Tasks 2 / GCD60804 / Design Principles Visual Analysis & Ideation

 

Tasks 2 / GCD60804 / Design Principles Visual Analysis & Ideation

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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 4 Harmony & Unity
• TOPIC 5 Symbol, Word & Image
• TOPIC 6 Visual Analysis
• Recap task requirement
• Task 2 Visual Analysis & Ideation 
• Chosen Design work info
• Feedback

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Lecture Notes

TOPIC 4 Harmony & Unity

HARMONY

• Harmony involves the selection of elements that share a common trait.
• Harmony becomes monotony without variety*.
• Harmony is the sense that all of the elements of your design fit together. They may fit the same theme, aesthetic style or mood.

UNITY

• Unity refers to the repetition of particular elements throughout your design — whether they’re colors, shapes or materials — to pull the look together.
• Unity occurs when these elements are composed in such a way that they are balanced and give a sense of oneness, creating a theme.
• Although unity and harmony may sound similar, they each play distinct roles in the way we experience design.

SCALE AND PROPORTION

• Scale and proportion are both design elements that have to do with size.
• Scale is the size of one object in relation to the other objects in a design or artwork.
• Proportion refers to the size of the parts of an object in relationship to other parts of the same object.
• Throughout the centuries, designers have used scale and proportion to depict or distract from the ideal.

SCALE

• Scale refers to the size and dimension of figures and forms relative to a specific unit of measure.
• Scale can be determined in two ways:
• Actual measurement

• Visual estimates based on comparison

SCALE (cont’d)

• Architectural drawings and scale models are examples of the applied use of scale.
• Also, scale is used to specify or illustrate details based on the relative sizes of objects.
• Substantial deviation from a normal scale relationship can create dramatic results and visual interest within the design or composition.

PROPORTION

• Proportion in art and design is the relationship of two or more elements in a composition and how they compare to one another with respect to size, color, quantity, degree, setting, etc.; i.e. ratio.
• Proportion is said to be harmonious when a correct relationship exists between the elements with respect to size or quantity.
• The effective use of proportion in design often results in harmony and unity.

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TOPIC 5 Symbol, Word & Image

SYMBOL

• A sign, shape, or object that is used to represent something else (Cambridge Dictionary, 2020).
• In design, symbols can provide or convey information, equivalent to one or more sentences of text, or even a whole story (Eco, 1976 & Pettersson, 2015).

PICTORIAL SYMBOLS

• Image-related and simplified pictures.

ABSTRACT SYMBOLS

• Abstract symbols can look like the objects that they represent but have less details.

ARBITRARY SYMBOLS

• Arbitrary symbols have no resemblance at all to the objects or the ideas they represent.
• The symbol is invented with the meaning constructed.
• Many are based on geometric shapes and colours.
• We have to learn arbitrary symbols.

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.

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TOPIC 6 Visual Analysis

VISUAL ANALYSIS

• Is a method of understanding design that focuses on the visual elements and principles.
• In its strictest definition - a description and explanation of visual structure for its own sake.
• Yet the purpose of visual analysis can also recognise the choices that a designer made in creating the design, as well as to better understand how the formal properties of a design communicate ideas, content, or meaning.

• Visual analysis is a critical part of visual literacy, a skill that helps people read and critically interpret images, whether in a museum, on social media, in entertainment, advertising, or the news.
• As citizens of the 21st century, we are constantly confronted with visual media. Practising visual analysis sharpens critical judgment skills and helps people seek out answers instead of passively receiving information.

Visual analysis can include 3 parts

• 1: Observation
• 2: Analysis
• 3: Interpretation

OBSERVATION

• Observation means closely looking at and identifying the visual elements of a design, trying to describe them carefully and accurately in your own words. Do not read beforehand about the design at all.
• The observation phase is about looking, thinking, and finding good language to communicate what you notice.

ANALYSIS

• Analysis requires you to think about your observations and try to make statements about the work based on the evidence of your observations.
• Think about how the specific visual elements that you’ve identified combine to create design principles that complete that work of design/art, and the effects on the
• viewer.
• How are your eyes led through the work and why? Apply the design principles knowledge you have learnt.

INTERPRETATION

• In this final phase, your observations, description, and analysis of the work are fused with facts about the design work (and in some cases the designer) and historical context that you find in trustworthy published sources.
• What is the meaning of the design? What was the purpose for it to be created?

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Recap task requirement

1. Re-upload here the design work that have selected in Task 1, along with its credit line.
2. Conduct a visual analysis of the design. Articulate observation and critical, analytical thoughts in about 300 to 400 words. Refer to visual analysis lecture notes and step-by-step guide.
3. Cite references and include a reference list at the end of the writing.
4. Using design principles knowledge, sketch 3 ideas that are inspired by the selected design.
5. Describe each idea and support it with a rationale in about 30-50 words. May include some visual references (cite the sources) that inspire the ideas.

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Task 2 Visual Analysis & Ideation

Chosen Design Work

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

Visual Analysis

This artwork is a clean, flat-vector illustration showing the making of a vegetable soup. The artist uses bright orange shapes and tapered roots to represent carrots. The layout has two main parts: a deep purple cooking pot at the bottom and a large, cream-colored bowl of soup in the top right corner. In the center, a carrot is sliced into neat pieces that seem to float upward. Around the carrot, there are simple white circles representing onion rings and small green leaves that look like herbs. Soft, purple curved lines act as steam, connecting the raw vegetables in the pot to the finished soup in the bowl. The colors are bold but limited, using dark purple, bright orange, and off-white to create a warm, cozy feeling.

The illustration is very effective at showing movement. The way the carrot slices and steam lines are angled creates a "path" for our eyes to follow. We look at the pot first, then follow the rising ingredients up to the bowl. This tells a visual story of how raw food turns into a meal. Emphasis is created through high contrast. The bright orange soup and carrots stand out clearly against the dark background, making the food the most important part of the image. The artist also uses asymmetrical balance; even though the large bowl is in the top corner, the heavy purple pot at the bottom keeps the image from feeling lopsided. Finally, the repetition of circular shapes like the onions, the carrot slices, and the bowl makes the whole design feel unified and organized.

The main meaning of this design is to celebrate fresh cooking and the "farm-to-table" process. It makes the everyday task of making soup look exciting and energetic. By showing the ingredients "leaping" into the bowl, the artist suggests that healthy food is full of life. Because the style looks like vintage travel posters, the purpose is likely commercial. It could be used for a restaurant menu, a food website, or kitchen wall art. The clean lines and simple shapes are meant to feel modern and sophisticated. Ultimately, the work aims to make the viewer feel hungry and appreciate the beauty of simple, organic ingredients.

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Sketch 3 Ideas

Idea 1 Laksa

Rationale

The main focus is on showcasing the ingredients and cooking methods of laksa, simplifying the shapes of the ingredients. Movement: Suspended ingredients create a dynamic effect. Emphasis: drained noodles guide the eye, ultimately highlighting the finished laksa. Balance: The two main elements are also arranged in a diagonally balanced manner. The defining characteristic of laksa is its unique flavor achieved through a combination of diverse ingredients, so I wanted to emphasize the cooking process more than the finished product. I used darker colors to make the pot and draining net stand out more, placing them at the forefront of the image. For the background, to complement the main subject, I used only simple, semi-transparent smoke designs and lines to represent the food's flavor and movement. Initially, I planned to represent the sheen in the laksa bowl with simple geometric shapes, but compared to the simple geometric shapes of the pot, I decided to add detail to the laksa portion to draw the eye, resulting in a richly detailed sheen design.

Fig.visual references of laksa credit

Idea 2 Burger I

Rationale

Movement: The burger's layered design creates a sense of space and a dynamic effect. Emphasis: The swirling, melting cheese sauce guides the eye, while the final skillet provides a bird's-eye view of the patty, with the ingredients surrounding it serving as a foil. Balance: The two main elements also present a diagonal balance. The dynamic design of stacked hamburgers isn't uncommon, but I wanted to use the direction of the swirling sauce to draw the eye to the patty being cooked. The simple, large geometric shape of the hamburger contrasts with the intricate details of the patty's evolution in the pan. The glistening details in the pan are more captivating than the hamburger itself.

Idea 3 Burger II

Rationale

Movement: The suspended patties and ingredients in the frying pan create a dynamic effect. Emphasis: The burger set is presented from a top-down perspective, and the shape of the smoke serves both a dynamic effect and a visual guide. Balance: The two main elements, along with the shape of the smoke, create a visually balanced diagonal arrangement. Unlike the previous hamburger design, I switched the positions of the hamburger and the frying pan, thus changing the perspective. To make the patty look like a hamburger patty, I had to clearly indicate common hamburger accompaniments such as fries, cucumber slices, and dipping sauces on the hamburger platter. So, although you'll initially see the darker-colored frying pan, you might only realize that the patty is in the pan after understanding the hamburger set in the picture. This design, while not immediately obvious, encourages you to linger and observe it repeatedly, which I find very interesting.

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Feedback

Week 5 (4/3/2026)

- no tutorials

Week 6 (11/3/2026)

General feedback

• Recap task 3 requirements

Specific feedback

• Explain your design concept, what elements you changed, such as using color to create contrast, etc.

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Reflection

This assignment taught me the correct steps for visual analysis. Although my initial guesses were about 90% correct, a clearer understanding of the steps now allows for more organized and detailed analyses in the future. Regarding the three drafts I created based on my favorite works, I thoroughly enjoyed the process of analyzing the strengths of the originals and then redesigning them. I believe that true mastery of a skill comes from applying the design principles learned. Since there were few limitations on the design itself, I focused on food, which I love, aiming to create appetizing designs, a very interesting approach.