Design Principles: Exercise 01

September 07, 2021

Design Principles: Exercise 01

24/08/2021 - 17/09/2021 (Week 01 - Week 04)
Adena Tan Sue Lynn / 0345769 / Bachelor of Design (Honours) in Creative Media
Design Principles
Exercise 01

Directory

Lecture
Instructions
i) Gestalt Theory
ii) Contrast
Feedback
Reflection
Picture Credits

Lecture

Week 01

Starting the live class, we were welcomed by Dr Charles. He had shared with us the Module Information Booklet (MIB) as well as briefed us of how our classes were going to be carried out. We were to watch pre-recorded lectures which are uploaded every Monday and present out progressions during the live classes.

Following that, I watched the pre-recorded lecture right after the live session had ended. Dr Jinchi explained everything very thoroughly and showed clear examples.

Visual Communication

utilization of design to convey purposeful messages.

Elements of Design

a) Point

Simplest element
A line is formed when a point is used as a repetitive mark
As points move in space, other 2D & 3D forms are created

Figure 1.1 Points

b) Lines

Can be either active or static, aggressive or passive, sensual or mechanical
Used to indicate directions, define boundaries, imply volumes/solids as well as suggest movement
Can be grouped together to depict qualities of light and dark

Figure 1.2 Lines

c) Shape

Expanse within the outline of a 2D area or within a 3D object
When lines enclose an area, the shape becomes visible
Either geometric or organic

Figure 1.3 Shapes

d) Form

3D area
When enclosed, space equals volume
A major element in sculpture and architecture
For 2D media, form must be applied

Figure 1.4 Form in sculpture

Figure 1.5 Form in two-dimensional media

e) Texture

Tactile qualities of surfaces or visual representations of those qualities
All surfaces hold textures
The two categories of texture are actual (touch) and simulated/implied (look)

Figure 1.6 Actual texture

Figure 1.7 Simulated texture

f) Space

Indefinable
Seemingly empty space around us
Actual space is defined by edges
We experience 3D spaces when we are inside
Outside = mass, whereas inside = volume
In graphic design, space = area that is occupied.
Illusion of 3D shape = depth

Figure 1.8 Using perspective to achieve depth

g) Colour

A visual byproduct of the spectrum of light
Hue: Colours of spectrum
Value: Lightness or darkness (Important to create tint, tone & shade)
Intensity/saturation/chroma: Purity of hue
Pure hue: Most intense & has the highest saturation
Colour schemes: Distinct colour harmonies

Figure 1.9 Colour hues, tint, tones and shades

Contrast

Juxtaposition of strongly dissimilar elements
Without contrast, visual experience is monotonous
Contrast provides visual interest, emphasize points and expresses content

Figure 1.10 Poster with contrast

Gestalt Theory

Human brain is wired to observe patterns, logic and structure
Gestalt means shape/form in German
Aims to show how simple shapes can be derived from complex scenes
Explains how eyes perceive shapes as a united form

Principle of Similarity

Complete scenes are perceived by eyes, linked together by brain

Figure 1.11 Principle of Similarity

Principle of Continuation

Visual elements' paths, lines, curves & continuous flows are followed by the human eyes

Figure 1.12 Principle of Continuation

Principle of Closure

Eyes prefer to see complete shapes and tends to complete shapes by filling in the empty spaces

Figure 1.13 Principle of Closure

Principle of Proximity

Ensuring related design elements are placed together and provides structure

Figure 1.14 Principle of Proximity

Principle of Figure/Ground

Objects in foreground/background gives depth

Figure 1.15 Principle of Figure/Ground

Law of Symmetry & Order

Elements that are symmetrical to each other tend to be viewed as unified.

Figure 1.16 Law of Symmetry & Order

Law of Uniform Connectedness

Elements that are connected using colours, lines, frames or shapes are perceived as a single unit when compared with other elements that do not link in the same way.

Law of Prägnanz

Finding simplicity and order in complex shapes

Law of Common Fate

Shapes are perceived as lines moving along the smoothest path

Instructions

Exercise 01: Produce one (1) design of Gestalt Theory and one (1) design of Contrast.

Gestalt Theory

After reviewing my notes about Gestalt Theory, I knew I wanted to attempt Principle of Figure/Ground. Then, I tried looking online for some inspiration on how to apply it to designs. Below are designs which inspired me.

Figure 2.1 A design for Disney's Brave

The above design is quick to showcase two figures. However, the girl, Merida, is more prominent in compared to the bear. It is also quick to show that the figure of the bear is showcased by Merida's hair. It shows a high contrast between the bright orange of her hair and the black bear.

Figure 2.2 Peter and The Wolf film poster

Next, the above poster showcases a wolf. However, if one were to look closer, they would come to see the side profile of a boy. Even I took some time to figure out why this appeared when I searched up Principle of Figure/Ground, but when I did, I realized how it was just staring me right in the face.

Among the two, I tried thinking if I wanted to go in a more obvious direction or a less direct one. I decided I wanted a less 'direct' version, allowing for viewers to look and observe, but sometimes see either one or two figures, depending on where their focus is. Firstly, I tried to think of subjects I could use. After thinking for a bit, Red Riding Hood galloped her way into my head. It was probably because of the fact I had played The Wolf Among Us a few months ago.

Figure 2.3 The Wolf Among Us: A Telltale Games Series

After that, I searched Red Riding Hood to get some references on her character design.

Figure 2.4 Red Riding Hood, 2011 film

Figure 2.5 Disney's Red Riding Hood, 1934

As seen in the two above pictures, Red Riding Hood is often seen as a female with blonde locks and a red hood. I found that these two were the highlights in telling the audience that it is in fact, Red Riding Hood.

With that, I began sketching an idea. I decided to let Red Riding Hood's hood be the object which frames the figure of the wolf which chases after her.

Figure 2.6 Sketch of Gestalt Theory idea

While sketching, I realized the flowiness of the cloak would provide a nice shape for the wolf, minus its' sharp ears. I found it interesting as the original story told us the story of the wolf following her. I was very happy with this idea, so I decided to make it my topic for Gestalt Theory.

To make my life easier, I decided to look for side profiles to make drawing easier. I scrolled through Pinterest & Google and found these two side profiles I really liked.

Figure 2.7 Gracie Abram's side profile

Figure 2.8 Hwang Yeji's side profile

I drew over the two photos to determine which side profile would be more suitable. Even though Red Riding Hood is usually portrayed as a Caucasian woman, I found that Yeji's side profile better suited the idea I was going for. Yeji is not smiling in her photo, and her whole body is tilted which makes it the better reference picture. Below is the outline of the design.

Figure 2.9 Outline

Next, I input flat colours to tell which colour should go where. This allowed me to pre-plan my work early on.

Figure 2.10 Flat colours

After getting a clearer idea of the colour palette, I got working on the shading to make the work more dynamic.

Figure 2.11 Shading

Finally, I did the background, making sure people cold still identify the figure of the wolf. I wanted the background to resemble being in a dark forest. Surrounded by trees, but still had light coming through.

Figure 2.12 Added background

To allow me to get a peace of mind that I had accomplished what was needed, I messaged a few of my friends and asked them for their thoughts.

Figure 2.13 Whatsapp chat with my friends

Asking them allowed me to learn how different people might see it. As for my friend, Denzel, it took circling the outline of the wolf for him to finally see it whereas my friend, Nelsa, saw it the moment she saw it. This told me I had achieved my goal of making it less 'direct', but also allowed for viewers to identify it.

Final Outcome:

Red Riding Who?

Red Riding Hood is walking through the woods. She thinks she's alone. However, as she travels through the woods, she feels a shadow behind her. Who could it be? What could it be? Maybe something is hiding behind her. She's unsure, but this dark forest doesn't seem to have an end. Will she make it out alive?

Contrast

In my notes, it was highlighted that a visual experience would be monotonous without contrast. I knew I wanted to play with that idea. A monotonous experience, but have something exciting to contrast it and make it bright! With that, I got to sketching ideas.

Figure 2.14 Contrast sketches

For all the sketches above, I decided I wanted to use a bright red to bring a visual contrast. For the upper left one, I sketched a woman but covered her eyes with a bright red ribbon. In other classes, we're taught that eyes are a focal element which allowed for the ribbon to have a sense of irony as it covered them. For the upper right sketch, I sketched a bear eating a bright red fish! I decided to use a 'false' border to give a sense of depth, which highlighted the bright red fish even more. For the bottom left, I decided to try making a design with a bright red eye in the middle and a bunch of grayscale lips surrounding it. It was inspired by the line, "real eyes realize real lies."

After slowly analyzing three of them, I decided that my bear idea was my favourite. To me, it showed a good amount of contrast. Not only that, it also allowed for my favourite styles to shine through; false borders and cuteness.

At first, I decided to paint it. Below is the base colour I started with.

Figure 2.15 First layer of paint

Then, I used black to colour in the mouth and eyes. Then, I used some white to colour in the teeth as well as the light in the bear's eyes.

Figure 2.16 Adding black paint

Finally, I used a bright red to colour in the fish.

Figure 2.17 Adding bright red

Below was my final physical product of the bear.

Figure 2.18 Final physical copy

After looking at it, I kept realizing some issues. The paint didn't paint as flatly as I wanted to which was quite distracting so, I decided to digitize it. First, I tried recreating the entire work. I also added some shadows before the ears.

Figure 2.19 Recreation of bear

Then, I redid the paws holding the fish. I also added some shadows on the fish. I also added a background to further intensify the false border idea.

Figure 2.20 Adding paws & fish

To experiment, I drew a lighter area around the bear's mouth. I found it quite cute, but I also found it looked like a beard.

Figure 2.21 Adding a lighter shade of grey to surround mouth.

After receiving feedback from Dr Charles, I decided to redraw the fish to include more of the fish tail.

Figure 2.22 Changed fish

Final Outcome:

The Bear & The Fish

Ponder, ponder. The grey bear slowly is whisked away into an existential crisis. She's questioning life's greatest mystery. "Why do bears exist? To eat and hibernate?" Her questions are indeed important. However, as the monotonous bear holds a bright red fish in her paws, a light bulb sparks in her head. "Indeed!" she thinks. "My purpose is to eat this bright red fishy!" She happily chows down on her meal, content that she has now found the meaning of a bear's life, to eat bright red fishes.

Feedback

07/09/2021

Gestalt: Dr Charles reassured me of Gestalt allowing to imply meaning.

Contrast: Dr Charles asked us the difference between achieving contrast & contrasting something. It allows us to create more authentic pieces. He also mentioned how contrast allows a shape to be identified.

13/09/2021

Gestalt: It was mentioned that my references were good.

Contrast: Dr Charles mentioned how he liked that Contrast had illusory lines as it brought depth to the work. He also mentioned how the tail of the fish could be complete as it would complete the whole viewing journey.

Reflection

I am tremendously grateful for this exercise. It has allowed me to learn more about Gestalt Theory & Contrast very intimately. Before this exercise, I do not think I have ever purposefully made a design based on these, but with Dr Charles' feedback on how to make things more authentic has helped me. It paints a clearer picture for me. I really enjoyed this exercise as the processes really allowed me to indulge and practice drawing things I enjoy (cute bears & cloth). Overall, I am very pleased with this exercise.

Picture Credits

Figure 1.1 - Dr Jinchi's lecture slides

Figure 1.2 - 1.3 - Personal recreation of images in Dr Jinchi's slides

Figure 1.4 - https://www.pinterest.com/pin/766667536571592037/

Figure 1.5 - Personal documentation

Figure 1.6 - https://www.pinterest.com/pin/766667536571592110/

Figure 1.7 - https://www.pinterest.com/pin/766667536571592123/

Figure 1.8 - https://www.pinterest.com/pin/766667536571592210/

Figure 1.9 - https://www.pinterest.com/pin/766667536571592240/

Figure 1.10 - https://www.pinterest.com/pin/766667536571592339/

Figure 1.11 - https://www.pinterest.com/pin/766667536571592628/

Figure 1.12 - https://www.pinterest.com/pin/766667536571592593/