Design Principles Task I: Design Exploration

MODULE GCD60804: Design Principles

06/02/2024 - 22/02/2024 : Week 1 - Week 3

Bachelor of Design (Hons) in Creative Media

Task I: Design Exploration

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MODULE INSTRUCTION:

“FEB - APR 2024: GCD 60804 / DESIGN PRINCIPLES MODULE INFORMATION BOOKLET”

MAIN TASK I: Design Exploration (Week 1 - 3)

Design Exploration: In this upcoming task, students within the cohort are expected to properly explore the various design principles provided by their lecturers & the module. Students will observe other works of design and be capable of applying their knowledge - all of which should be documented in their individualised blogs.

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MAIN TASK I: Design Exploration (Week 1 - 3)

WEEK 1: Investigating the Core Design Principles

Design Principles as a concept is referenced predominantly in Visually-Based Mediums such as graphics, artworks or Creative media such as Films and Advertising. The concept centres around the core principle of creatively utilising design features to effectively & purposely convey an intended message to a selected audience. It is integral that all projects of this nature are well thought-out and managed as poor Design Principles may imply an unintentional message and may cause harm. Therefore, it is important for students such as myself to develop a deeper understanding of Design Principles & accurately apply them to future works.

To aid in this process, one of my lecturers; Ms. Jinchi Yip, has provided the cohort with a series of resources to understand the elements of design and how we are expected to apply them both in our or other students’ works.

Gestalt Theory: Roughly translating to “Shape/Form Theory” in German, Gestaltism would become an area after a 20th Century Psychologist study with the same name. In essence, the theory refers to an individual’s perception - their inherent ability to organise & deconstruct complex visual information into simple elements such as shapes or patterns etc. Gestalt’s Theory is often implemented using Similarity (similar shapes/iconography), continuity (repetitive shapes/lines), closure (infer an suspected shape when obstructed or incomplete), Symmetry (mirrored shapes), and Proximity (relative elements placed together): creating what appears to be a coherent design.

“Examples of the types of Gestalt’s Theory as a Design Principles”

Provided by Nadia Ahmadi, Fair Use, UX Planet.com

Contrast: Refers to the authorial choice to include strongly dissimilar elements which strategically juxtapose one another in order to create appealing design, emphasising specific elements while ensuring the design is clear & legible. Contrast is often achieved by authors using opposing colours, differing shapes and Forms, Size & Spatial layout or even Typographically (Different fonts - boldness/kerning/spacing). At its basics, Contrast is often used to stress the importance of specific elements, communicate intended hierarchy and create an appealing composition which keeps viewers engaged.

“Examples of the types of Contrast common in Design Principles”

Provided by Anna, Fair Use, YourArtPath.com

Balance: Refers to the Authorial choice to determine and equally distribute the visual elements in a composition - refining until a visual equilibrium is found and rendering the total image as balanced. Partially stemming from Gestalt’s theory, balance is used to complement human perception and for making composition feel less crowded/clear. Balance is often implemented using Symmetry (either around a central fulcrum or radiance) or Asymmetry (one portion of composition having dominant details.) Finally, authors can use custom rules like the Golden Ratio (repeated 2/3rd spiral) or Rule of Thirds (divided scene with intersects being the natural point of interest.)

“Examples of the types of Balance common in Design Principles”

Provided by Unspecified Commune, Fair Use, inVision.com

Emphasis: Refers to the Authorial choice to provide a point/area of focus in a composition by using design dominance - an element which has a greater prescribed value compared to others. These elements are often creatively designed using colour (choosing an exceptional colour compared to the composition), sizing (either smaller or larger to stress its importance), spatial layout (placed in an easy-to-see location, near a focal point) and value.

“Examples of the types of Emphasis common in Design Principles”

Provided by Unspecified Commune, Fair Use, inVision.com

Repetition: Refers to the Authorial choice to deliberately repeat a specific pattern or element to make the composition appear more active. Repetition is most often used to create a sense of rhythm in a composition and makes any variations feel more impactful - avoiding monotony. Patterns are often used in compositions to insight visual excitement or to make an element more enriching/interesting.

“Examples of the types of Repetition common in Design Principles”

Provided by Unspecified Commune, Fair Use, GraphicZoo.com

Movement: Refers to the Authorial choice to create an intricate design capable of leading the audience's eyes in, around and through the composition - creating the illusion of something intended motion or a clearer guide & hierarchy. Movement is often conveyed using a series of shapes, forms or lines near a point of interest and flows around the composition. Additionally, movement can be communicated through Typography with spacing, kerning or additional elements creating the illusion of movement or order of viewing.

“Examples of the types of Movement common in Design Principles”

Provided by Unspecified commune, Public Domain, Wikimedia Commons

Harmony & Unity: Refers to the Authorial choice of creating a sense of unity by creating a composition using elements with common themes, style, aesthetic & traits - appealing monotony without variety. Harmony & Unity is often implemented by developing a common element centred around colours (consistent colour palette & message coloration), patterns (considering spacing or keeping consistent patterns like stripes etc.), shapes etc. in order to produce consistency. 

“Examples of the types of Harmony common in Design Principles”

Provided by Unspecified commune, Fair Use, patternanddesign.com

Symbols: Refers to the Authorial choice to develop a series of signs, shapes or objects which either relates to or represent a concept/ idea. Similar to the traditional history of Symbolism, Modern Designers consider the use of symbols to express lengthy information - being a few sentences to entire stories. The benefit of Modern symbolism is that a majority of them are able to transcend language; being understood by individuals with different cultures. In design, there are three ways to express symbols: “Pictorial Symbols” are simplified images relating to the subject - often seen in diagrams or signage for locations. “Abstract Symbols” are images which are designed after the objects they represent but have very little detail - often seen in Pedestrian signs or in phone interfaces. “Arbitrary Symbols” are images which have little to nothing in common with the concepts they represent and have to be learnt by individuals - appearing in places such as ‘hospital crosses’ or various brands.

Word & Images: Refers to the general consensus imagery is just as important as written words when considering designs; regardless of medium (Print/Practical - Digital.) When Designing, it is important to consider the use of imagery which should be suitable and relevant to the intended message or concept. However, this practice goes both ways with designers needing to consider the correct pairing of words to strengthen the inclusion of the image. These types of designs are often seen in advertisements or creative media (such as books or film) to stress the importance of something.

WEEK 2 - 3: Analysis using Core Design Principles

Continuing on with the Module, the lecturers have wanted to expand the cohorts understanding and application of ‘Design Principles’ by tasking us with presenting examples of it in both Professional & more Creative settings. For this section of the task, students are tasked with consulting the seventeen “United Nations - Sustainable Development Goals (UNSDG)” and picking one of the goals which interests us the most. After presenting a brief description of said goal, students are then expected to find an existing piece of Art or Design which relates/revolves to the goal.

Because of the nature of the course, it would be beneficial for students to meet with their elected lecturer and discuss both their UNSDG as well as a chosen artwork or piece - determining if they are truly correlated and if there is enough insight between them.

Selecting a United Nations Sustainable Development Goals For Analysis

“End Poverty in all its forms Everywhere.” According to the statistics published by the United Nations, nearly a quarter of the global population (24%) lives in a state of ‘poverty;’ half of which are reported to live in a state of ‘Extreme Poverty.’ The aim for this Sustainable Goal is to both eradicate Financial Poverty - characterised by wages, salaries and income; as well as Civil & Political Poverty - characterised by public services, education, healthcare & equal economic opportunities. Unfortunately, this Goal is one of the hardest to combat due to exploitative nature of High Income Countries (HICs) which actively export waste materials or utilise cheaper labour from Low Income Countries (LICs); something they have to endure as it is the only way to expand their capital. Ultimately, Poverty is one of the largest global issues which is difficult to tackle however, with consideration, if it benefits marginalised groups & promoting social inclusion.

UNSDG Concept I: “End Poverty as demonstrated ‘Worn Out’ by H.A. Brendekilde”

“Udslidt” by H.A. Brendekilde - 1889, Acadeism Social-Realism Oil-Painting, 207 × 270 cm”

Provided by tosommerfugle.blogspot.dk, Public Domain, wikimedia

“Udslidt” also known as “Worn Out” or “The Martyr,” is one of the most famous pieces produced by Danish Painter, Hans Andersen Brendekilde. It depicts the death of a weather-beaten man; supported by an exhausted woman; yelling into the barren fields surrounding them.

Since its publication, the piece remains in high regard as one of the first respected paintings for the ‘Social-Realism Movement’ - demonstrating the Impoverished Conditions of Lower-class labourers in the late 19th century. One purpose of the piece was to highlight the negative effects of Poverty; suggesting that labourers would often work themselves to death inorder to earn a livable wage. Furthermore, the piece suggests reform & empathy of the Upper-Class: its ‘Palais des Beaux Arts’ Title being “The Martyr” refers to a symbolistic death which shifts the local paradigm. Ultimately, H.A Brendekilde promotes reform by utilising Design Principles such as Contrast, Balance & Emphasis to implicate its message.

Word Count: 150

UNSDG Concept II: “End Poverty as demonstrated ‘Barge Haulers’ by Ilya Repin”

“Barge Haulers on the Volga by Ilya Repin - 1870 - 1873, Realism Oil-Painting, 131.5 × 281 cm”

Provided by Unspecified commune, Public Domain, Wikimedia Commons

“Barge Haulers on the Volga” is one of the more popular pieces produced by Russian Painter, Ilya Yefimovich Repin. It depicts A series of ‘barge haulers’ working endlessly to pull a merchant-vessel into shore - many of the men exhausted & ill.

This piece is an example of a shifting paradigm in ‘Acadism Art,’ choosing to capture the world in a less-romantic view. It demonstrates the Severe Impoverished conditions of the Lower-class in Commercial regions such as  Stavropol in the late 19th century. The piece highlights the negative effects of Poverty, suggesting labourers would work from a young age in situations liable for Severe Life-Long Injury in order to support themselves & family. Furthermore, the author suggested better compensation considering the labourers were responsible for effective Global-Economic-Trade & supporting the Upper-Class. Ultimately, Ilya Repin promotes reform by utilising Design Principles such as Contrast, Balance & Emphasis to implicate its message.

Word Count: 145

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MAIN TASK I: Bibliography

SECTION I: Investigating the Core Design Principles

1. Nadia Ahmadi. (2020, June 17). “Gestalt Principles in UX Design” Opening image | Uxplanet.org | https://uxplanet.org/gestalt-principles-in-ux-design-2e0f423bfcb5

2. Anna. (2023, March 31) “What is Contrast in Art? 4 Types, Examples, Definition” What is Contrast Art? | YourArtPath | https://yourartpath.com/what-is-contrast-in-art-4-types-examples-definition

3. Unspecified. (ongoing) “Principles of design” Balance | InVision.com | 

https://www.invisionapp.com/defined/principles-of-design

4.Unspecified. (ongoing) “Principles of design” Emphasis | InVision.com | 

https://www.invisionapp.com/defined/principles-of-design

5. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer (1929). “神奈川沖浪裏” The Great Wave off Kanagawa | Wikimedia | https://commons.wikimedia.org/wiki/File:Tsunami_by_hokusai_19th_century.jpg

SECTION II: Analysis using Core Design Principles

6. Unspecified. (ongoing) “End poverty in all its forms everywhere” Overview | UnitedNations.org | https://sdgs.un.org/goals/goal1#overview

7. Odense Bys Museer, Kunstindeks Danmark, Weilbachs kunstnerleksikon (Varied) “Udslidt” Worn Out, The Martyr | Wikimedia | https://commons.wikimedia.org/wiki/File:Tsunami_by_hokusai_19th_century.jpg

8. Unspecified. “Barge Haulers on the Volga” Barge Haulers | Wikimedia | 

https://commons.wikimedia.org/wiki/File:Ilia_Efimovich_Repin_(1844-1930)_-_Volga_Boatmen_(1870-1873).jpg