbol, characterized by repetitive and symmetrical patterns, giving it a neat and comfortable appearance. Symbols can also be used to convey messages and represent identities, among other things. Additionally, symbols are widely appreciated for their simplicity and utility, possessing an attractive appearance that is both concise and elegant. They are easily noticed and leave a lasting impression.

Fig14.13 Words and Image

This artwork is evidently composed of words and images, utilizing these two mediums to convey messages. It evokes emotional resonance in the audience, as the combination of text and imagery can articulate viewpoints, enhancing expressiveness and attractiveness, thereby enriching the composition. Through textual descriptions and visual expressions, clear, concise, and aesthetically pleasing word images make it easy for viewers to find the information they need.

UNSDG & Artwork

I chose Goal 7: Affordable and Clean Energy among the 17 UN Sustainable Development Goals because advancements in technology offer solutions to many challenges we face today. For example, we can purify air and water sources to tackle environmental pollution. Efficiency can be improved by using machines in assembly lines instead of manual labour. Genetic improvements can address food and medical issues, enhancing production and correcting genetic disorders. Technological progress makes solutions to these problems increasingly feasible. Although these issues can be solved with tech advancement, the problem of affordable and clean energy won't vanish as energy can't be created out of thin air.

I chose Goal 7 because energy is a consumable commodity, and according to the law of conservation of mass, creating energy out of nothing is unrealistic. With a background in science and a keen interest in technological advancements, I've observed that progress often requires extensive research, experimentation, and consumption of resources like raw materials, money, time, and energy.

On ordinary days， driving necessitates refuelling, with fuel costs have significantly risen. Some Singaporeans even go to Malaysia for cheaper fuel. Additionally, households rely on electricity, with bills escalating alongside appliance usage. Consequently, a major portion of people's expenditures is attributed to energy consumption. Petroleum, being non-renewable, diminishes with use. Despite cleaner energy alternatives like wind, hydro, solar, and nuclear power, consumption rises with human progress. This results in escalating prices due to depleting energy resources. For example, installing solar panels requires both financial investment and space, rendering it inaccessible to the financially challenged. Moreover, nuclear energy remains out of reach for the average person.

My choice of Goal 7, affordable and clean energy, is driven by my belief that energy and technology should be prioritized as primary development objectives. It should be accessible to everyone and not harm the environment. Clean energy shouldn't be restricted to military or wealthy nations; otherwise, emerging technologies could be exploited by the privileged, disadvantaging the lower class. Earth's energy resources are finite, so we must explore beyond our planet. Although we're not even a Type I civilization according to the Kardashev Scale, technological advancements may enable projects like the Dyson Sphere in the future.

Although I lack tech expertise, I can use my design skills to create visuals promoting the significance of affordable and clean energy. It's as vital as tech advancements and ingrained in our lives. Yet, its integration into daily routines often leads to indifference. Thus, visual reminders are crucial to capturing attention and fostering appreciation.

Description About UNSDG 7： Affordable and Clean Energy

Ensure access to affordable, reliable, sustainable and modern energy for all. Resources are not personal assets and should be accessible and utilized by everyone under reasonable and fair conditions. Of course, the prerequisite for all of this is clean energy to prevent damage to the environment for survival.

Target By 2030:

Ensure universal access to affordable, reliable and modern energy services
Increase substantially the share of renewable energy in the global energy mix
Double the global rate of improvement in energy efficiency
Enhance international cooperation to facilitate access to clean energy research and technology, including renewable energy, energy efficiency and advanced and cleaner fossil-fuel technology, and promote investment in energy infrastructure and clean energy technology
Expand infrastructure and upgrade technology for supplying modern and sustainable energy services for all in developing countries, in particular least developed countries, small island developing States, and land-locked developing countries, in accordance with their respective programmes of support

Artwork about UNSDG 7 Affordable and Clean Energy：

Fig14.1 “The Four Elements” by Eliza Nobles in 2021， Week 2（13.2.2024）

Title of artwork： "The Four Elements"

Artist Name: Eliza Nobles

Year: 2021

Size: 10x10-foot

Medium: Mural

The reason for choosing this artwork：

At first glance, the painting depicts Earth with four humanoid figures representing prevalent clean energy sources: solar, wave, wind, and geothermal. These correspond to the artwork's name, "The Four Elements," symbolizing water, fire, earth, and air. Together, they support the planet, set against a black background with white lines representing the power grid.

Beyond its surface, the painting serves as a warning and reflection. The uniform size of the figures signifies not only the equal importance of clean energy sources but also the inseparable relationship between Earth's development and energy. Collective efforts to protect the environment and conserve energy are crucial for fostering a prosperous planet.

Neglecting clean energy and the Earth's well-being may lead to a bleak future akin to the background. The white lines intertwining people, energy, and Earth reinforce their interconnectedness, highlighting their inseparability.

137 Words

Fig14.2 “The Four Elements” in a different view， Week 2 （13.2.2024）

The Design Principles used in “The Four Elements" by Eliza Nobles:

1. Contrast

-The blue and white Earth in the picture contrasts strongly with the black background, making it easily eye-catching.

2. Gestalt Theory

- Law of Similarity: The silhouette of a person in the image.

- Law of Continuation: The white lines in the background represent the power grid.

- Law of Closure: The white power grid in the background is partially obscured by the silhouette of a person, which creates an optical illusion where the eyes and brain fill in the missing parts.

- Law of Symmetry & Order: The silhouette of a person in the image.

3. Balance

- The four silhouettes of the person in the image make it look balanced.

4. Emphasis

-The hands of the silhouette are placed on the Earth, emphasizing the connection between clean energy and the planet.

5. Repetition

- The silhouette of a person is repeated four times.

6. Movement

-The white power grid consists of lines, creating a sense of movement.

7. Harmony and Unity

-All elements in the image depict clean energy, achieving overall harmony.

8. Scale and Proportion

-The Earth and the silhouette of the person are of similar size and proportion, maintaining a sense of harmony without disrupting the overall balance.

Feedback

Week 3:

Dr. Charles remarked that my blogger is complete, encompassing everything within it. Regarding the selected artwork, he raised pertinent questions about clean energy, providing me with additional material for the upcoming task of visual analysis. Furthermore, he mentioned that he is open to producing more than one piece of artwork.

Further Reading

Hue, Value, and Saturation(Chroma)

Colour Definition and Components:
- Colour is the visual result of a light spectrum interacting with a surface or medium.
- Colour comprises three fundamental components: hue, value, and saturation.
Understanding Hue:
- Hue is defined by the dominant wavelength, such as 'yellow'.
- It refers to the purest form of colour with full saturation.
Exploring Value:
- Value denotes the lightness or darkness of a colour.
- It represents the amount of light reflected by a colour.
Defining Saturation:
- Saturation determines the brilliance and intensity of a colour.
- It describes how pure a colour is and how much it is dominated by the hue.
HSV Color Scale:
- HSV scale stands for Hue, Saturation, and Value.
- It visually explains the concept of light and is essential for digital colour representation.
Primary Color Models:
- The primary colours in light are red, green, and blue.
- Secondary colours like cyan, magenta, and yellow are produced by mixing these primary light hues.
Colour Pickers and Models:
- Colour pickers select hues, saturations, and values for colour representation.
- Understanding colour models like HSV aids in visualizing colour spaces effectively.
Colour Production Basics:
- All colour originates from the processing of light waves by our eyes.
- Different colour models and mixing techniques generate a wide range of unique colours.
Relationship between Cyan and Red:
- Cyan is red's complementary hue, positioned directly across from red on the colour wheel.
- In the RGB colour model, cyan is created by mixing equal parts of Blue and Green (Blue=255, Green=255).

A Comprehensive Guide on the Color Wheel for Artists (Plus How to Make Your Own)

Colour Wheel Variations:
- The traditional colour wheel includes the primary colours of red, blue, and yellow, and is commonly used by artists. However, it lacks accuracy compared to other variations like the Munsell colour wheel.
- The Munsell colour wheel is similar to the traditional colour wheel but with slightly different spacing between colours, considered to be a more accurate reflection of how colours are positioned on the visible spectrum.
How to Use the Color Wheel:
- The colour wheel comprises primary colours (red, blue, and yellow), secondary colours (green, orange, and purple), and tertiary colours. Colours close on the wheel have a harmonious relationship, while those opposite are complementary.
- Artists often categorize colours into warm and cool, with relative temperature distinctions. Complementing artists like Monet and van Gogh used analogous and complementary colours extensively in their paintings.
What About White and Black?:
- White and black don't have positions on the colour wheel but can alter the value and saturation of colours when added. White increases value and saturation, while black decreases value and creates shades.
- When added to a colour, white and black can also affect the hue slightly, as they usually have a bias towards another colour.
Create Your Own Color Wheel:
- Making your own colour wheel involves drawing an outline, painting in primary colours followed by secondary and tertiary colours, and making adjustments.
- Using the highest chroma primary colours and a clean palette knife for application is recommended.
Limitations of the Color Wheel:
- The colour wheel does not account for white and black, colour saturation, and may not be able to mix the full visible spectrum of colours as suggested. It should be treated merely as a guide for colour mixing.

Laws of Proximity, Uniform Connectedness, and Continuation The Laws of Figure/Ground, Prägnanz, Closure, and Common Fate - Gestalt Principles

Law of Proximity:
- The law of proximity describes how the human eye perceives connections between visual elements.
- Elements close to each other are perceived to be related when compared to separate elements.
Use of Whitespace:
- Whitespace can be used to build perceived relationships between different elements.
- In written material, it enables making sense of text as a whole.
Careful Design Application:
- Designers need to be cautious in employing the law of proximity to avoid noisy or crowded layouts.
- Overlapping too many items closely can lead to a loss of design meaning.
Law of Unified Connectedness:
- Elements connected using colours, lines, frames, or shapes are perceived as a single unit.
- This grouping effect works even when contradicting other Gestalt principles.
Implementation in Design:
- Group-related elements using consistent visual cues to indicate connectivity.
- Display similar functions within delineated frames or coloured areas for grouping purposes.
Law of Continuation:
- The human eye follows lines, curves, or shapes to establish relationships between elements.
- Continuation can involve positive and negative spaces in designs.
Visual Representation:
- Drawing lines or sequences can demonstrate continuation in design.
- Metaphorically representing continuation aids in guiding user interaction.
Application in User Interface:
- Designing pathways or steps to show progress in processes utilizes the law of continuation.
- Utilizing the nature of the human eye to follow lines can enhance user experience.
Gestalt Principles:
- The Gestalt principles include Similarity, Continuation, Proximity, and Uniform Connectedness.
- These principles influence visual perception and can be applied to product and web design to improve user experience.
- Introduction to Gestalt Principles:
  - Explores Figure/Ground, Prägnanz, Closure, and Common Fate principles.
  - Enhances design by leveraging human tendencies in perception.
- Figure/Ground Principle:
  - The eye separates shapes from the background in a design.
  - Size and contrast impact the perception of figure and ground.
- Relationships in Figure/Ground:
  - Stable, reversible, and ambiguous categories.
  - Ambiguity can be created for intriguing designs.
- Designing with Figure/Ground in Mind:
  - Illustrated examples from Digital Camera World and 500px.com.
  - Utilizes drop shadow and contrast for effective differentiation.
- Law of Prägnanz (Simplicity):
  - Simplifying complex shapes into cohesive figures.
  - Enables quick understanding and order in design.
- Applying Prägnanz in Design:
  - Using simplicity to avoid overwhelming visual complexity.
  - Helps in wireframing for website layouts.
- Law of Closure:
  - Completes incomplete shapes by filling in missing information.
  - Creates a perception of whole shapes without explicit borders.
- Designing with Closure in Mind:
  - Examples like the World Wildlife Fund logo.
  - Achieves the visual effect of completing shapes in the mind.
- The Law of Common Fate in Design:
  - LinkedIn uses the law of common fate to create a relationship between sub-menus, where the sub-menu item moves in the same direction as the last, creating a link in the minds of the users.
  - The principles of perceptual organization defined by Gestalt Psychology provide valuable knowledge to design effective, efficient, and visually pleasing displays.
- Gestalt Principles and Design:
  - Gestalt Psychology principles like Figure/Ground, Prägnanz, Closure, and Common Fate provide exciting ways to reach users with designs.
  - Enrolling in the Gestalt Psychology Course can provide valuable resources, recommended reading materials, videos, and links for applying these principles to design.

Design Principles: Compositional, Symmetrical And Asymmetrical Balance

Balancing a Composition:
- Balancing a composition involves arranging both positive elements and negative space in such a way that no one area of the design overpowers other areas. Everything works together and fits together in a seamless whole.
- An unbalanced composition can lead to tension. Generally, balanced compositions are desirable, but there's no one right way to communicate that elements are similar or different.
Physical And Visual Balance:
- Visual balance is important for maintaining viewer engagement with a design. Without it, less visually weighted areas might go unnoticed by the viewer.
- Visual balance is similar to physical balance. It's the measure of visual interest in a composition, keeping every part of it holding some interest.
Four Types Of Balance:
- Symmetrical balance occurs when equal weights are on equal sides of a composition, evoking feelings of formality and elegance.
- Asymmetrical balance results from unequal visual weight, creating a dynamic and interesting composition.
Radial Balance:
- Radial balance occurs when elements radiate from a common center, making everything lead to a strong point of attraction.
- Maintaining a focal point is easy in radial balance because everything radiates from a common centre.
Mosaic Balance:
- Mosaic balance results from balanced chaos, lacking distinct focal points. Somehow, it all works together in a visual composition.
- The composition lacks hierarchy and shares a uniform emphasis, leading to initial visual noise that eventually integrates.
Symmetry And Asymmetry:
- Both symmetry and asymmetry can be used independently while contributing to the final balance of composition, offering different levels of visual interest and variety.
- Symmetry has reflection, rotational, and translational types, each evoking different feelings and moods within a composition.
Visual Weight:
- Visual weight is the perceived weight of a visual element, measuring how much it attracts the viewer's eye to maintain balanced visual interest throughout a composition.
- The visual weight and direction are determined visually, ensuring that the composition is visually balanced.
Importance of Visual Balance:
- Visual balance is important for viewer engagement in a composition, ensuring that every part holds some interest and nothing goes unnoticed.
- An unbalanced composition can feel uncomfortable and wrong to the viewer, emphasizing the importance of visual balance.
Rotational Symmetry:
- Occurs when everything rotates around a common centre at any angle or frequency
- Natural forms that grow or move perpendicular to the earth’s surface develop rotational symmetry
Translational Symmetry:
- Occurs when elements are repeated over different locations in space
- Repeating fence posts are an example of translational symmetry
Symmetrical Forms:
- Convey balance in and of themselves
- Symmetrical forms also lead to passive space because the negative space is equal all around the form
Asymmetrical Forms:
- Lack the balance of symmetrical forms
- Asymmetry creates more complex relationships between elements, making it more interesting than symmetry
Combining Symmetry and Asymmetry:
- You can combine symmetry and asymmetry to good effect
- Contrast symmetry and asymmetry in your composition to make elements get more attention
Gestalt Principles:
- The simplicity of symmetrical forms is predicted by the Law of Prägnanz
- Gestalt principles such as focal points and similarity contribute to visual weight
Examples of Symmetrical Balance:
- Helen & Hard’s entire website is symmetrically balanced
- The home page of Tilde is another design that’s symmetrically balanced
Examples of Asymmetrical Balance:
- The home page of Carrie Voldengen’s portfolio exhibits an overall asymmetrical balance around a dominant symmetrical form
- The images at the top of Hirondelle USA’s home page exhibit asymmetrical balance
Radial Balance:
- Radial balance can be achieved without the use of circles, as seen in the example of text links on the Rabbit’s Tale home page.
- The elements in this composition radiate from a central point and counterbalance each other, creating an overall sense of balance.
Mosaic Balance:
- Examples of mosaic balance can be found on content-heavy websites, such as news and magazine websites, where different-sized blocks of content create a sense of chaotic balance.
- Despite asymmetry and varying content densities, the overall balance is maintained, demonstrating the effectiveness of mosaic balance.
Fundamental Design Principles:
- Design principles are grounded in human perception and gestalt theory, playing a crucial role in visual communication.
- While not strict rules, understanding and applying these principles can provide greater control over visual design.
Visual Communication and Design:
- The series concludes by emphasizing the importance of understanding design principles and using them purposefully, while also encouraging experimentation and creativity.
- The principles, based on human perception, offer insights into how elements can be arranged for effective visual communication.

The Golden Ratio: The Origin of the Rule of Thirds

The Rule of Thirds is a well-known compositional technique in photography, dividing the frame into thirds both vertically and horizontally, with subjects placed along these lines or at their intersections for more dynamic images.
It originates from the Golden Ratio, also known as Phi (1.6180339887), which divides the frame into 9 rectangles with subjects placed at the intersections of lines for balance and harmony.
The Fibonacci sequence, closely related to the Golden Ratio, can be used to create the Fibonacci Spiral, a compositional technique for balance and harmony.
The Golden Triangle technique involves dividing the frame diagonally and placing subjects along the diagonal or at its intersections for visual impact.
While the Rule of Thirds can be applied easily during photography, the Golden Ratio may be better suited for post-production editing, utilizing tools like Photoshop or Lightroom for cropping to achieve compositional harmony.

Design is subjective, but the Golden Ratio offers a mathematical approach to creating aesthetically pleasing compositions.
The Golden Ratio, approximately 1.618, stems from the Fibonacci sequence, found in nature and art.
It's applied by dividing a line into two parts, where the ratio of the longer part to the smaller part equals 1.618.
This ratio is used to create harmonious shapes, layouts, and typography.
Utilizing the Golden Ratio in design can improve typography hierarchy, image cropping, layout composition, and logo development.
Popular logos like Twitter, Apple, and Pepsi often incorporate the Golden Ratio.

Development of Graphic Design in the United States:
- The fifties saw the flourishing of U.S. graphic design in the New York School.
- In the sixties, Swiss minimalism challenged the copy-concept and image-oriented direction, leading to a split between graphic design and advertising.
Rebellion Against Helvetica and the Grid System:
- In the next decade, designers rebelled against Helvetica and the grid system, the official American corporate style.
- Robert Venturi’s Complexity and Contradiction in Architecture and the study of graphic design history influenced American graphic design students in the early seventies.
Influences from Switzerland and Current Experimentation:
- Wolfgang Weingart’s syntactical experimentation at Switzerland’s Basel school influenced U.S. schools.
- Current experimentation in graphic design can be traced to recent fine art, photography, and literary criticism.
Typography and Visual Language:
- French poststructuralism influenced the deconstruction of verbal language in art and photography.
- Art and photography are treated as visual languages to be read as well as seen.
Impact of the Digital Revolution on Graphic Design:
- The digital revolution opened up new possibilities in graphic design, leading to greater experimentation and openness to error.
- The Macintosh influenced both production and design aesthetics by providing new textures and languages.
Computer Technology and Integration in Graphic Design:
- Computer technology allowed for more specialization and integration in graphic design.
- Designers could control all aspects of production, streamlining the process and bringing together various disciplines.
Advancement of Graphic Art with Computer Technology:
- Computer technology has advanced graphic art by integrating previously isolated disciplines.
- It allowed designers to reconsider the basic assumptions in the creative design process, bringing excitement and creativity.
Digital Revolution in Design:
- The introduction of Macintosh computer reshapes the graphic design landscape, offering new solutions and possibilities
- Digital technology collapses all media into a single desktop tool, blurring boundaries and enabling hybrid creations
Impact of Technology on Typography:
- Personal computer revolutionizes typography, allowing designers freedom to experiment and challenge traditional conventions
- Technological advancements stimulate aesthetic innovation in typography and design
Evolution of Typography:
- Typography influenced by concepts from seemingly unrelated developments like Futurism and the Bauhaus
- Typography embraces the idea of 'deconstruction' leading to a new form of communication
Macintosh: A Paradigm Shift:
- Macintosh environment offers user-friendly tools like the 'Undo' function, changing the creative process
- Editing becomes part of creation, emphasizing the importance of original ideas over finality
Changing Design Practices:
- Traditional design rules are challenged as designers adapt to digital tools and embrace new methodologies
- Designers' response to deconstructionist influences leads to a redefinition of typography and graphic design
Graphic Design in the Digital Age:
- Digital art challenges perception and aesthetic distinctions between analog and digital creations
- Creating a graphic language with modern tools requires a departure from archaic styles and a focus on basic design principles
Endless Possibilities in Digital Art:
- Artistic creations in the digital realm remain fluid and editable, blurring the lines between creation and completion
- Digital tools enable endless manipulation and exploration, redefining the concept of a 'finished' piece
Future Outlook for Designers:
- Designers navigate a landscape where technology shapes the future of design practices
- Adapting to evolving technologies requires designers to constantly experiment and rethink established norms
Overview of Postmodernism in Graphic Design:
- Postmodernism in graphic design was a major movement at the cusp of the new millennium, as explored in Simone Restifo's 'Postmodernism - Graphic Design at the Edge of a New Millennium'.
- The book delves into various aspects such as legibility, the medium's impact, mapping the postmodern, and the academy of deconstructed design.

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Lew Guo Ying (0365721)