Design Principle Task 2: Visual Analysis

26.2.2024 - 11.3.2024 ( Week 4 - Week 5)

Lew Guo Ying / 0365721 / Bachelor of Design in Creative Media

Design Principle

Task 2 Visual Analysis

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1. Instructions

1.1 Submission Task 2 Visual Analysis

1.2 Observation of Image with Design Principles

2. Lecture

3. Feedback

4. Further Reading

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Instructions

Requirement:

• Evaluate, investigate, document, and analyze the selected art/design work. 
• Study the design principles found in the work. 
• Analyze the size, placement, purpose, and effectiveness of the design in relation to the chosen United Nations Sustainable Development Goal.
• Write a 300- to 350-word visual analysis of the selected design (refer to Visual Analysis lecture notes and guide).

Submission for task 2 visual analysis:

Fig1.1 PDF of submission for assignment 2 visual analysis

      According to the method provided in the PDF by the teacher, I will create a PowerPoint presentation, which will appear clearer and express simpler. 

      The first part is observation. I will observe the selected images and follow a directional format. Then, I will observe and list the elements in the images. Next, I will examine the visual elements such as colour and other less obvious elements. 

      The second part is analysis. In this section, I will analyze the parts observed in the first part and describe them, linking design principles to the observed elements. I will also explore how these elements impact the audience. Lastly, I will use the knowledge of design principles to explain how the eyes are guided in the artwork. 

      The final part is an explanation. I will integrate observations, descriptions, and analysis of the artwork, and search online for relevant information, including the date of appearance, style, relevant introductions, connections between the author and the artwork, and historical background. In addition, Dr. Charles's guidance, he allows me to incorporate my own insights into this project, as my own insights are the best answers.

Observation of Image with Design Principles

Fig1.2 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.

Fig1.3 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.

Fig1.4 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.

Fig1.5 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.

Fig1.6 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.

Fig1.7 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.

Fig1.8 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.

Fig1.9 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.

Fig1.10 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.

Fig1.11 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.

Fig1.12 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.

Fig1.13 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.

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Lectures

Visual Analysis: 

• A method of understanding design that focuses on visual elements and principles. 
• Describing and explaining visual structure, recognizing the choices made by designers. 
• A critical part of visual literacy, aiding in reading and critically interpreting images.
•  With the increasing prevalence of visual media in the 21st century, practising visual analysis helps sharpen critical judgment skills and actively seek out answers.
• Include Observation, Analysis, and Interpretation. 

Observation:

• Closely look at and identify the visual elements of a design. 
• Description: Carefully and accurately describe these elements in your own words. 
• No prior reading: Avoid reading about the design beforehand. 
• Focus on looking, thinking, and finding effective language to communicate observations.

Analysis: 

• Reflect on observations to draw conclusions about the work. 
• Explore how visual elements contribute to design principles and viewer perception. 
• Analyze how the arrangement of elements guides the viewer's attention, applying design principles knowledge.

Interpretation: 

• Merge your observations, description, and analysis with factual information from trusted sources. 
• Examine the meaning and purpose of the design and its significance within its historical and cultural context.

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Feedback

Week 4: 

  I showed Blogger to Dr. Charles, and he found everything in it to be sufficiently comprehensive. While reviewing Assignment 2 visual analysis, I consulted him on two versions I had prepared to seek his opinion. He chose the second one because it contained more of my perspectives on the artwork. 

  Additionally, besides seeking his opinion on the artist's description of their own work, he suggested that this would be valuable content to include in the third part of the visual analysis interpretation. Consequently, my content expanded further.

  Finally, I discussed my ideas for the final assignment, with my chosen theme being gears. He expressed that it was a great idea and suggested sketching to showcase more designs and concepts.

Week 5：

After I showed several sketches to Dr. Charles, he thought they were right. However, he was particularly intrigued by my latest idea. He wanted me to delve deeper into it and sketch it out further. My idea involved replacing human heads with household appliances, with bodies merging into walls. Although I'm still figuring out how they would generate power, Dr. Charles found this whimsical concept fascinating. It just so happened that I was also feeling inspired to push my boundaries and challenge myself.

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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.