Task 1 Exploration
Week 2 - Week 3
Aurellia Franseska Djauhari - 0365053
Design Principles
Bachelor of Information Technology (Minoring in Creative Media Design)
Gestalt Theory
Gestalt theory refers to a psychological principle concerning the manner with which people interpret visual elements into entities instead of the sum its parts. Its principles include similarity, continuation, closure, proximity, figure or ground, and law of symmetry & order.
1. Similarity: Elements that look alike (in color, shape, size, or texture) are perceived as part of a group or pattern.
2. Continuation: The human eye follows a path, line, or curve, continuing in the same direction until it encounters an obstacle.
3. Closure: The brain fills in missing information to complete a shape or image.
4. Proximity: Elements placed close together are seen as related, even if they are not similar in shape or color.
5. Figure or ground: The brain separates an image into a main object (figure) and the surrounding area (ground).
6. Law of symmetry & order: The brain prefers symmetrical, simple, and orderly compositions. It naturally organizes chaotic visuals into structured and balanced forms.
Contrast
Contrast sets elements apart and is achieved through very different colors, sizes, shapes, and textures. A strong contrast can make an important message pop and improve the readability or engagement of an individual.
In (Fig 1.2) the artist employs stark contrasts between illuminated areas and dark regions to guide the viewer's attention and evoke a sense of depth. This deliberate juxtaposition not only highlights the central elements of the composition but also creates a dramatic atmosphere, inviting viewers to explore the nuances within the artwork. The minimalist approach, combined with the strategic use of light and shadow, results in a harmonious balance that is both visually striking and contemplative.
Fig 1.2 Le Jardin Secret by Ariel Sun
Emphasis
Emphasis is used to draw attention to a specific part of a design, often through contrast, color, size, or placement. It helps guide the viewer’s focus to the most important message or element.
In (Fig 1.3) the emphasis is placed on the central black void. Goldsworthy achieves this by carefully arranging rowan leaves in a gradient of colors, transitioning from deep red on the outer edges to bright yellow near the center. This gradual change in color naturally guides the viewer’s eye inward, creating a strong focal point.
Fig 1.3 Rowan Leaves and Hole by Andy Goldsworthy
Balance
Balance pertains to properly distributing the visual weight of different elements in any particular design. Balance can be expressed symmetrically (the same elements are evenly arranged) or asymmetrically (they are unequally arranged but are still perceived as in balance). Balance gives one a feeling of inviolable order and harmony.
Example of a symmetrical balance illustration.
The design of (Fig 1.4) is vertically mirrors the image of the two swans and their adjacent flowering plants to achieve perfect balance. The balance achieved by mirroring the design keeps the viewer's interest that is in the intricate detailing within.
Fig 1.4 Swan, Rush and Iris by Walter Crane
Example of an asymmetrically balance illustration.
On (Fig 1.5): the cliff, the detailed texture of branches and leaves, and the larger but simpler form of Mount Fuji far in the distance. On the right, this balance is countered by the breaking wave and rocks. While the composition is not symmetrical, the strength of the visual weights is balanced by using similar shapes, sizes, and levels of detail.
Fig 1.5 The Sea at Satta in Suruga Province by Utagawa Hiroshige
Repetition
Repetition is employing similar elements throughout a design, say colors, fonts or shapes, to enhance coherence with and re-instill branding or theme. Unifying the piece visually appears to be more coherent regardless.
Fig 1.6 Red Pumpkin by Yayoi Kusama
Movement
Movement guides the viewer’s eye through the design in a deliberate way. This can be achieved through lines, shapes, or contrasts that create a sense of flow or direction, leading to the most important elements.
Fig 1.7 L'art Du Tennis by Jean-Luc Lopez
Harmony & Unity
In the design work, harmony and unity make all elements work well together. Harmony is achieved when elements combine, but unity means that the design feels whole because all the parts seem to connect purposefully.
Elements within an artwork complement and enhance one another toward their ends with harmony. Similar colors or shapes promote harmony, while difference might also foster it.
Unity can be obtained by employing consistent color, texture, shape and line throughout a painting. For example: With all muted colors in an artwork, it would create a unified form. All of the warm tones in Pissarro's painting unify the many subjects and objects.
Fig 1.8 Boulevard Montmartre Morning, Grey Weather by Camille Pissarro
Symbol
Symbols are visual representations of ideas, concepts, or messages. They can be abstract (like logos) or literal (such as icons), and they help communicate meaning quickly and effectively. Symbols can be categorized into three main types: pictorial, abstract, and arbitrary.
1. Pictorial symbol represents an object or concept from the point of view of recognition and realism. It is evident, simple to understand, and commonly used in icons, logos, etc., and wayfinding systems.
2. Abstract symbol, on the other hand, simplifies or stylizes a real object from a more unique and less recognizable form to communicate meaning. It does not provide much similarity of look, in terms of shape and line, to the identity or concept it is trying to convey.
Fig 2.0 Abstract design
3. Arbitrary signs do not have a direct visual connection with what they mean; they acquire significance through cultural associations. These signs obtain their meaning through tradition, history, or set conventions rather than by any visual resemblance.
Fig 2.1 Arbitrary design
Word and Image
This principle will integrate text with images to facilitate communication. Text and images should be complimentary, creating an environment where they play jointly rather than competing for attention.
Fig 2.2 We Are In Sports by AlinaSeikina
Artwork that Piques My Interest
Artist: Sir Joshua Reynolds
Title: Lady Sarah Bunbury Sacrificing to the Graces
Date: 1763–1765
Medium: Oil on canvas
Source: articedu
Why I chose this art:
I chose this painting because it displays the elegance and refinement of Neoclassical portraiture while also embracing symbolic narrative. The composition is meticulously planned, with the primary female figure dominating the picture, her beautiful attitude and flowing clothing catching the viewer's eye. The combination of delicate yet rich hues, particularly the contrast between the pale pink garment and the golden architectural details, lends depth and warmth to the picture.
The background sculpture of the Three Graces, as well as the ceremonial act of offering, evoke themes of virtue, beauty, and devotion, which are consistent with Neoclassical ideals. The artist expertly blends realism and an idealized style, as shown in the delicate representation of cloth, skin tones, and architectural features. Furthermore, the subtle interplay of light and shadow heightens the three-dimensional character of the figures, making them appear nearly real.
This piece is notable for its blend of creative skill, symbolism, and historical significance, making it an effective portrayal of classical ideals in art.
The Design Principles:
1. Emphasis – The central female figure is the focal point of the composition. Her light-colored dress contrasts with the darker background, drawing the viewer’s eye toward her.
2. Balance – The composition is asymmetrically balanced, with the main figure on the right and the sculpture of the Three Graces on the left, creating a harmonious distribution of visual weight.
3. Contrast – The contrast between light and dark areas enhances depth and highlights the importance of key elements, such as the woman's flowing dress against the darker architectural background.
4. Harmony & Unity – The soft, warm color palette and classical elements unify the painting, creating a visually cohesive and aesthetically pleasing composition.
5. Movement – The graceful pose of the main figure, along with the flowing fabric, creates a sense of movement, leading the viewer’s eye through the scene.
6. Proportion – The figures and architectural elements are realistically proportioned, reinforcing a sense of classical beauty and idealized form.
Feedback
Week 2: Input the MIB, explain more on gestalt theory principles, write Fig and description, add source.
Week 3: instead of using the word "the design" use Fig, complete writing the artwork that I chose, explain more on contrast and emphasis.
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