Exercise
1/4/2022 - 4/5/2022 / Week 1 - Week 6
Tee Jia Ern / 0348512
Design Principle / Bachelor of Design in Creative Media
Exercise
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LECTURES
WEEK 1: ELEMENTS OF DESIGN
1. Point
- The most basic design element.
- As the point moves through space, two- and three-dimensional shapes and forms emerge.
2. Line
- Lines can define shape and space boundaries, infer volumes or solid masses, and suggest motion or emotion.
- Lines can also be gathered to express light and shadow qualities, as well as to create patterns and textures.
3. Shape
- When a line or lines enclose an area, or when an apparent change in value or colour distinguishes an area from its surrounds, it becomes visible.
- Geometric shapes, such as circles and squares, are known for their precision and regularity.
- Organic shapes are irregular, frequently curved or rounded, appear more relaxed and casual.
4. Form
- Area with three dimensions an is referred to as a form.
- In sculpting and architecture, this is a very important element.
- Form must be implied in two-dimensional mediums such as painting and illustration.
5. Texture
- Surface tactile properties or visual representations of such qualities.
- Every surface has a texture that can be felt or perceived through visual cues.
6. Space
- The seemingly vacant space surrounding us is the indefinable, generic receptacle of all things.
- The edges – the two dimensions of height and width – define the actual space of each picture's surface.
- The outside of three-dimensional space is mass, whereas the inside is volume.
- It can be positive (full space) or negative (empty space) in graphic design (empty space).
7. Colour
- The spectrum of light as it is absorbed and reflected off a surface produces a visual result.
- Hue: colors of the spectrum, such as yellow and green.
- Value: lightness or blackness, ranging from white to grey to black.
- Intensity: also known as saturation or chroma, relates to a hue's purity.
- Monochromatic: variations in the value and intensity of a single hue.
- Analogous: colors that are adjacent on the colour wheel and have the same pure hue.
- Complementary: emphasise two hues on the colour wheel that are immediately opposite each other.
Principles of Design
- The elements' arrangement guiding the development of organisational fundamentals.
- Eg. contrast, balance, emphasis
Contrast
- Strongly contrasting elements are juxtaposed.
- Create visual interest, emphasise a point, and convey information
Gestalt Theory
- Visual aspects are perceived by the human eye according to certain rules.
- Attempt to simplify complex sceneries by reducing them to simpler shapes.
- Describe how the eyes interpret the shapes as a single, unified form rather than the individual, simpler pieces.
1. Principle of Similarity
Even if similar pieces of a design are separated, the human eye perceives them as a complete shape or group.
2. Principle of Continuation
The human eye is drawn to the courses and lines of a design and loves to observe a continuous flow of visual elements rather than individual things.
3. Principle of Closure
Complete shapes are preferred by the human eye. The user can perceive a full shape by filling in missing visual information if the visual elements are incomplete.
4. Principle of Proximity
Close proximity shows that things are linked or related to one another, forming a single visual unit that aids in the organisation or structure of a layout.
5. Principle of Closure
Objects are automatically classified as being in the foreground or background. They either stand out in the front (the figure) or fade into the background (the ground).
6. Law of Symmetry & Order
Objects that are symmetrical to each other are more likely to be grouped together than objects that are not symmetrical.
WEEK 2: BALANCE & EMPHASIS
Balance
-Distribution of visual weight in a work
-Visual equilibrium of the elements
-Symmetrical or asymmetrical
Symmetrical Balance
-Equal arrangements of a centrally placed axis, resulting in radial balance
-Approximate symmetry is when equivalent but not identical forms are present
Asymmetrical Balance
-Unequal visual weight
-One side contain a dominant element, lesser focal points on the other side
-Offers more visual variety, though harder to achieve as element relationship are more complex
The Golden Ratio
-A mathematical concept with a number that goes on indefinitely.
-Representative of perfect beauty, guide to create visual balance
-Brings harmony, balance or structure
Rule of Thirds
-Composition guideline to create dynamics
-Grid divided evenly into thirds
Emphasis
-Create dominance and focus
-Colours, shapes or values can be applied
WEEK 3: REPETITION & MOVEMENT
Repetition
-Make the work design appear to be dynamic.
-Increases the work's rhythm and pattern
-Variety keeps rhythms lively and active, avoiding monotony
-Increase visual excitement by enriching surface interest
Movement
-The path the eye follows
-When objects seem to be moving in a image
-Derived from shapes, forms, lines and curves
Hierarchy
-Choreography of content in a composition
-Directs users to the most crucial information first, then moves on to supplementary topics.
Alignment
-Element placements that align with shared rows or a common center
-Creates a sense of uniformity and cohesiveness, as well as perceived stability
-Directs the gaze through a design
WEEK 4: HARMONY & UNITY
Harmony
-Involves the selection of elements that share a common trait
-Without variety, harmony becomes monotony
-Elements fit same theme, aesthetic style or mood
Unity
-Repetition of particular elements throughout design
-Give a sense of uniformity, creating a theme
Scale
-Size of one object in relation to the other objects
-Architectural drawings and scale models
-Specify or illustrate details based on the relative sizes of objects
-Substantial deviation from a normal scale relationship creates dramatic results and visual interest
Proportion
-Size of an object's part in relation to it's other parts
-Size, colour, quantity, degree, setting, ratio
-Harmonious when a correct relationship exists between elements
WEEK 5: SYMBOL, WORD & IMAGE
Symbol
-Sign, shape or object used to represent something else
-Provide or convey information, equivalent to sentences or stories
Pictorial Symbols: image related and simplified pictures
Abstract Symbols: look like objects but less detail
Arbitrary Symbols: no resemblance to the object, invented with meaning, has to be learned
Word and Image
-If the correct images are chosen, users can relate to a concept or a brand. Designing need a suitable and meaningful image
-The correct wording can enhance the design's meaning
-The design and arrangement of text to communicate a message or notion is known as typography
INSTRUCTIONS
EXERCISE 1
CONTRAST
Visual Research
For contrast I was found several posters. They went for bright accent colours, like red, orange. Accompanied with a neutral background like black or white.
Fig 1.1: Troje i Las (18/1/1963)
Fig 1.2: No Man's Land by Luba Lukova (6/7/2010)
Drafts
I decided to make my accent object a yellow taxi. Made the background black alluding to the scene being night time. Added a dashed grey line to show the road. I made another variation with a yellow spotlight, showing a person silhouette.
GESTALT THEORY: PRINCIPLE OF CLOSURE
Visual Research
For gestalt theory the posters I found usage of principle of closure. In the first poster the gun is overlay with the face. In the second it was making the brim of a gun align with the silhouette of the face.
Fig 1.3: RoboCop by Olly Moss (14/8/2010)
Fig 1.4: Dirty Harry by Olly Moss (8/7/2010)
Drafts
I thought of making an umbrella and face overlay. I could reduce the colours to only three to make it minimalistic. But the umbrella looks very cutout when I did that. The second one was a window light in a room being obstructed by the window frame, the person and the light.
Final Submission
I added a yellow dash line to indicate the road and a horizon, opposed to just a black void. I also added a shadow to make the light physics more believable. The gestalt theory principle of closure is in yellow columns while ones that are empty have solid colours, enriching surface interest.
EXERCISE 2
EMPHASIS
Visual Research
They were executed by using an accent colours, either primary or complementary colours. Placed in the middle or in a point of the rule of the third. Oftentimes the focal point is in contrast with the negative space of the background.
Fig 2.1: Red Umbrella on the Streets
Fig 2.2: Boat on Sea Illustration
Drafts
I thought of using large amount of negative space to make the emphasis stand out more, a mass contrast. I made one scene in the beach with a red umbrella, another a red boat in the ocean. There is also rule of thirds, where the focal point is placed either on a point of the grid, or the horizontal line. The colour scheme is complementary, with orangish red contrast with greenish blue.
MOVEMENT
Visual Research
Perspective if often used in movement to show depth, and to evaluate where the subject is in distance, like near or far. The subject follows the rule of perspective, foregrounds are bigger while the subject near the background are smaller. Tilting the perspective slightly creates a dutch angle, and is use to show something unnerving. Composition still could be used while having perspective, with one using the golden ratio and the other using rule of thirds.
Fig 2.3: Dynamic Poster
Drafts
For movement, I thought of automobiles. So one scene is a plane through sky scrappers, and another scene is a car through the streets. The first one uses one point perspective while the second one uses three point perspective, it creates a a sense of perception. Just for a sense of dynamic, the colour scheme here is also complementary. With the first one being green against orange background, and the second red light against dark blue background.
Drafts 2
For the umbrella I changed the colour from red cyan to fuchsia and navy blue, for a more sweet vacation look. I also changed the airplane colour scheme, to blue and white, as the sky is the main negative space. The buildings are slightly darker than the airplane to show hierarchy. To create the illusion of a worm's eye view, the rectangles are skewed to be shorter width near the center, and longer width near the edges. Following the grid of one point perspective.
Final Submission
I added some extra details to the umbrella, like a brim and shadows of the stick of the umbrella. I also played with the grain texture, making a gradient for the beach, the shadow of the crashing waves and the waves splashing. For the airplane I followed the feedback given and made the airplane travel further and bigger trails.
HARMONY
Visual Research
I really liked how the whole scene is solely comprised of blue and white, making it all look very harmonious and satisfying. I also liked the mood, it looks like a chic beach. I wanted to make something more minimalistic, so the elements are more subdued and the eyes can solely focus on the harmony part. The art deco poster of a gin is just the composition I wanted.
Fig 3.1: Estonia Art Deco Poster
Fig 3.2: Gin Art Deco Poster
Drafts
I stuck with the blue and white theme, and used mineral water as the subject. I felt that mineral water is the best fit for this colour scheme, as blue and white are natural occurring colours, but no organic material is pure blue or pure white, unless it is dyed by hand. It is similar to mineral water, it is natural water, but also processed.
I first made the base colour silhouette. Using methods like Pathfinder, Clipping. To achieve the shapes caused by perspective. I had a decent understanding of perspective, therefore I am able to know how to achieve the bird's eye view without reference.
Then I added details, like the bump on the cap, ridges on the cap, the highlight on the bottle, the ridges on the bottle too.
Finally, I added gradients on the bottle, to add atmospheric perspective, the feeling of being able to see the air.
Drafts 2
SYMBOL: PICTORIAL SYMBOL
Visual Research
I wanted two different elements so that the pictorial symbol theme really stands out. Only by having more than one element can a common trait be shared, indicating a theme. I found a nice poster of a mug steam also being the road of the car. I liked the idea of a cup of coffee, reminding someone of a specific place like Venice. I liked the boats native to the area, having a crescent curve in the front it looks very artisan and handcrafted. With the river stream also looking like the steam from the coffee.
Fig 3.3: Book Vector Illustration
Fig 3.4: Italy Art Deco Poster
Drafts
This is my attempt at materializing my vision. A gondola, traditional Venetian rowing boat, passing in a river, with a coffee cup in the peripheral. With the river uncannily looks a lot like steam from the coffee. Picturing how a taste could remind someone of some place. The colour is very warm and rustic, to fit the mood of the coffee's rich taste. The gondola is brown and happens to look like a coffee bean, an homage to the cup of coffee.
A problem I had was having only 2 reference pictures, so I had a lot of resemblance to the reference. So I added a third reference, for the river and landscape setting.
I first made the base colour, with some changes to the stream flow shape. I also added gradients to give some texture to the piece.
Drafts 2
Final Submission
FEEDBACK
WEEK 2: EXERCISE 1
Contrast: Could combine two elements together, such as making the light come out from the car, making the scene more elements going on. Making the canvas horizontal to accommodate for it.
Gestalt theory: The second one is more minimalistic and impactful. Could add colour to two diagonal rectangles, increase visual interest by preventing repeating monotony.
WEEK 3: EXERCISE 2
Emphasis: The umbrella can be bigger, it will be more impactful.
Movement: Usage of lines can convey movement. Airplane worm's eye view, and leaving a trail can indicate movement. The car could use the swirl faint trail of the red light for movement.
WEEK 4: EXERCISE 2 DRAFT 2
Emphasis: The waves could add some lighter colour to it, to increase visual stimuli.
Movement: The plane can be higher up to show the distance travelled. The trail of gas could flare out more at the bottom.
WEEK 5: EXERCISE 3
Harmony: The piece has both unity and harmony qualities to it. The blue and white colours throughout the piece achieves harmony. Recording the process helps give insight into the creation of the work.
Symbol: It is nice that it is scenic and looks like a landscape. The layout is too similar to one of the reference, a suggestion is to have a boat in a coffee whirlpool.
WEEK 6: EXERCISE 3 DRAFT 2
Harmony: Working on the shapes more can help reduce the geometry of the piece.
Symbol: Add the coffee on the coffee cup adds more visual interest. The boat instead of being similar to a coffee bean, can be an actual coffee bean, a nod to surrealism.
REFLECTION
Experience:
I find the feedback really useful as it is practical. We were given ways that we can do to make it better. I prefer this over abstract feelings because it is hard to know where to start. Concrete achievable steps are always better than a general direction.
I also like how open the conversation is for giving one own's opinion. We are encouraged to also think about how we can improve on a piece. It is like a discussion, and oftentimes it results in better conclusions.
Observation:
I struggled at first because I wanted a message, and I attempt developing the idea from the message. I only started developing an idea when I stop thinking with a message in mind, it is limiting for me. I think it developed much more impactful scene
I also got better at believing in the process. It is sometimes frustrating that something does not go as initially planned, but that is part of the process. Trial and error is part of exploration, and finally settle on a finish product.
Findings:
Visual interest is really important. As mentioned in week 4 lecture harmony, variety should still be present for it to be visually appealing and prevent monotony. I have a tendency to over simplify things without adding anything to it. Even in minimalistic pieces shapes and layout still has a lot of thought behind it, so it looks simple without being looking incomplete.
REFERENCE
The links are clickable through the images above.
CONTRAST:
1. https://pin.it/1jdmQmz
2. https://pin.it/1jdmQmz
GESTALT THEORY:
3. https://pin.it/5jtnmLB
4. https://pin.it/35arlLG
EMPHASIS:
5. https://pin.it/35arlLG
6. https://pin.it/1xOF2Ig
MOVEMENT:
7. https://pin.it/2ZHoujR
8. https://pin.it/3Xc7Y8Q
HARMONY:
9. https://pin.it/6aCqcW6
10. https://pin.it/6aCqcW6
SYMBOL:
11. https://pin.it/6vLNuOu
12. https://pin.it/6aFmpZ8
13. https://pin.it/1cEqlEi
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