Tasks 1 / GCD60804 / Design Principles Exploration

Tasks 1 / GCD60804 / Design Principles Exploration

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Name: Low Xin Er

Student ID: 0374596

Specialisation: Graphic Design

Module: Design Principles

Lecture: Mr Sylvain Vanderhaegen

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Table of Content

• TOPIC 1.1 Introduction to Elements and Principles of Design
• TOPIC 1.2 Contrast and Gestalt Theory
• TOPIC 2 Balance and Emphasis
• Recap task requirement
• Task 1 Design Principles 
• Chosen Design work info
• Feedback

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Lecture Notes

TOPIC 1.1 Introduction to Elements and Principles of Design

ELEMENTS OF DESIGN （Individual “building blocks”）

• Point
• Line
• Shape
• Form
• Texture
• Space
• Colour

1. Point

• A point or dot is the simplest element of design.
• A point used as repetitive mark forms a line.
• As the point moves in space, other two- and three-dimensional figures and forms are created.

2. Line

• Lines can be active or static, aggressive or passive, sensual or mechanical.
• Lines can indicate directions, define boundaries of shapes and spaces, imply volumes or solid masses, and suggest motion or emotion.
• Lines can also be grouped to depict qualities of light and shadow and to form patterns and textures.

3. Shape

• Refers to the expanse within the outline of a two-dimensional area or within the three-dimensional object.
• Becomes visible when a line or lines enclose an area or when an apparent change in value
• (lightness/darkness), colour or texture sets an area apart from its surroundings.
• Two general category of shapes – geometric & organic.
• Geometric – circles, squares,triangles, etc. – tend to be precise and regular.
• Organic – irregular, often curving or rounded, & seem relaxed & more informal than geometric shapes.

4. Form

• Whereas a two-dimensional area is referred to as a shape, a three-dimensional area is called a form.
• When form encloses space, the space is called volume.
• Form is often a major element in sculpture and architecture.
• With 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 to the visual representation of those qualities.
• All surfaces have textures that can be experienced by touching or through visual suggestion.
• Two categories of texture – actual (experienced by touch) & simulated or implied (created to look like the real texture).

6.1 Space

• Space is the indefinable, general receptacle of all things – the seemingly empty space 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.
• Yet, within these limited boundaries, an infinite number of spatial qualities can be implied.

6.2 Space (cont’d)

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.

• From the outside, we experience mass.
• From the inside, we experience volume.

In graphic design, space, or depth, refers to the area that a shape or form occupies. Space can be defined as positive (filled space) or negative (empty space).

• The illusion of a three-dimension space can be suggested through depth.
• This can be achieved by overlapping of images, the variation of sizes, placement and perspective.

7.1 Colour

• Colour is the visual byproduct of the spectrum of light as it is either transmitted through a transparent medium, or as it is absorbed and reflected off a surface. Colour is the light wavelengths that the human eye receives and processes from a reflected source.
• Each of the millions of colours human beings can distinguish is identifiable in terms of just three variables:
• Hue: Colours of the spectrum, e.g. yellow and green.
• Value: This refers to the lightness or darkness from white through greys to black.
• Black and white pigments can be important ingredients in changing colour values. White added to a hue produces a tint. Adding grey to a hue would result in a tone. Black added to a hue produces a shade of that hue.

7.2 Colour (cont’d)

• Intensity: Also called saturation or chroma, it refers to the purity of a hue.
• A pure hue is the most intense form of a given colour, it is the hue in its highest saturation, in its brightest form.
• With pigment (black, white or grey) of another hue is added to a pure hue, its intensity diminishes and is dulled.

7.3 Colour (cont’d)

• Colour groupings that provide distinct colour harmonies are called colour schemes.
• Monochromatic colour schemes are based on variations in the value and intensity of a single hue.
• Analogous colour schemes are based on colours adjacent to one another on the colour wheel, each containing the same pure hue.
• Complementary colour schemes emphasise two hues directly opposite each other on the colour wheel.

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TOPIC 1.2 Contrast and Gestalt Theory

CONTRAST

• The juxtaposition of strongly dissimilar elements.
• Without contrast, visual experience would be monotonous.
• Can provide visual interest, emphasise a point and express content.

GESTALT THEORY

• The human brain is wired to see patterns, logic, structure.
• “Gestalt” refers to “shape” or “form” in German.
• Gestalt principles or laws are rules that describe how the human eye perceives visual elements.
• These principles aim to show how complex scenes can be reduced to more simple shapes.
• They also aim to explain how the eyes perceive the shapes as a single, united form rather than the separate simpler elements involved.

PRINCIPLE OF SIMILARITY

• The human eye tends to perceive similar elements in a design as a complete picture, shape, or group, even if those elements are separated.
• The brain seems to craft a link between elements of a similar nature.

PRINCIPLE OF CONTINUATION

• The human eye follows the paths, lines, and curves of a design, and prefers to see a continuous flow of visual elements rather than separated objects.

PRINCIPLE OF CLOSURE

• The human eye prefers to see complete shapes. If the visual elements are not complete, the user can perceive a complete shape by filling in missing visual information.

PRINCIPLE OF PROXIMITY

• The process of ensuring related design elements are placed together. Any unrelated items should be spaced apart. Close proximity indicates that items are connected or have a relationship to each other and become one visual unit which helps to organise or give structure to a layout.

PRINCIPLE OF FIGURE/GROUND

• Objects are instinctively perceived as being either in the foreground or the background. They either stand out prominently in the front (the figure) or recede into the back (the ground).

LAW OF SYMMETRY & ORDER

• This law states that elements that are symmetrical to each other tend to be perceived as a unified group. Similar to the law of similarity, this rule suggests that objects that are symmetrical with each other will be more likely to be grouped together than objects not symmetrical with each other.

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TOPIC 2 Balance and Emphasis

BALANCE

• Balance refers to the distribution of visual weight in a work of design.
• It is the visual equilibrium of the elements that causes the total image to appear balanced.
• Balance can be symmetrical or asymmetrical.

SYMMETRICAL BALANCE

• Has equal“weight” on equal sides of a centrally placed fulcrum.
• The equal arrangement of elements on either side of the central axis (horizontal or vertical) resulting in bilateral balance.
• Arranging elements equally around a central point results in radial balance.
• Approximate symmetry is when equivalent but not identical forms are arranged around the fulcrum line.

ASYMMETRICAL BALANCE

• Unequal visual weight on each side of the composition.
• One side of the composition might contain a dominant element, which could be balanced by a couple or more lesser focal points on the other side.
• More dynamic and interesting. It evokes feelings of modernism, movement, energy and vitality.
• Asymmetrical balance offers more visual variety, although it can be more difficult to achieve because the relationships between elements are more complex.

THE GOLDEN RATIO

• Also known as phi, the Golden Ratio (other names: Golden Mean, Golden Section) is a mathematical concept and a number that goes on indefinitely (1.618033988749895…). The ratio itself comes from the Fibonacci sequence, a naturally occurring sequence of numbers that can be found everywhere, from the number of leaves on a tree to the shape of a seashell.
• Over the centuries, many have perceived the Golden Ratio as the representative of perfect beauty or is uniquely found throughout nature.
• The Golden Ratio has been used for centuries as a guide to create visual balance in architecture and paintings.
• For designers, illustrators or digital artists, the Golden Ratio can be used to bring harmony, balance and structure to one’s work. It can also increase the appeal of a design work.

RULE OF THIRDS

• It is a composition guideline to create more dynamism to a work of design/photography/film/painting.
• An image is divided evenly into thirds, both horizontally and vertically, and the subject of the image is placed at the intersection of those dividing lines, or along one of the lines itself.

EMPHASIS AND DOMINANCE

• Emphasis is used to create dominance and focus in a design work.
• Various elements can be used to create emphasis, such as colour, shapes or value, to achieve dominance.

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TOPIC 3 Repetition & Movement

REPETITION (PATTERN AND RHYTHM)

• Repetition could make a work of design seem active.
• The repetition of elements of design creates rhythm and pattern within the work.
• Variety is essential to keep rhythms exciting and active,and to avoid monotony.
• Pattern increases visual excitement by enriching surface interest.

MOVEMENT

• The way a design leads the eye in, around, and through a composition - the path the eye follows.
• Motion or movement in a visual image occurs when objects seem to be moving in a visual image.
• Movement in a visual image comes from the kinds of shapes, forms, lines, and curves that are used.

HIERARCHY

• Hierarchy is the choreography of content in a composition to communicate information and convey meaning.
• Visual hierarchy directs viewers to the most important information first, and identifies navigation through secondary content.

ALIGNMENT

• Alignment is the placement of elements in a way that edges line up along common rows or columns, or their bodies along a common centre.
• Alignment creates a sense of unity and cohesion, which contributes to the design's overall aesthetic and perceived stability.
• Alignment can also be a powerful means of leading a person through a design.

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Recap Task Requirement

1.Describe each of the design principles listed and select suitable design examples to demonstrate your understanding with credit of the source. 

• Gestalt theory
• Contrast 
• Emphasis 
• Balance 
• Repetition 
• Movement 
• Harmony & Unity 
• Symbol 
• Word and Image

2. Select a design work and upload the design (JPEG file, min. A4 size, 300dpi) in Task 1 blogpost. 
3. Beneath the design, include the credit line of the design.
4. Explain, in a writeup of about 150-200 words in the Task 1 blogpost, why you chose that design.
5. List (no need to elaborate) the design principles you observed in that design in the Task 1 blogpost.
6. Include the feedback that you received

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Introduction of Design Principles

1.Gestalt theory

Gestalt refers to shape or form in German. Gestalt principles or laws are rules that describe how the human eye perceives visual elements. These principles aim to show how complex scenes can be reduced to more simple shapes.They also aim to explain how the eyes perceive the shapes as a single/united form rather than the separate simpler elements involved.

Fig.Similarity - credit  

Fiigures all move in the same way, differing only in shape and color.

Shared visual characteristics automatically create relationships. Similarity can be used to tie together elements that may not be right next to each other in a design.

Fig.Continuation - credit 

The continuous cuts of lines and colors create visually resembling the curves of musical notes.

The principle of continuity posits that the human eye will follow the smoothest path when following
something, and it will continue traveling in that direction until it encounters another object.

Fig.Closure - credit  

The boundaries of red spots on clothing suggest the lines of the garment. 

Closure is the idea that the brain will fill in the missing parts of an image to create a whole. As long as enough essential information is present, the mind supplies the missing pieces of an object.

Fig.Proximity - credit 

White spots and blue lines converge to form shapes of clouds and flowing water. 

Proximity refers to objects that are close together being perceived as a group. When placed apart, objects are seen as separate. Proximity arises when objects are closer to each other than to any other object.

Fig.Figure/ground - credit 

It could be a blue eyeball or a small black figure.

The figure/ground principle is based on the relationship between an object and the surrounding space. It is also referred to as positive/negative space, the positive being the object, and the negative reffering to the space.

Fig.Symmetry and order - credit 

The main subject is centered, with balanced space on either side. 

The law of symmetry and order is also known as prägnanz, the German word for "good figure. What this principle says is that the brain will perceive ambiguous shapes in as simple a manner as possible.

2.Contrast
The juxtaposition of opposing elements (opposite colours, value light / dark, direction horizontal / vertical). The greater the contrast, the more something will stand out and call attention to itself. 

Fig.Contrast - credit

The dark background contrasts with the red dress and white lighting. 

3.Emphasis
Created by visually reinforcing something we want the viewer to pay attention to. This is often used to train the viewer’s eyes on the center of interest, or a focal point – the area of interest the viewer’s eye naturally, instinctively skips to. Some of the strategies employed to create degrees of importance are contrast of values, use of colour, placement, variation, alignment, isolation, convergence, anomaly, proximity, size, and contrast. 

Fig.Emphasis - credit 

The cyan creature contrasts with the yellow figure; the creature's curves guide the viewer's eye.

4.Balance
Distribution of interest or visual weight in a work. A balanced work will have all the elements arranged such that the work will have a sense of visual equilibrium or stability. Balance can be symmetrical, asymmetrical, or radial. Objects, values, colors, textures, shapes, etc. can be used in creating balance in a composition. 

Fig.Balance - credit 

A unified color scheme, with musical notes and text on either side balancing the visual space. 

5.Repetition
Elements in regular or cyclic fashion creates interest. Repetition strengthens a design by tying together individual elements and bringing a sense of consistency. It can create rhythm (regular, alternating, flowing, random, progressive) and patterns. Variation introduced to repetition increases the level of interest. 

Fig.Repetition - credit 

Blue stands out within the unified warm color palette. 

6.Movement
A visual flow through the composition. In some works, movement is implied by the use of static elements to suggest motion and direct a viewer’s eye along a path through the work. In a still image, aspects such as lines, diagonals, unbalanced elements, placement, and orientation can play the role of active elements. In others, movement can be real, giving some elements the ability to be moved or move on their own. 

Fig.Movement - credit 

The curves of the red wine appear to flow. 

7.Harmony & Unity 

Harmony brings together a composition with similar, related elements (adjacent colors, similar shapes, etc.). Harmonious elements have a logical relationship, connection, alignment, or progression. They work together and complement each other. 

Fig.Harmony  - credit  

Under the unified color scheme, shapes are mostly simple geometric compositions. 

UNITY is created by using harmonious similarity and repetition, continuance, proximity, and alignment. It is the visual linking of various elements of the work. This allows the disparate elements and principles to create a unified whole that can be greater than the sum of its parts.

Fig.Unity  - credit 

The repetitive floral shapes unify the design concept. 

8.Symbol 

A sign, shape,or object that is used to represent something else.In design, symbols can provide or convey information, equivalent to one or more sentences of text, or even a whole story.

Fig.Symbol  - credit 

Simple shapes and negative space form the shape of a crocodile; the wife and the ball achieve visual balance.

9.Word and Image
Imagery is a vital part of design, be it print or digital. Users and viewers are able to relate to a concept or a brand if the right images are used in a work of design. It is therefore important to use suitable and relevant images when designing. Choosing the right words to pair with the imagery is of high importance as it would deepen the meaning of the design. Suitable typeface and strategic positioning of the type will result in visual hierarchy and balance in a work of design. Typography is the design and arrangement of text to convey a message or concept.

Fig.Word and Image - credit 

The hand's movement corresponds to the pinpoint of the text, and the resulting teardrop shape corresponds to "oil."

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Chosen Design Work

Title: Carrot Soup
Designer:Julia Allum
Year:N/A
Size: 20x20,508x508mm
Method: Digital illustration
Source:link

This is a graphic illustration about food, using geometric shapes and lines to create the artwork. The image depicts the evolution of radish soup from its ingredients. The aroma of radish, onion, and cilantro wafting from the pot into the final product creates a visually appealing effect. In terms of color, the dark background highlights the radish's color without creating a strong contrast. The warm color palette enhances the visual appeal and stimulates the appetite. Furthermore, the use of only three different colors keeps the artwork clean and simple. 

Several principles are employed in this artwork: 

• Movement  
• The cut radish and other ingredients are suspended in mid-air.
• Emphasis
•  The radish leaves and aromatic lines create a dynamic and visually guiding effect.
• Balance 
• The pot in the lower left and the radish soup in the upper right create balance, while the remaining empty space is complemented by simple design elements.

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Feedback

Week 2  (11/2/2026)

General feedback

• Find works that apply design principles to serve as reference images for interpreting those principles.
• The reference images used throughout the research process should maintain a consistent style for greater professionalism.

Specific feedback

• Please provide a brief explanation of the classifications in Gestalt theory and attach design examples that apply the corresponding rules.
• Reference images should ideally be in the same style, including the final selected design.

Week 3  (18/2/2026) Holiday

Week 4  (25/2/2026)

General feedback

• What is the principle about?
• What is this artwork?
• Why is this artwork great for this principle?
• Why the artist use this principle? (optional)

Specific feedback

• The overall direction is good, but explanations for each reference example need to be added.
• In the selected works, the explanations of the principles (Movement & Emphasis) should be separated.

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Reflection

This assignment allowed me to review some common design rules, and I found it interesting to meet some designers while searching for relevant reference images. As for Gestalt theory, I haven't seriously studied its specific types and principles. I will like to try apply it to my work to make it more visually interactive and engaging.