TASK 1 (Exploration)
Design Principles - Task 1: Exploration
NAME: Miao Xinjun
STUDENT I.D: 0379525
Design Principles / Bachelor of Design in Creative Media/ Taylor's University
Task 1 - Exploration
TABLE OF CONTENT
1. Recap
2. Description
3. Design Works
4. Feedback
5. Reflection
1. RECAP
In the first in-person lecture, we learned nine design principles: Gestalt Theory, Contrast, Emphasis, Balance, Repetition, Movement, Harmony & Unity, Symbol, and Word and Image. Next, the instructor explained how to use a blog to complete Task 1 and highlighted some important considerations.
- Elements of Design
Point: A point is a simple design element, but in a work of art, it can produce a rich variety of effects through different applications. When multiple points are placed in an orderly manner within the artwork's space, it can also be used to express lines, or even two-dimensional and three-dimensional shapes.
Line: A line is also a versatile design element. It can convey different emotions visually through deformation, repetition, and different textures, creating a unique atmosphere and visual effect in the artwork.
Shape: A shape is a planar representation of a two-dimensional or three-dimensional object, arising from a closed planar space composed of lines. It mainly falls into two categories: geometric shapes and irregular shapes.
Form: A form refers to a three-dimensional object, formed by the closure of space. It is mainly used to visually suggest and create the volume and space of an object in two-dimensional space.
Texture: Texture refers to conveying tactile sensation through visual effects, reflecting the surface texture and mechanism of an object. Texture is divided into two categories: actual & simulated and implied, namely the surface texture of a real object and the texture of a non-real object created through elements such as lines in the image.
Space: Space is a rich and fascinating element. As a container, it can be understood from multiple dimensions. In this artwork, space can be expressed through the arrangement of elements such as Form, Colour, Point, and Line. Space is not confined to the edges of the artwork; through clever design, even a limited canvas can visually create an illusion of infinite space beyond the artwork's boundaries.
Colour: Color arises from the absorption and refraction of light by different object surfaces. The colors perceived by the human eye contain three variables—Hue, Value, and Intensity. Our color combinations during the creative process are also based on these three variables of color.
- Principles of Design
- Gestalt Theory：
The core definition of the ‘Gestalt Theory’ design principle is that people habitually perceive scattered elements in an image, arranged according to certain patterns, as a unified whole. The ‘Gestalt Theory’ design principle is divided into several aspects: Similarity, Closure, Continuation, Proximity, and Figure/Ground.
The Principle of Similarity refers to the human eye's tendency to capture similar elements within the same image and focus on the connections between these similar elements, perceiving them as an interconnected whole, even if these elements are scattered in different positions within the image.
The Principle of Closure refers to the human brain's instinct to complete familiar incomplete shapes through visual association, using imagination to fill in the missing parts of the visual image.
The Principle of Continuation refers to the ease with which human vision is guided; people habitually notice elements with continuity and browse the artwork along the direction these elements extend.
The Principle of Proximity refers to the process of organizing interconnected elements together, facilitating viewer browsing by summarizing and integrating different types of elements.
The principle of figure/ground refers to the clear distinction between the subject and the background, the distinct hierarchical relationship, and the subject standing out from the background.
2. Contrast
The core of the 'contrast' design principle lies in creating hierarchy and continuity between elements through differences in the composition, making the most important content more easily noticed by the viewer before other elements. This principle helps the work achieve more interesting visual effects and creativity, highlighting the key points while also making it more eye-catching.
3. Emphasis
The core meaning of the 'emphasis' design principle is to create a dominance in the image by using visual elements such as color, shape, and value to attract the viewer's attention at first glance. This allows the viewer to notice the dominance at the first glance, know where to look, and continue to look at the image according to its design.
4. Balance
The principle of 'balance' design aims to create a visually stable, comfortable, and balanced composition by distributing the 'visual weight' of elements within the image. It avoids uneven distribution of elements, where one side is overly heavy while the other is relatively light. Adopting this principle does not mean the work must be symmetrical; it can also be asymmetrical. The key is the visual balance achieved through the placement of elements within the composition.
5. Repetition
The characteristic of the 'repetition' design principle is the repetition of key visual elements in the image. By repeating the same key element, the design style is unified, the theme is emphasized, and the work becomes more recognizable. Applying this design principle, repeating visual elements can give the work a unique rhythmic effect, making it more vivid and dynamic.
The 'repetition' design principle does not mean that it is feasible to use elements rigidly and monotonously in the work; variety is very important, and it is a key element for the work to have rhythm and dynamism.
6. Movement
The core concept of the "motion" design principle is to guide the viewer's reading path through one or more elements within the artwork, such as images, curves, brushstrokes, and layout. This creates a visual illusion, making the static content of the artwork appear dynamic to the viewer.
The advantages of the "motion" design principle are mainly reflected in two aspects: First, it helps organize the hierarchical relationship between different elements in the artwork, avoiding scattered information, unclear focus, and leaving the viewer unsure where to begin or end their viewing; second, it helps static artworks generate a sense of dynamism through visual illusion, thereby enriching the artwork's expressive form.
7. Harmony & Unity
The design principle of 'Harmony & Unity' is defined as the consistent logic and style among elements in a work, resulting in overall harmony and formal unity. This principle can be explained in two parts: Harmony and Unity.
Harmony refers to selecting elements with similar characteristics or styles within the same work. When these elements with consistent stylistic language are combined, the work develops a distinct stylistic character. However, note that if you lose variety when applying this principle, your work will remain uninteresting.
Unity refers to a balanced layout, repeatedly using and combining specific elements—elements with consistent appearance or style. These elements can exhibit unified characteristics in color, shape, and material. When combined to form a work, they create a sense of unity, making the theme clear and the style consistent.
In my understanding, Harmony and Unity are two main steps in applying the design principle of 'Harmony & Unity'. First, we need to select elements with consistent style according to 'Harmony,' and then, according to the methodology of 'Unity,' combine these elements in a balanced way to form the work. This design principle can help designers avoid using multiple different colors or elements with large differences in style in the same work, which can lead to poor visual effect, inconsistent style, and chaotic element matching.
8. Symbol
The 'Symbol' design principle defines it as using icons with unique symbolic or conventional meanings to convey information instead of text, achieving faster information transmission through consensus.
In the 'Symbol' design principle, Symbols are divided into two main categories: Figurative Representations and Non-Figurative Representations. Figurative Representations are further divided into Visual and Graphic symbols. Graphic symbols, as a more common form of symbol representation, are categorized into Pictorial symbols, Abstract symbols, and Arbitrary symbols.
Pictorial symbols are images related to the content to be conveyed. These images are usually more concrete, simplified, and represent actual things in life.
Abstract symbols use simplified, generalized, and non-realistic shapes; they are abstract conceptual symbols that express the content.
Arbitrary symbols usually have little resemblance in appearance to the things they represent. They are composed of simple geometric shapes and are common signs or symbols that people learn through daily life. Each of these iconic symbols has its own specific meaning.
9. Word and Image
The ‘Word and Image’ design principle means that in a work of art, the text and image components each have their own distinct roles, working collaboratively and neither can be omitted. The text is responsible for accurately interpreting the meaning the work intends to convey to the viewer, while the image is responsible for visually presenting the content expressed by the text. Only when both text and image are presented simultaneously can the viewer fully understand the work. Conversely, if the viewer can understand the content of the work simply by seeing one of the text or one of the images, then the work has not effectively utilized the ‘Word and Image’ design principle.
This design principle effectively guides creators to avoid situations where images and text are poorly related, where images are merely decorative and almost unrelated to the text content, or where text information simply repeats the content of the image without providing additional explanation to the viewer, thus wasting screen space. It helps deepen the meaning of the work and creates a sense of visual hierarchy and balance between images and text through a well-planned layout.
In the following task, we need to record our understanding of each design principle in our blog. We will then find artworks that correspond to each principle and use these artworks to explain the corresponding design principle, demonstrating our understanding of the nine design principles taught in this lecture. Finally, we will choose our favorite artwork from these nine and provide a more comprehensive explanation based on these nine design principles. This step will also lay the foundation for Tasks 2 and 3.
2. DESCRIPTION
Source:
https://www.facebook.com/groups/120010951980813/posts/1783279225653969/
Figure 2.1.1 Gestalt theory, Week 2 (12.2.2025)
This image is a typical example of a work based on the Gestalt Theory design principles. It depicts a man on horseback walking through a cave and seeing another man in yellow lying on the ground. It primarily utilizes the principles of Closure, Continuation, and Figure/Ground. Next, I will use this image to explain the Gestalt Theory design principles from these three aspects.
Principle of Closure: The white horse, man, cave, river, and other elements in the image collectively resemble an elderly man with white hair and a long beard. The work doesn't actually depict a 'giant old man's profile,' but rather combines elements such as the river from afar, the clearly defined cave, the white horse, and the man to suggest the shape of the old man's hair, nose, forehead, etc. The viewer's brain instinctively combines these elements into a whole and interprets it as a complete old man's profile, which perfectly embodies the Principle of Closure.
Principle of Continuation: The image uses a continuous linear direction between elements to guide the viewer's eye. For example, the river's shape, from thin to thick as it approaches, subconsciously draws the viewer's eye from the upper left to the lower right of the image.
Principle of Figure/Ground: This painting exhibits a clear "dual interpretation" phenomenon. Depending on the perspective, the subject and background are distinguished differently. When interpreted as a landscape painting, the man on the white horse becomes the main subject, highlighted by the surrounding rocks and land. However, when interpreted as the old man's profile, his entire face becomes the main subject, outlined by the clearly defined cave, while the man on the white horse becomes a small element in the foreground. Regardless of the interpretation, the subject and background are well-distinguished, creating a clear visual effect.
Source:
https://salaamarilla2009.blogspot.com/2013/08/a-los-grandes-en-el-dia-del-nino.html#google_vignette
Figure 2.2.1 Contrast, Week 2 (12.2.2025)
This creative photograph highlights this principle through color contrast. The main subject, a little girl, and the surrounding flower field are rendered in a neutral gray-white tone, much like most black and white photographs. However, the palette in the girl's hand and a small patch of flowers being painted by her are strikingly bathed in a warm yellow. This touch of yellow contrasts sharply with the surrounding muted gray, making the palette and the flowers appear to be painted immediately noticeable to the viewer.
This design not only imbues the work with a unique aesthetic but also imbues the act of the little girl painting the flowers with a unique meaning, symbolizing a yearning for beauty and a love of life amidst the mundane.
Source (Copyright owner):
Figure 2.3.1 Emphasis, Week 2 (12.2.2025)
This is a poster that highlights the emphasis design principle. In the image, several hands extend their index fingers, forming a circle around a clock. One hand is emphasized due to its different color and movement compared to the others. This hand is predominantly white, standing out against the predominantly dark poster and the surrounding black hands. This strong color contrast makes this white hand the sole primary visual focus of the image. Viewers will subconsciously notice this hand first when they see the poster, and then follow the design to see the hand's different movements, the hands it's holding, and the other black hands around it.
This not only creates a pleasing overall visual effect for the poster but also quickly conveys the poster's theme to the viewer upon seeing it, through the emphasis design principle.
Source:
Figure 2.4.1 Balance, Week 2 (12.2.2025)
This is a classic illustration with a balanced composition. The illustration focuses on a real scene and its reflection in a lake. Using the horizontal line where the real scene and the lake meet as the central axis, it depicts two seemingly similar scenes, yet subtly different in detail, in a symmetrical composition. Based on the theme of 'lake reflection,' the elements in the image are arranged in pairs on either side of the horizontal line of symmetry, creating a sense of visual balance.
Furthermore, there are subtle differences in color or appearance between some of the symmetrical elements. For example, the mountains, sky, and bridge on the upper and lower sides differ only slightly in color, ensuring the image remains balanced and not overly cluttered, adhering to the core principle of 'balanced' design. The figures and the sun on either side are designed with contrasting colors and slightly different poses, serving as focal points and providing ample content for the viewer to repeatedly contemplate.
This illustration beautifully demonstrates the application of the 'balance' design principle in practice. While constructing 'balance,' it also cleverly incorporates details and highlights that can be examined closely, creating a beautiful sense of story, rather than simply being a dull symmetrical poster.
Source:
Figure 2.5.1 Repetition, Week 2 (12.2.2025)
This is a typical illustration that highlights the design principle of 'repetition.' In the illustration, the repeated content is an image of a girl covering her eyes. She almost fills the entire illustration, and the high frequency of repetition makes the theme extremely prominent, instantly drawing the viewer's attention to the repeatedly depicted girl image, perfectly embodying the design principle of 'repetition.'
In terms of content, the designer of this poster skillfully uses 'repetition' to construct the content and story within the illustration. The designer didn't use any other superfluous elements, simply repeatedly showing the image of a girl with outstretched hands. These girls form a closed loop in the image; each girl, while covering the eyes of the girl in front, is simultaneously covered by the eyes of the girl behind, creating a continuous cycle that strongly conveys a sense of narrative.
Source：
https://www.facebook.com/groups/plism/posts/9172938206115866/
Figure 2.6.1 Movement, Week 2 (12.2.2025)
This digital painting beautifully embodies the two advantages mentioned above in the design principle of 'movement'. The artist uses numerous elongated brushstrokes with uniformly curved trajectories to depict a dancing figure. The starting and ending points of these brushstrokes are clearly defined, all originating from the figure's center and extending in both directions—the flow of the skirt and the direction of limb movement. Simultaneously, brushstrokes following the direction of limb movement constitute the main composition of the figure significantly more than those following the direction of the skirt's movement, creating a clear hierarchy. These two points naturally guide the viewer's eye from the figure's center, along the brushstrokes to the upper left of the image, then following the figure's dancing motion to the lower right, and finally returning to the figure along the flowing skirt and right arm, forming a continuous and fluid viewing path.
Furthermore, the overall forward-leaning posture of the figure in the picture forms a unified movement trend with the curved brushstrokes that make up his figure, and contrasts with the horizontal line drawn with horizontal brushstrokes below, which is implied to be the ground. This creates a visual sense that the figure is in motion, making this static work visually dynamic. This is also a typical way of the 'movement' design principle to guide the viewer's eye and convey the dynamic sense of movement through the compositional direction of the elements in the picture, the flow of lines, and the repetition of rhythm.
Source: https://pin.it/2u0C3PIVz
Figure2.7.1 Harmony & Unity, Week 2 (12.2.2025)
This work, composed entirely of lines, perfectly embodies the design principle of 'Harmony & Unity'. The creator uses a single line drawing language to express the work, achieving unity in elements and style. The 'Harmony & Unity' design principle comprises several design principles, including contrast, emphasis, balance, repetition, and movement. I will now explain each of these principles in turn based on this work.
Contrast: Through the contrast in color depth, length, direction, thickness, and density of the lines, different elements in the picture are distinguished, such as waves, foam, seawater, and sharks. The difference in color depth between the two sharks and the layers of waves in the background, from far to near, are also distinguished. This contrast creates a visual sense of spatial extension, allowing the elements in the picture to harmoniously and clearly contribute to the overall content through the line drawing method.
Emphasis: At the top of the composition, the short lines end in a blank area. This small area of blank space contrasts sharply with the dense, numerous lines in the rest of the image, creating a strong visual difference and making it more easily noticed by the viewer at first glance, thus subconsciously using this area as the starting point for reading.
Movement: First, the layered waves in the image, expressed through lines of varying density, convey a sense of depth and spatial extension, while the two swimming sharks subtly suggest the movement of the waves. Combined, these elements create a visually dynamic experience of the waves. Second, in terms of composition, the viewer is more likely to notice the blank space at the top of the image first, subconsciously starting their reading from there. Next, the dark shark in this area, with its high contrast to the background, attracts their attention, followed by the other shark, and the eye naturally follows downwards to see the layered waves, forming a smooth visual path.
Repetition: The creator uses only different lines repeatedly, using a single element to create a harmonious and unified image.
Balance: This artwork embodies the principle of asymmetrical balance in design. The two main sharks are positioned on the upper left and lower right sides of the central axis, respectively. This arrangement prevents the composition from appearing unbalanced due to the concentration of large subjects on one side. Furthermore, because the dark blue sharks with stronger color contrast are already positioned higher in the image, the wave lines in the upper part of the picture appear lighter in color. Conversely, the lighter-colored sharks in the lower part of the picture are surrounded by darker lines to represent the waves. This achieves a good visual balance in terms of color distribution, avoiding a shift in the center of the image or an overly heavy visual weight in any one part.
Source: https://pin.it/3Hbg7TCIb
Figure 2.8.1 Symbol, Week 2 (12.2.2025)
This is a Yin-Yang symbol, a symbol of Chinese Tai Chi culture. It uses this simple, generalized shape to express the meaning and concept of Tai Chi, making it a typical example of arbitrary symbols, as it is difficult for those unfamiliar with this culture to understand. I will now explain how it expresses Chinese Tai Chi culture.
The core philosophy of Chinese Tai Chi is the 'opposition and unity of opposites,' that is, the interweaving and circulation of two opposing forces, or the common saying 'you are in me, and I am in you.'
This Yin-Yang symbol does not depict any concrete objects, but rather uses two interlocking black and white shapes to form a circle. This circle symbolizes the unified relationship between them, while the two completely opposite colors, black and white, express the opposing relationship between the two forces. Each of these shapes has a point of the opposite color, symbolizing the Tai Chi cultural idea of 'you are in me, and I am in you.' The 'S'-shaped curve in the center of the image creates a sense of flow, suggesting that the two forces are not statically divided, but rather fluid and interchangeable. Such a graphic structure cannot directly express 'Tai Chi culture' through its appearance, but it is highly symbolic for those who understand Tai Chi culture. This is precisely the meaning of Arbitrary symbols in the design principle of 'symbolism'.
Source: http://xhslink.com/o/5Z144bxo3KO
Figure 2.9.1 Word and Image, Week 2 (12.2.2025)
This poster serves as a perfect example to illustrate the design principle of 'text and image collaboration'. In my understanding, for this principle, the image in a work is like a string of code; before it's deciphered, its meaning is ambiguous, and the viewer can only guess at its meaning but struggles to truly comprehend it. The text, on the other hand, acts like a dedicated 'decoder' for this code, guiding the viewer's guesses towards the true, concrete theme and interpreting the image's intended meaning.
As seen in this poster, the two figures are divided into two contrasting sections by a dividing line. Details reveal that the figure on the left is a real person, while the blurred figure on the right appears as a virtual projection. Looking at the image alone, the poster's content and intended meaning are clearly difficult to understand. At this point, "Staged Inside" acts as the image's decoder, interpreting its meaning for the viewer—' This is a staged story about inner feelings and emotions.' Meanwhile, the smaller subheadings below, such as 'My inside is not a person' and 'What A Mess About Design', explain the images more concretely to the viewer, further transforming the abstract into a concrete discussion about design.
In summary, the images and text in this poster work collaboratively. The images are responsible for metaphor and conveying emotions, while the text guides the viewer's understanding, further and more accurately explaining the poster's content and theme. This perfectly aligns with the core design principle of 'text and image collaboration'.
3. DESIGN WORKS
Source：
Figure 2.4.1 Balance, Week 2 (12.2.2025)
Ultimately, I chose the piece I used to illustrate the 'Balance' design principle as my favorite. I will now explain my reasons for choosing it and provide a further analysis of this work based on the nine design principles mentioned above.
This illustration is a cleverly symmetrical composition that utilizes the principle of balance. It impressed me deeply in my previous examples used to explain the nine design principles, so I chose it as my favorite.
Firstly, I love the emotional atmosphere it conveys. The image uses predominantly low-saturation colors, complemented by geometrically formed mountains, sky, and bridge surfaces. This not only makes the overall composition clean and restrained but also naturally exudes a quiet and peaceful mood. At the same time, a few highly saturated bright colors, such as the figures' clothing and the sun, act as "emotional anchors," brightening the image and immediately drawing my attention to the two people gazing at each other in the vast landscape—the visual center is very clear, making it easier for me to empathize with their emotions and the story they tell.
Secondly, I chose this illustration for a more personal reason: its design thinking is something I find very worthwhile to learn from. It doesn't just achieve superficial symmetry but combines the structure, color, and narrative of "two worlds above and below the water," making balance not just a layout technique but also a form of expression. For me, this approach of using design principles to serve emotions and themes is more moving and valuable than simply making the form aesthetically pleasing.
4. FEEDBACK
WEEK 3:
1. The blog's formatting needs improvement. Record your understanding of the nine design principles in the lecture notes section. For the section on choosing artworks to explain each principle, only record how you used those artworks to explain and support your understanding of the nine design principles.
2. After selecting your favorite artwork from the nine pieces you used to explain the nine design principles, please explain more about your personal reasons for choosing that artwork as your favorite.
WEEK 4:
1. When using selected artworks to explain the Balance design principle, it's necessary to supplement the explanation with four to five other design principles that constitute the Balance principle, such as contrast, emphasis, and repetition. When explaining the Symbol design principle, it's necessary to indicate the type of the selected symbol within that design principle. The explanations of the other parts are good.
2. When placing source links for artworks, ensure that the linked webpage indicates the original artist of the work.
5. REFLECTION
Experience:
In the first lecture of Task 1, which was also the first lecture of the semester, the lecturer explained the nine design principles in detail, which are the key knowledge of Task 1. To help us understand better, the lecturer provided vivid examples for each design principle and explained how each design principle can be applied flexibly. This not only helped me understand the knowledge more deeply but also left a deep impression on me. Next, we started using software such as Pinterest and Red Book to find artworks that conformed to these nine design principles, and used these artworks to explain the corresponding design principles, recording our understanding of these design principles in our blogs. I must admit that this was not as easy as I imagined. Considering that most students used the same platforms to find these artworks, I wanted to find unique and design-conscious works, while also ensuring that each work effectively reflected its corresponding design principle and could be used to explain those principles. At the lecturer's suggestion, I prepared at least two works for each design principle so that I could choose one that was better suited to explain what I had learned. Of course, I inevitably encountered some minor setbacks during this process. For example, I sometimes selected unsuitable works, or struggled to choose between several pieces. Fortunately, these were all resolved with the instructor's help. I diligently used these works to explain my understanding of each design principle and tried my best to express what I had learned. While explaining my understanding of these artistic principles, I also elaborated on their advantages, such as what problems they can help designers avoid during the creative process and how they can be flexibly applied in their works. Finally, I selected my favorite piece from these nine works.
Observation:
When selecting artworks to illustrate the nine design principles, I received suggestions from other students. During these discussions, I discovered a significant difference in the artworks chosen by everyone. Most students selected pieces with distinct styles, which I think reflects their individual aesthetic preferences. This made me appreciate the richness of the art course; it felt like we exchanged ideas and sparked new creativity – it was truly wonderful!
Finding:
To better understand these nine design principles, before explaining them through this blog, I reread the course materials from Teams. What impressed me most was the meaning of the word 'variation' within these design principles. As I used my selected design works to illustrate the nine design principles, my understanding of 'variation' deepened. These nine design principles guide designers' creations, helping us create visually appealing works. During the explanation, I realized that while many works emphasize one design principle, this doesn't mean other principles are ineffective. Furthermore, works using the same design principle can produce different artistic effects depending on the designer's flexible application of 'variation'. Therefore, I believe it's crucial to recognize that for a truly excellent work, these design principles are not rigidly imposed on the content; they are not restrictive rules for creators, but rather guiding lights. They should be used flexibly to add unique charm to the work, a point consistently emphasized in the course materials.
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