Design Principles Task 1: Exploration
03.02.2025 - 17.02.2025 (Week 1 - Week 3)
Kiew Ting Yi (Nicole) / 0361143 / Bachelor of Design (Honours) in Creative MediaDesign Principles
Task 1 : Exploration
Table of Contents:
LECTURE: DESIGN PRINCIPLES
Design Principles are essentially what makes design effective. We see
design principles all around us, organically or inorganically, and are
considered "rules" that we should follow in the design world. To be a
successful designer is to know how to break or bend the rules.
Gestalt Theory
Gestalt means "pattern", or
"figure", or "form"
in German, and Gestalt theory is a psychological theory on how human perceives designs of the world,
where its principles or laws are considered the "conditions" to
activate this theory. The key principles are:
Figure 1.0 Examples of Gestalt Laws,
Verywell | JR Bee
-
Law of Proximity: Elements that are close to each other
tend to be grouped together. For example, if you see a bunch of dots spaced closely
together, your mind naturally groups them into clusters.
Designers use this principle to create relationships between elements, like grouping related content together in a layout to show connection or association (Ware, 2012).
-
Law of Similarity: Objects that are similar in shape, color, size, or texture
are perceived as belonging to the same group. For example, in
a row of shapes, if all circles are the same color, we’ll
group them together, separate from triangles. Designers use
similarity to create patterns and establish visual coherence
(Palmer, 1999).
-
Law of Continuity: Our eyes are drawn to follow lines and curves, and we prefer
to see continuous forms
rather than disconnected elements. For instance, when a line
intersects another, we tend to follow the smoothest path. In
design, this law is used to lead the viewer’s eye naturally
across the page, ensuring the design flows and feels connected
(Goldstein, 2013).
-
Law of Closure: Even if a shape isn’t completely closed, our brain tends to fill in the gaps
and see it as a whole.
For example, a broken circle will still be perceived as a
circle. This principle is useful in logos or minimalist
designs where parts of shapes are missing but viewers can
still recognize the whole form (Bruce, et al., 2014).
-
Law of Figure-Ground: This principle deals with the relationship between the foreground (figure)
and the background (ground). We tend to perceive objects as distinct from their
background. For example, when looking at a picture of a vase,
you might see the vase as the figure and the space around it
as the ground. Designers can play with this to
create visual illusions
or emphasize a particular element
by contrasting it against its background (Koffka, 2013).
-
Law of Symmetry:
We perceive symmetrical elements as part of the same group,
even when they are far apart. Symmetry is aesthetically pleasing
and naturally draws
attention. Designers often use symmetry to create balanced compositions
and to make elements look harmonious (Wertheimer, 1938).
-
Law of Common Fate: Elements moving in the same direction
are perceived as
related.
This principle is especially useful in animation or motion
design, where multiple objects moving together suggest they
belong together. In static designs, aligning elements along a
common path can mimic this effect (Palmer, 1999).
-
Law of Prägnanz (Simplicity): We tend to perceive complex images in the simplest form
possible. Our brains prefer organizing visual elements in a
way that reduces cognitive load. In other words, we interpret
ambiguous or complex shapes as the simplest ones available.
This principle explains why we might see a familiar geometric shape (like a circle or square)
even when it's presented in a more complex form (Ware,
2012).
-
Law of Common Region:
Elements that are located within the same closed boundary
are perceived as part of a group.
This is often used in web and app design, where buttons or
images are grouped together within a card or container,
signaling to the viewer that they are related in function or
meaning (Goldstein, 2013).
-
Law of Uniform Connectedness: Elements that are visually connected by lines or other visual
features are perceived as more related than those that are not
connected. Designers can use lines, colors, or other
connecting elements to show relationships
or guide the viewer’s attention across the design (Wertheimer,
1938).
Figure 1.1 Spectre (2015) by Karolis Strautniekas,
Looking Back 15',
Digital, 375 x 529 px.
Contrast
Contrast highlights the differences between elements in a design,
like light vs. dark or large vs. small. It creates visual interest and helps draw attention
to key areas, making certain parts of the design stand out more
clearly (Lidwell, et al., 2010).
Emphasis
Emphasis is about making one part of the design stand out as the most important. It could be a headline in bold or a bright
color among muted tones. It ensures the viewer’s attention is directed where you want it to go (Samara, 2014).
Unknown Media, A4
Balance
Balance ensures the design feels stable and visually pleasing. It can be symmetrical, where both sides mirror each other, or
asymmetrical, where different elements still feel balanced through
clever placement (Lidwell et al., 2010).
Repetition
Repetition means reusing elements like colors, patterns, or shapes
to create a sense of consistency. It ties everything together, making the design feel intentional and organized,
like a rhythm you can see (Wong, 1993).
Movement
Movement refers to how the viewer’s eye is guided through the
design. Designers use lines, shapes, or even the arrangement of
elements to create a flow that leads the viewer from one part of the design to another, almost like a visual path
(Samara, 2014).
Harmony & Unity
Harmony and unity come from the elements in a design working
together in a way that feels cohesive. When everything fits, it creates a sense of completeness
that’s pleasing to the eye, with no element feeling out of
place (Wong, 1993).
Figure 1.7 Pidapipó: Gelato Eight Days a Week (2018) illustrated by
Jean Jullien
Mixed Media on Paper, 1492 x 2000 px
Symbol
A symbol is a visual representation that carries meaning beyond its literal form. For example, a checkmark can symbolize
approval, or a heart can represent love. Symbols communicate quickly
and effectively (Lidwell et al., 2010).
Word and Image
Combining text with visuals creates a stronger impact than either would alone. Words provide clarity, while images add context or emotional resonance.
Together, they tell a more complete story and make the message clearer and more engaging (Wong, 1993).
Design Principles are essentially what makes design effective. We see
design principles all around us, organically or inorganically, and are
considered "rules" that we should follow in the design world. To be a
successful designer is to know how to break or bend the rules.
Gestalt Theory
Gestalt means "pattern", or
"figure", or "form"
in German, and Gestalt theory is a psychological theory on how human perceives designs of the world,
where its principles or laws are considered the "conditions" to
activate this theory. The key principles are:
Figure 1.0 Examples of Gestalt Laws,
Verywell | JR Bee
- Law of Proximity: Elements that are close to each other tend to be grouped together. For example, if you see a bunch of dots spaced closely together, your mind naturally groups them into clusters. Designers use this principle to create relationships between elements, like grouping related content together in a layout to show connection or association (Ware, 2012).
- Law of Similarity: Objects that are similar in shape, color, size, or texture are perceived as belonging to the same group. For example, in a row of shapes, if all circles are the same color, we’ll group them together, separate from triangles. Designers use similarity to create patterns and establish visual coherence (Palmer, 1999).
- Law of Continuity: Our eyes are drawn to follow lines and curves, and we prefer to see continuous forms rather than disconnected elements. For instance, when a line intersects another, we tend to follow the smoothest path. In design, this law is used to lead the viewer’s eye naturally across the page, ensuring the design flows and feels connected (Goldstein, 2013).
- Law of Closure: Even if a shape isn’t completely closed, our brain tends to fill in the gaps and see it as a whole. For example, a broken circle will still be perceived as a circle. This principle is useful in logos or minimalist designs where parts of shapes are missing but viewers can still recognize the whole form (Bruce, et al., 2014).
- Law of Figure-Ground: This principle deals with the relationship between the foreground (figure) and the background (ground). We tend to perceive objects as distinct from their background. For example, when looking at a picture of a vase, you might see the vase as the figure and the space around it as the ground. Designers can play with this to create visual illusions or emphasize a particular element by contrasting it against its background (Koffka, 2013).
- Law of Symmetry: We perceive symmetrical elements as part of the same group, even when they are far apart. Symmetry is aesthetically pleasing and naturally draws attention. Designers often use symmetry to create balanced compositions and to make elements look harmonious (Wertheimer, 1938).
- Law of Common Fate: Elements moving in the same direction are perceived as related. This principle is especially useful in animation or motion design, where multiple objects moving together suggest they belong together. In static designs, aligning elements along a common path can mimic this effect (Palmer, 1999).
- Law of Prägnanz (Simplicity): We tend to perceive complex images in the simplest form possible. Our brains prefer organizing visual elements in a way that reduces cognitive load. In other words, we interpret ambiguous or complex shapes as the simplest ones available. This principle explains why we might see a familiar geometric shape (like a circle or square) even when it's presented in a more complex form (Ware, 2012).
- Law of Common Region: Elements that are located within the same closed boundary are perceived as part of a group. This is often used in web and app design, where buttons or images are grouped together within a card or container, signaling to the viewer that they are related in function or meaning (Goldstein, 2013).
- Law of Uniform Connectedness: Elements that are visually connected by lines or other visual features are perceived as more related than those that are not connected. Designers can use lines, colors, or other connecting elements to show relationships or guide the viewer’s attention across the design (Wertheimer, 1938).
Figure 1.1 Spectre (2015) by Karolis Strautniekas,
Looking Back 15',
Digital, 375 x 529 px.
Contrast
Contrast highlights the differences between elements in a design, like light vs. dark or large vs. small. It creates visual interest and helps draw attention to key areas, making certain parts of the design stand out more clearly (Lidwell, et al., 2010).
Emphasis
Emphasis is about making one part of the design stand out as the most important. It could be a headline in bold or a bright
color among muted tones. It ensures the viewer’s attention is directed where you want it to go (Samara, 2014).
Unknown Media, A4
Balance
Balance ensures the design feels stable and visually pleasing. It can be symmetrical, where both sides mirror each other, or
asymmetrical, where different elements still feel balanced through
clever placement (Lidwell et al., 2010).
Repetition
Repetition means reusing elements like colors, patterns, or shapes to create a sense of consistency. It ties everything together, making the design feel intentional and organized, like a rhythm you can see (Wong, 1993).
Movement
Movement refers to how the viewer’s eye is guided through the
design. Designers use lines, shapes, or even the arrangement of
elements to create a flow that leads the viewer from one part of the design to another, almost like a visual path
(Samara, 2014).
Harmony & Unity
Harmony and unity come from the elements in a design working
together in a way that feels cohesive. When everything fits, it creates a sense of completeness
that’s pleasing to the eye, with no element feeling out of
place (Wong, 1993).
Figure 1.7 Pidapipó: Gelato Eight Days a Week (2018) illustrated by
Jean Jullien
Mixed Media on Paper, 1492 x 2000 px
Mixed Media on Paper, 1492 x 2000 px
Symbol
A symbol is a visual representation that carries meaning beyond its literal form. For example, a checkmark can symbolize
approval, or a heart can represent love. Symbols communicate quickly
and effectively (Lidwell et al., 2010).
Word and Image
Combining text with visuals creates a stronger impact than either would alone. Words provide clarity, while images add context or emotional resonance.
Together, they tell a more complete story and make the message clearer and more engaging (Wong, 1993).
REFERENCE LIST
Bruce, V., Green, P. R., & Georgeson, M. A. (2014). Visual perception: Physiology, psychology, and ecology. Psychology Press.
Goldstein, E. B. (2013). Sensation and perception (9th ed.). Cengage Learning.
Koffka, K. (2013). Principles of Gestalt psychology. Routledge.
Lidwell, W., Holden, K., & Butler, J. (2010). Universal principles of design (2nd ed.). Rockport Publishers.
Palmer, S. E. (1999). Vision science: Photons to phenomenology. MIT Press.
Samara, T. (2014). Design elements: A graphic style manual (2nd ed.). Rockport Publishers.
Ware, C. (2012). Information visualization: Perception for design (3rd ed.). Morgan Kaufmann.
Wertheimer, M. (1938). Laws of organization in perceptual forms. In A source book of Gestalt psychology (pp. 71-88). Routledge.
Wong, W. (1993). Principles of form and design. Wiley.
Bruce, V., Green, P. R., & Georgeson, M. A. (2014). Visual perception: Physiology, psychology, and ecology. Psychology Press.
Goldstein, E. B. (2013). Sensation and perception (9th ed.). Cengage Learning.
Koffka, K. (2013). Principles of Gestalt psychology. Routledge.
Lidwell, W., Holden, K., & Butler, J. (2010). Universal principles of design (2nd ed.). Rockport Publishers.
Palmer, S. E. (1999). Vision science: Photons to phenomenology. MIT Press.
Samara, T. (2014). Design elements: A graphic style manual (2nd ed.). Rockport Publishers.
Ware, C. (2012). Information visualization: Perception for design (3rd ed.). Morgan Kaufmann.
Wertheimer, M. (1938). Laws of organization in perceptual forms. In A source book of Gestalt psychology (pp. 71-88). Routledge.
Wong, W. (1993). Principles of form and design. Wiley.
INSTRUCTIONS
According to the Module Information Booklet (MIB), we are to:
- Create an e-Portfolio
- Embed this MIB into the e-Portfolio
- Watch pre-recorded lectures and attach works of art that describes each design principle with sources cited, linked, and named (Artwork Title, Artist Name, Medium of Artwork, Size)
- Choose an artwork that resonates with us
- Attach the artwork into the e-Portfolio including citations
- Discuss/Consult with the lecturer on the progress and the artwork selected.
According to the Module Information Booklet (MIB), we are to:
- Create an e-Portfolio
- Embed this MIB into the e-Portfolio
- Watch pre-recorded lectures and attach works of art that describes each design principle with sources cited, linked, and named (Artwork Title, Artist Name, Medium of Artwork, Size)
- Choose an artwork that resonates with us
- Attach the artwork into the e-Portfolio including citations
- Discuss/Consult with the lecturer on the progress and the artwork selected.
TASK 1: Exploration
For Task 1, we are to select one artwork that piques our interest. Mr
Vinod suggested we get 3-4 artworks as it's easier to select one that
we can further explore on in the upcoming tasks. Here are mine:
Figure 2.0 Contentment and Gratitude (2024) by Joey Wong (@dpeculiarartist)
Acrylic on Canvas, 100cm x 150cm
Joey, or
known as "D' Peculiar Artist", is a Malaysian artist known for
surrealism art. I personally like grotesque art presented in a
cutesy/innocent way, so most of her art is something that I would
truly have a piece at home. I find this artwork amusing as it is
titled "Contentment and Gratitude", but the male subject's head/face
is heavily disfigured. The colors used here are bright and lovely, but
there are literal human intestines on the floor just for the girl to
play with her dolls.
.png)
Mixed Media on Sketchbook, A4
As simple as it looks, the mixed medium used are anything but
simple. Sarah tends to create works that depicts her daily life with
bright and vibrant colors. I like this artwork as there's different
visual elements that are highly detailed yet at a glance yet
harmonious. Overall, I like this artwork because it inspires me to
create with anything that I have and focus on the simple things in
life to make art.
CHOSEN ARTWORK
Figure 2.0 Lost Soul (2022) by Mitch (@itsallinsideus)
Oil Painting on Canvas, 30 x 24 inches.
Initially drawn by his constant use of a shadowy cat figure as his muse, this artwork was drawn to me with the choices of colors. My favourite colors are blue and orange and it was effectively used here to convey emotions (blue for tears, water, whirlpool) and it describes how lost and clueless the subject is (including the cat). As a person who loves morbid art, the crying figures from both the human and cat makes the artwork a little bit more unusual. The reflection of the human figure is resembling the whirlpool of water in the sink, and it creates this symbolism that implies hopelessness and confusion that really resonate with me.
DESIGN PRINCIPLES FOUND:- Contrast: The direct colors of orange and black is contrasting in this artwork. The black is used to show subjects and also shadows, meanwhile orange is heavily used as a background color. Blue, which is the complimentary color of orange, is also used as a way to show stark difference and is used as an accent color on the tears of the subjects and water in the sink.
- Balance: The composition feels asymmetrical but still works visually. The figure and sink are slightly off to the left, while the cat and the painting or mirror on the right add enough weight to even things out. Having the mirror above the sink also helps keep the overall scene from feeling too lopsided.
- Symbolism: The tears from the figure and the swirling patterns in the reflection could symbolize emotional turmoil or introspection, while the presence of the cat adds a sense of companionship or stillness amidst the chaos. The artwork appears to evoke feelings of sadness or contemplation, using these symbols to convey a deeper emotional message.
Figure 2.0 Contentment and Gratitude (2024) by Joey Wong (@dpeculiarartist)
Acrylic on Canvas, 100cm x 150cm
Joey, or known as "D' Peculiar Artist", is a Malaysian artist known for surrealism art. I personally like grotesque art presented in a cutesy/innocent way, so most of her art is something that I would truly have a piece at home. I find this artwork amusing as it is titled "Contentment and Gratitude", but the male subject's head/face is heavily disfigured. The colors used here are bright and lovely, but there are literal human intestines on the floor just for the girl to play with her dolls.
Acrylic on Canvas, 100cm x 150cm
Joey, or known as "D' Peculiar Artist", is a Malaysian artist known for surrealism art. I personally like grotesque art presented in a cutesy/innocent way, so most of her art is something that I would truly have a piece at home. I find this artwork amusing as it is titled "Contentment and Gratitude", but the male subject's head/face is heavily disfigured. The colors used here are bright and lovely, but there are literal human intestines on the floor just for the girl to play with her dolls.
.png)
Mixed Media on Sketchbook, A4
As simple as it looks, the mixed medium used are anything but
simple. Sarah tends to create works that depicts her daily life with
bright and vibrant colors. I like this artwork as there's different
visual elements that are highly detailed yet at a glance yet
harmonious. Overall, I like this artwork because it inspires me to
create with anything that I have and focus on the simple things in
life to make art.
CHOSEN ARTWORK
Figure 2.0 Lost Soul (2022) by Mitch (@itsallinsideus)
Oil Painting on Canvas, 30 x 24 inches.
Oil Painting on Canvas, 30 x 24 inches.
Initially drawn by his constant use of a shadowy cat figure as his muse, this artwork was drawn to me with the choices of colors. My favourite colors are blue and orange and it was effectively used here to convey emotions (blue for tears, water, whirlpool) and it describes how lost and clueless the subject is (including the cat). As a person who loves morbid art, the crying figures from both the human and cat makes the artwork a little bit more unusual. The reflection of the human figure is resembling the whirlpool of water in the sink, and it creates this symbolism that implies hopelessness and confusion that really resonate with me.
DESIGN PRINCIPLES FOUND:
- Contrast: The direct colors of orange and black is contrasting in this artwork. The black is used to show subjects and also shadows, meanwhile orange is heavily used as a background color. Blue, which is the complimentary color of orange, is also used as a way to show stark difference and is used as an accent color on the tears of the subjects and water in the sink.
- Balance: The composition feels asymmetrical but still works visually. The figure and sink are slightly off to the left, while the cat and the painting or mirror on the right add enough weight to even things out. Having the mirror above the sink also helps keep the overall scene from feeling too lopsided.
- Symbolism: The tears from the figure and the swirling patterns in the reflection could symbolize emotional turmoil or introspection, while the presence of the cat adds a sense of companionship or stillness amidst the chaos. The artwork appears to evoke feelings of sadness or contemplation, using these symbols to convey a deeper emotional message.
FEEDBACKS
Week 1
General Feedback: Come up with more than 1 artwork to ensure a better
selection on the artwork to explore.
Week 2
General Feedback: Make sure to follow the timings of the
consultation hours, and to show progress/work to
gain attendance.
Specific Feedback: Fix the hierarchy (Lectures then Introduction),
add all citations (APA Format) that are missing.
Show more examples on Gestalt Theory.
Week 3
General Feedback: Join the class zoom earlier to avoid backlog and maximise everyone's time.
Specific Feedback: Expand and elaborate a little bit further on the description of the chosen artwork to practise for Visual Analysis.
General Feedback: Come up with more than 1 artwork to ensure a better selection on the artwork to explore.
Week 2
General Feedback: Make sure to follow the timings of the consultation hours, and to show progress/work to gain attendance.
Specific Feedback: Fix the hierarchy (Lectures then Introduction), add all citations (APA Format) that are missing. Show more examples on Gestalt Theory.
Week 3
General Feedback: Join the class zoom earlier to avoid backlog and maximise everyone's time.
Specific Feedback: Expand and elaborate a little bit further on the description of the chosen artwork to practise for Visual Analysis.
REFLECTIONS
EXPERIENCES
Working with these principles has taught me how tricky but rewarding it can be to bring them all together in a design. Achieving balance, especially in asymmetrical layouts, requires a lot of thought and intention. I also learned that adding contrast or emphasis isn’t just about using bold colors or shapes—it’s about understanding how to direct someone’s attention subtly. Each time I worked on a project, I gained more confidence in applying these principles, and it’s helped me develop a better instinct for how they influence the overall feeling of a design.
OBSERVATION
I noticed that even small changes in a design, like shifting the placement of a focal point or adjusting the size of elements, can completely change how balanced or harmonious the overall composition feels. For instance, asymmetrical designs can still feel stable and well-balanced if visual weight is handled properly. I also observed that using contrast in colors or sizes immediately grabs attention, helping to guide the viewer’s focus toward the most important areas.
FINDINGS
While exploring design principles, I realized how important things like contrast, balance, emphasis, movement, and unity are in creating a good design. These elements work together to guide the viewer's eye and communicate the design’s message effectively. I also discovered how powerful repetition and symbolism can be in making a design feel consistent and meaningful without much explanation. When these principles are applied thoughtfully, they can transform a design from being just visually interesting to something truly engaging and cohesive.
EXPERIENCES
Working with these principles has taught me how tricky but rewarding it can be to bring them all together in a design. Achieving balance, especially in asymmetrical layouts, requires a lot of thought and intention. I also learned that adding contrast or emphasis isn’t just about using bold colors or shapes—it’s about understanding how to direct someone’s attention subtly. Each time I worked on a project, I gained more confidence in applying these principles, and it’s helped me develop a better instinct for how they influence the overall feeling of a design.
Working with these principles has taught me how tricky but rewarding it can be to bring them all together in a design. Achieving balance, especially in asymmetrical layouts, requires a lot of thought and intention. I also learned that adding contrast or emphasis isn’t just about using bold colors or shapes—it’s about understanding how to direct someone’s attention subtly. Each time I worked on a project, I gained more confidence in applying these principles, and it’s helped me develop a better instinct for how they influence the overall feeling of a design.
OBSERVATION
I noticed that even small changes in a design, like shifting the placement of a focal point or adjusting the size of elements, can completely change how balanced or harmonious the overall composition feels. For instance, asymmetrical designs can still feel stable and well-balanced if visual weight is handled properly. I also observed that using contrast in colors or sizes immediately grabs attention, helping to guide the viewer’s focus toward the most important areas.
FINDINGS
While exploring design principles, I realized how important things like contrast, balance, emphasis, movement, and unity are in creating a good design. These elements work together to guide the viewer's eye and communicate the design’s message effectively. I also discovered how powerful repetition and symbolism can be in making a design feel consistent and meaningful without much explanation. When these principles are applied thoughtfully, they can transform a design from being just visually interesting to something truly engaging and cohesive.
While exploring design principles, I realized how important things like contrast, balance, emphasis, movement, and unity are in creating a good design. These elements work together to guide the viewer's eye and communicate the design’s message effectively. I also discovered how powerful repetition and symbolism can be in making a design feel consistent and meaningful without much explanation. When these principles are applied thoughtfully, they can transform a design from being just visually interesting to something truly engaging and cohesive.
