Design Principle (Week 1- Week 14)
Kitty Lai Yung Syn (0331933)
Design Principle
28/03/2018 & 29/03/2018
On week 1, we were asked to do contrast colour with any kind of media. However, I could not think any good idea on the first tutorial class. So I kept on sketching. These are the rough ideas on my sketchbook and my final artwork:
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| Figure 1. Sketch |
I was thinking how I could use shapes and colour to present the concept 'contrast'.
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| Figure 2. Sketch |
I tried to use monogram, which was my previous assignment, to develop more ideas.
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| Figure 3. Final Outcome |
Concept: I chose this big mouth woman because I wanted to try using expression to show the contrast in my artwork. While I was doing this, I was given an opinion that my lips could be the contrast colour, it might look more interesting.
Feedback: Ms. Sherry said the woman's expression was eye-catching. And also, the facial expression is creepy but quite interesting.
Week 2
04/04/2018 & 05/04/2018
04/04/2018 & 05/04/2018
In this week, we were assigned to do gestalt. What is GESTALT?
What are Gestalt Principles?
The Gestalt Principles are a set of laws arising from 1920s’ psychology, describing how humans typically see objects by grouping similar elements, recognizing patterns and simplifying complex images. Designers use these to engage users via powerful -yet natural- “tricks” of perspective and best practice design standards.
Gestalt Principles
Some of the most widely recognized Gestalt Principles include:
Closure (Reification): Preferring complete shapes, we automatically fill in gaps between elements to perceive a complete image; so, we see the whole first.
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| Figure 4. Law of Closure |
Common Fate: We group elements that move in the same direction.Common Region: We group elements that are in the same closed region.
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| Figure 5. Law of Common Region |
Continuation: We follow and “flow with” lines.Convexity: We perceive convex shapes ahead of concave ones.Element Connectedness: We group elements linked by other elements.Figure/Ground (Multi-stability): Disliking uncertainty, we look for solid, stable items. Unless an image is truly ambiguous, its foreground catches the eye first.
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| Figure 6. Figure/ Ground |
Good Form: We differentiate elements that are similar in color, form, pattern, etc. from others—even when they overlap—and cluster them together.Meaningfulness (Familiarity): We group elements if they form a meaningful or personally relevant image.Prägnanz: We perceive complex or ambiguous images as simple ones.Proximity (Emergence): We group closer-together elements, separating them from those farther apart.
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| Figure 7. Law of Proximity |
Regularity: Sorting items, we tend to group some into larger shapes, and connect any elements that form a pattern.Similarity (Invariance): We seek differences and similarities in an image and link similar elements.Symmetry: We seek balance and order in designs, struggling to do so if they aren’t readily apparent.Synchrony: We group static visual elements that appear at the same time.
Gestalt Principles are in the Mind, Not the Eye
The Gestalt Principles are pivotal in UX design, notably in interfaces, as users must be able to understand what they see—and find what they want—at a glance. A good example are the principles of proximity and common region, as seen in the IDF landing page, below – where colors and graphics divide the page into separate regions. Without it, users will struggle to make associations between unrelated clustered-together items, and leave. For designers, the true trick of Gestalt is never to confuse or delay users, but to guide them to identify their options and identify with organizations/brands rapidly.
MORE INFORMATON: https://www.interaction-design.org/literature/topics/gestalt-principles
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| Figure 8. One of the scenes from 'Paris in the Rain' by Lauv |
I was inspired by this scenery from a music video, 'Paris in the rain', by Lauv.
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| Figure 9. Final Artwork |
Concept: This artwork shows a man standing in the rain with an umbrella. Actually, I was inspired by a scenery in a music video, which was 'Paris in the rain', by Lauv. At the time I was thinking hard on ideas, I was listening to this song. I found it very interesting. This is because, in this music video, the blue liquid represents rain and the song gives me a chilling vibe. But then, the lyrics are sad yet so sweet. So, I used pink to show sweetness, and blue as tiers. Instead using blue as the rain, I use black as the liquid and the background to show gestalt. You could tell there was a human standing there because the hands and the denim jacket were shown in gestalt too.
Feedback: During critique session, Ms Sherry and Ms Jinchi said that it would be better if my object was off center and place it at the bottom.
Week 3
11/04/2018 & 12/04/2018
EMPHASIS
Emphasis is defined as an area or object within the artwork that draws attention and becomes a focal point.
Subordination is defined as minimizing or toning down other compositional elements in order to bring attention to the focal point.
Focal point refers to an area in the composition that has the most significance, an area that the artist wants to draw attention to as the most important aspect.
In the example below, it is very clear that the emphasis is on the red circle. It is the largest object in the composition. Conversely, although there are many gray circles, they are small in size, very muted in color, and blend in rather than stand out from the background.
The large circle is an extremely intense (pure) color which contrasts dramatically with the muted gray circles and background. The large, intensely red circle is bordered with an intense green that is a complementary color to the red, and equal in its intensity. Complementary colors (across from each other on the color wheel) with a high degree of intensity draw the most attention.
Therefore, the red circle is the focal point of the composition.
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| Figure 10. Example of emphasis |
MORE INFORMATON: https://www.sophia.org/tutorials/design-in-art-emphasis-variety-and-unity
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| Figure 11. Final Outcome |
Concept: I was working on emphasis in this artwork. At first I had lots of ideas but after considering, I thought presenting an artwork on a principle should be clear and easy-understanding. Thus, this artwork is telling us, a designer should be think differently, creatively. A great designer always taking risk by stepping one step forward to try something new.
Week 4
18/04/2018 & 19/04/2018
Texture refers to the surface quality in a work of art. We associate textures with the way that things look or feel. Everything has some type of texture. We describe things as being rough, smooth, silky, shiny, fuzzy and so on. Some things feel just as they appear; this is called real or actual texture. Some things look like they are rough but are actually smooth. Texture that is created to look like something it is not, is called visual or implied texture.
Texture may be used in a work of art to:
Texture may be used in a work of art to:
- create visual interest or a focal point in a composition
- to create contrast within a design composition
- to help visually balance a design composition
Figure 12. Real Texture
Visual texture is the real thing. Real texture cannot be represented here because a computer screen, even with the highest quality photgraphs can only create simulate textures. However for the purpose of prviding examples assume that these images are real.
Figure 13. Visual or Implied Texture
Visual or implied texture can be simulated or invented. Simulated texture is the type that is created to look like something it is not. For example, in drawing or painting of a cat where its fur is made to look like real fur. Invertn texture, on the other hand may look rough, smooth or any other feel but is purely made up by the artist. It does look like "real" texture.
MORE INFORMATION: http://www.wcs.k12.mi.us/cousino/wcsart/Art%20Foundatons%20Site/texture.html
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| Figure 14. Final Outcome (Patterns and textures) |
Concept: I was going to glue the strings itself on the wood but then, I found it was not textured enough and look boring. So I gave it a try by sticking blocks onto in to make it more 3D looking.
Feedback: One of our friends said that, she did not understand what was this piece of artwork about but she could tell it was showing textures. Another friend said that, he thought this piece looked like a city but in a upright position.
Week 5
25/04/2018 & 26/04/2018
Direction
Among the elements of good page design—whether for print or web—is the concept of direction, which is closely aligned with movement. Elements in the page design intentionally guide the viewers' eyes from one area of the page to another. The three directions common in designs that are used to direct the eye are:
Among the elements of good page design—whether for print or web—is the concept of direction, which is closely aligned with movement. Elements in the page design intentionally guide the viewers' eyes from one area of the page to another. The three directions common in designs that are used to direct the eye are:
- Horizontal - If you divide the page or screen in half from side to side with a line or other element, the eye moves to each element in the top half of the design before moving to the section under the horizontal line or element that divides the page.
- Vertical - If you have two long, narrow columns of text or two long narrow photos or graphic elements, you have a design with a vertical direction. The eye flows from the top of one column to its bottom and then moves to the top of the second column.
- Diagonal - If you use diagonals or triangles in your design, the eye is captured, particularly on the web where you don't see many diagonal direction layouts.
Every page design has a dominant direction, which is established by the placement of the most important elements.
Use of Direction in Design
In web design, direction is most often determined by the images on the page, but you can also impose direction through the placement of type or graphic elements on the page, and with lines— especially when they have arrowheads on them.
How to Include Direction in Print and Web Designs
Incorporate direction in your web designs in the following ways:
- Look at your images to determine which direction the subjects are facing. If the people in the picture are looking to the right, then you should place the image on the left side of the page. Otherwise, the direction of the eyes in the photo will direct your readers' eyes away from the page. You don't want any people looking off the side of the page.
- Use your layout to suggest direction. Position dense elements, like photos, in horizontal, vertical or diagonal lines. While less dense elements, like text, surround them.
- Use lines, images or HR tags, to suggest movement and direction. A horizontal line is quiet and moves the eye smoothly from left to right on the page. A vertical line suggests movement from top to bottom, and a diagonal line strongly indicates movement from one area of the page to another.
- Unbalanced elements also indicate direction and movement.
Layout Characteristics That Influence Direction and Movement
The eye usually goes to the largest element on a page first. It may be a large photo or a large headline. Where it moves next is a function of direction in the design. In a good design, the place the eye goes next leads to an important part of the message the page is attempting to deliver. The motion of the first large object on the page to the next important object can be influenced by several things including:
- Color. A bright color attracts the eye more quickly than a neutral color.
- Graphics. A pointing finger or an arrow causes the eye to look in a certain direction.
- Shapes. A shape that winds through the page—like a spiral or a dotted line moving from one element to the next—carries the eye along its path.
How to Determine Direction
If you aren't sure how to design a page to indicate direction, experiment by looking at web pages and print publications specifically to identify where your eye goes first and then where it goes second. Then look for the reason that happened. Once you recognize the design elements that cause your eye to move from one element to the next, you can use those elements in your own design.
MORE INFORMATION: https://www.lifewire.com/direction-design-principle-3470051
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| Figure 15. Final Outcome (Direction) |
Concept: For this artwork, I was exploring the materials instead of drawing out or doing digital painting. I chose the color yellow to contrast blue. The zip and the lines showing the fishes are swimming to the water. I added an interactive element which putting water in a small plastic bag and stick it behind the circle.
Week 6
02/05/2018 & 03/05/2018
Points or dots and lines have distinct characteristics and functions. In fact most of the other elements will mimic these fundamental qualities of point, dot, and line in some way so it makes sense for us to understand these two elements before any other.
Points or dots and lines have distinct characteristics and functions. In fact most of the other elements will mimic these fundamental qualities of point, dot, and line in some way so it makes sense for us to understand these two elements before any other.
Dots
Dots establish a relationship with the space around it. The two most important relationships formed are the proportion of the dot and the space around it and the position of the dot within that space.
As dots increase in size we start to see them as shapes, but they still retain their fundamental dot-like qualities and characteristics. A square placed in the white space of a page is still a dot. It still attracts visual attention to it, which again is the dot’s defining characteristic.
Dots centrally placed within a composition create symmetry and are neutral and static, through they tend to dominate the space around them. Dots placed off center create asymmetry. They are dynamic and actively influence the space around them.
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| Figure 16. |
Line
A line is a series of points adjacent to each other. Where a point has no dimension, a line has one dimension. They have a length, but nothing else. In reality a line would need a second dimension to actually see it, but we’ll continue to call them lines and not something else here.The fundamental characteristic of a line is to connect or unite. This connection can be visible or invisible. Two dots on a page have a connection even if that connection, that line between them, can not be seen. The dots attract of repel each other along a line.
Where dots are about position, lines are about movement and direction. A line leads somewhere, your eye moves along it seeking one or both of its endpoints. This movement and direction makes lines inherently dynamic. A line is not attracting you to a point in space. It’s directing you toward and away from points in space.
The flip side of connecting is separating. Lines not only connect elements, they can also separate elements. They can connect an element to space or separate it from space. Lines separate and join both spaces and objects. Lines can also cross barriers, protect, and support.
As lines become thicker they begin to be perceived as planes or surfaces and they gain mass. To maintain their identity as lines they must increase in length as they increase in width. Changing the width of a line relative to its length has a much greater effect on the quality of a line as changing the size of a dot has on the quality of a dot.
If a line continues to get thicker without also getting longer at some point it ceases to be a line and becomes a surface or plane.
A single line traveling in a curve around a fixed, invisible point with an unchanging distance from that point, eventually joins it’s starting point and becomes circle. A circle is a line until the thickness of the line increases to completely fill the negative space inside the circle. The negative space itself can be seen as a dot distinct from the line/circle. If the distance from the fixed center point is allowed to change the line doesn’t meet it’s starting point and a spiral is formed instead of a circle.
The thinner the line the more the emphasis is on the quality of direction. The thicker the line the more emphasis is moved to the quality of mass and away from the quality of direction.
The endpoints of a line can be seen or appear to move toward infinity. As lines are allowed to enter and leave a format without seeing their endpoints their sense of movement is reinforced. When one end point is contained within the format the direction is no longer infinite. It becomes specific to the point and the tension between the end point and the surrounding space is increased.
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| Figure 17. |
MORE INFORMATION: https://vanseodesign.com/web-design/points-dots-lines/
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| Figure 18. Final Outcome (Lines and Dots) |
Concept: The aim of doing this is to show lines and dots could be found everywhere. Just look around things around us, and these were the things I found: strings, sequins and mini bells. For the background, I drew some circles to balance the placement of my artwork.
Week 8
16/05/2018 & 17/05/2018
Rhythm and MovementRhythm refers to the way your eye moves throughout a picture. Some pictures move you throughout in a connected, flowing way much like a slow, stately rhythm in music. Other pictures move you from one place to another in an abrupt, dynamic way much like a fast, staccato rhythm in music will give you the impression of movement. Rhythm in art is created by the repetition of elements. Similarity of elements, or flowing, circular elements will give a more connected flowing rhythm to a picture, while jagged, or unrelated elements will create a more unsettling, dynamic picture.
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| Figure 19. |
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| Figure 20.
Look at the two images above. The painting is full of sweeping circular areas which move your eye around the picture (it is a good example of optical movement). The elements are flowing and circular and give you the impression of a calm quiet rhythm. The line drawing on the right is more dynamic due to its incomplete nature and the feeling of motion is much more evident.
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| Figure 21. Final Outcome (Movement) |
Concept: This girl, Sonia, my elder sister, asked me to draw her on spot while we were hanging out one day. This was a challenging piece for me because she was so hyperactive that day and she kept moving. I enjoyed doing this piece as we laughed so hard when I was drawing.
Week 9
23/05/2018 & 24/05/2018
The figure ground relationship is also complementary. Figure and ground can enhance or detract from each other, and organizing the 2 in relation to each other is one of the more important aspects of design. It sets a context for how your design communicates and how it will be interpreted.
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| Figure 22. |
There are 3 types of figure ground relationships:
- Stable (above left) It's clear what's figure and what's ground. One or the other usually dominates the composition.
- Reversible (above center) Both figure and ground attract the viewer's attention equally interesting shapes, and the viewer is left to find their own entry point into the composition.
- Ambiguous (above right) Elements can appear to be both figure and ground simultaneously. They form equally interesting shapes, and the viewer is left to find their own entry point into the composition.
- establish contrast, emphasis and hierarchy;
- generate drama and tension;
- provide visual rest between groups of elements
As the figure ground relationship implies, you have space only when something is present inside it. Prior to the addition of posotive elements, space is undefined. The figure ground relationship has to be established before space can exist and its communication begins.
One of the more important functions of space is to improve readability and legibility.
One of the more important functions of space is to improve readability and legibility.
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| Figure 23. |
Project 1
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| Figure 21. Final Outcome (Project 1;self-portrait) |
Concept: This was me 3 years ago while I was having a trip with my family at Penang. That was my first time traveling in Penang and I love Penang so much. I chose to use digital painting because I had never tried this before. Although this did not turn out very well, I experienced and learned new things. From this project, I have decided to start working on digital painting, I found so fun!
Project 2
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| Figure 22. Final Outcome (Project 2;converting a place I love into an abstract art) |
At the right side, you can see there are so many food packaging collage. I did that because every time I went back home I have to grab a snack! Even after I showered and also while I was doing assignment. The couch is where I usually watch TV and the place for me to take a nap before proceeding my assignments. The strokes on top of it, were the texture of the wall at balcony.
So, for the left side, the upper part and the lower part represent the view from my house during day and night, where I mostly spend my time watching the views. I made them into rectangle because the window itself is a French Window. The middle part is a texture of my speaker. The whole part at the left side actually connected This is because, I legit always sit at the window and enjoy the view with some chill music and sometimes maybe sad songs. It's my habit of doing that, love it!!
Conclusively, this piece of artwork shows the place I chose is a place for me to chill, relax and recharge myself.
Final Project
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| Figure 23. First billboard |
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| Figure 24. Second billboard |
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| Figure 25. First attempt / First idea |
Above are the drawings that inspired me and the references I used for my final project.
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| Final Outcome (Final Project) |
Concept; From these 2 billboards, I feel the love of a mommy towards a baby because the water in the billboard is a healthy drink. So, I think overall it looks like a mom always give her baby the best thing they have.
So, the eye I drew is an eye of a mother watching her baby laughing or smiling in her arms. After that I use the silhouette of a child growing up on the eyebrows and a woman on a wheelchair flashing back all the memories with her beloved child. A mother would never get bored of thinking back the memories of her child. Thus, I used black and white sketching as my media as black and white is the best way to represent old and unforgettable memories.
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