Anoushka Bedi - Task 1 Exploration

 

TASK 1 Blog 

This is the Module Information Booklet for this module;

MIB

Reflecting on Task 1: Exploring Design Principles

For this task, I have one week (Week 2 - Week 3) to explore the design principles introduced in this module and apply my understanding by analyzing real-world design works. All my observations and findings will be documented in my blog.

Task Overview

In my Task 1 blog post, I need to:

1. Describe the key design principles (listed below) and select appropriate examples to illustrate each one. I cannot reuse images from the lecture notes or videos, and any references I use must be properly credited. Academic integrity is crucial—plagiarism will result in an automatic F grade, and I must adhere to the university’s policies, including guidelines on the responsible use of GenAI.

   • Gestalt theory
   • Contrast
   • Emphasis
   • Balance
   • Repetition
   • Movement
   • Harmony & Unity
   • Symbol
   • Word and Image

2. Select an artwork or design piece that captures my interest and upload a high-quality image (JPEG, at least A4 size, 300dpi) to my blog post.

3. Include proper credits beneath the image, providing details such as the title, artist/designer’s name, year, size, medium, and source.

4. Write a short reflection (150-200 words) explaining why I chose this particular piece.

5. Identify and briefly analyze the design principles present in the selected work.

6. Incorporate feedback from my lecturer into my blog post.

Work Progress & Submission

I am required to regularly consult with my lecturer to discuss my progress and get approval each week. My attendance will be marked based on these consultations. The final submission requires me to share the Task 1 blog link, ensuring it is categorized under Design Principles GCD60804.

Learning Goals

• To develop my ability to observe and analyze different design principles in practice.
• To demonstrate a clear understanding of design principles through thoughtful explanations and real-world examples.

Assessment Criteria

My work will be evaluated based on how well I explore, observe, and articulate my understanding of design principles in my blog post. Clarity, coherence, and depth of analysis are key factors in the assessment.

This task is an exciting opportunity for me to deepen my appreciation of design and sharpen my analytical skills. I’ll need to be thorough in my research, reflective in my observations, and mindful of academic integrity throughout the process.

Week 1

In our week one class, we were given a brief on what to expect from this module, our learning outcomes and the importnace of design principle. Within this dicussion Ms. Jinchi Yip walked through each task we would have to complete and thier respective timelines. 

Task 1 is all about design priciples foundations; deisgn elements. In our introduction we learnt all abaout visual communication and how it integrates  purposeful message with a visual represntation to better communicate wth our targetted audience. 

To  execute such an intricite communication style, deisgn elements and priciples would be used , overall creating a well thougth-out and impactful deisgn.

Elements of Deisgn include;

Point

Line

Shape

Form

Texture 

Space

Colour

these are knwon as individual building blocks

 

While Design Principles include; 

Contrast 

Balance

Emphasis 

Rules of Third

Repition/ Pattern/ Rhythm 

Movement 

Hoerarchy 

Alignement

Harmony 

Uniity 

Proportion

These on the other hand, are organizational fundementals that guide the arrangement of elements of deisgn. The bigger picture, or a house built from individual building blocks. 

 

Design Elements and Principle;

Using the understanding about these foundational elements I would later be able to observe and analyze an object (being an art work or a deisgn) in a more comprehensive manner. 

So The Exploration Journey began,

First through exploring each element ;

Point; 

The simpliest element of deisgn .

When used in a repetitve pattern, form as a line.

And as it moves through space, it implies a design that guides the eye to generate a 2D or 3D object. 

Lines;

Lines can range through different variations, indication directions, defining oudaries of shapes and sapces, imply volumes or solid masses , and suggest motions or emotions.

It can be groupled to depict qualities of light and shadow and form patterns and textures 

A line is the elements that is very versitle.

Shape;

Shapes are either created as a line enlcoses an area or when a change in vales, colors or textures seys an area apart form its surroundings. These suggets our eyes the idea of a shape in any artwork.

Shapes come in either geometic; regular and precise or organic; irregular and relaxed.

Shapes can also evoke an emotion through its organic and geometric nature, to futher have a more indepth impact, changes in values, colors and textures bring out an artwork's message even more.

Forms;

A 3D shape is known as a form.

When form encloses space its precieved as volume. 

This is often seen in 3D modelled designs, architecture and more, but to be seen in 2D deisgns, artist implies this element through shading, being able to paint or sketchout 3D looking designs on canvas or paper. 

Texture;

Textures are the elements that define the surface, either refering through tactile qualities of surface or visula represnetation of those qulaities.

Textures are therefore either shown through using unique materials to create an experience through the sense of touch or shown through visual suggestion (manipulations of lines/shapes/color etc) to create an experience through the sense of sight.

Space;

The empty space, that helps balance out any  2D artwork. helps with the visual aesthtic of it while still being able to grab our eye's attention to the message. 

Space in 3D though is so different form teh concept of 2D, Its so cool how our brain precieves mass through teh outside point of view of a 3D object, and how it precives volume from teh inside fo that object. This truly explains how ancient monuments, and buildings have been preserved with so much respect because of hwo they mastered teh element of space, evoking a stronger emotion/ snese of healing as we enter in them.

space can be defined as positive or nagative space. posistive space is filled space, while negative space is refered as empty space. these can be achived through the manipulation of other elements. 

Colour;

Colour is the light wavelengths that the human eye recieves and processes from a reflected source. Colour is so versitle bevause its a visual byproduct of manuoulating teh secterm of light. 

Colour can be deisgned through three terms; Hues (colours of the specturem , Values (lightness or darness from whites to greys to black)

white added to a hue is a tint, while grey to a hue is a tone, on teh other hand black to a hue us a shade.

Intensity of a color is known as saturation (the purity if a hue)

Colour groupings that provide a distic harmony is knwon as color schemes

 Monochromatic Schemes; variation in values and intensity of a single hue

Analogue Color Scheme; color adjacent to one another on teh colour wheel, same purity of hue

Complementary Color Scheme; two hues directly opposite each other on the color wheel 

Lecture 1; Contrast and Gestalt Theory 

Contrast

Contrast is a design principle that highlights differences between elements to create visual interest, hierarchy, and emphasis. 

It can be achieved through color, size, shape, texture, or typography. Strong contrast makes important elements stand out and improves readability.

Using these elemnts, contrast can be seen as an experience, expressing visual intrest and content messaging.

Example:

Fig 1: The official posters for "Cruella" (2021) were designed by Concept Arts and BLT Communications, LLC.

• "Cruella" (2021) poster shown in Fig 1 achieves unity through its consistent black, white, and red color scheme, reinforcing the film’s punk-inspired aesthetic and Cruella’s rebellious identity. 

• The graffiti-style typography, bold contrasts, and high-fashion styling work together to create a cohesive yet striking visual impact. 

Gestalt Theory

Gestalt Theory is a psychological concept that explains how humans perceive and organize visual elements into unified wholes.

 It suggests that people naturally group objects based on proximity, similarity, continuity, closure, and figure-ground relationships.

This principle, breaks down complex scenes to more simplier looking shapes, in order fo rour brains to absorb the most out of  an image, thereby creating a greater imapct that translate visuals into a strong messaging.

Six Principles of Gestalt Theory

1. Proximity – 

Elements that are close to each other are perceived as a group. where as unrelated items should be placed apart. Structuring the layout this way helps create more aligned and sound associations in the audinece's mind.

Example:

Fig 1.1:The Zara logo, redesigned in 2019

• The Zara logo in Fig 1.1, redesigned in 2019, features overlapping, tightly spaced letters. By placing the letters extremely close together, the design forces the brain to perceive them as a single unit rather than separate characters.

•  This creates a bold and cohesive identity of strength and interconnectiveness, reinforcing the brand’s fast-fashion, high-impact aesthetic.

2. Similarity – 

Objects that look alike (in color, shape, or size) are grouped together. linking between elements of similar nature to be comprehended as a unit to the brain.

Example:

Fig 1.2: Louis Vuitton Monogram; designed in 1896

• The Louis Vuitton monogram pattern shown in Fig1.2 , featuring repeating LV initials, quatrefoils, and flowers, groups similar elements together. 

• This use of repetition makes the pattern easily recognizable and reinforces brand consistency across different products.

3. Continuity –

 The eye follows a smooth path, even if objects are separate. Continuity is what guides the eyes through visulas, into the messaging, removing the resistence in aborbing the message behind it.

Example:

Fig 1.3 3D Optical Illusion trefoil knot

Fig 1.3 design demonstrates continuity by using smooth, unbroken curves that seamlessly flow into one another, creating an endless looping effect. The repetitive, evenly spaced lines reinforce the sense of movement and connection, guiding the viewer’s eye continuously around the form.

4. Closure –

 The brain fills in missing parts to perceive a complete shape. This principle is useful when you want to engage the audience's mind with an image. Providing the foundation and letting the audience fill in the blanks, engaging the interaction between the image and the eye to tango. This is a smart way of creating a more lasting visual imapct, through active engagement. 

Example:

Fig 1.4: Created by; @

altered_desires

The "S" shape shown in Fig 1.4 is not fully connected, yet the brain automatically completes the missing parts to perceive it as a whole letter.The decorative leaf and dot elements contribute to the overall shape, even though they are separate from the main structure.

5. Figure-Ground – 

The mind separates objects (figure) from their background (ground). this principle plays with the brain through further enegaging it to precieve two images in a single unit. using this principle helps create a more memeorable image through the active enegement of the eye, precieving teh background and foreground simulateously. additionally this futher provides the opportunity to create a stronger association for one object to another. 

FIg 1.5: Created by; preidstudio 

January 7, 2024, presented under;@logo.designer007

• Fig 1.5 is a perfect example of the Figure-Ground Principle because it plays with perception, letting the brain interpret two different images in a single design.

• The white space forms a wine glass, while the black silhouette shapes a woman's hair and face. This interplay between foreground and background makes the design visually engaging and memorable.

6. Law of Symmetry and Order – 

Elements symmetric to each other are seen as related. This create a more harmonized visual deisgn that would instantly catch the eye in a way that is pleasing. 

FIg 1.6: Karl Lagerfeld designed the Fendi logo in 1965

• The double "F" (FF motif) shown in Fig 1.6, is mirrored and aligned symmetrically, creating a sense of balance and structure. This orderly design enhances visual harmony and reflects Fendi's commitment to precision and elegance. 

• The repetition of the “F” elements further reinforces the brand’s identity while maintaining a clean and sophisticated look.

Letcure 2: Balance and Emphasis

Balance

Balance in design refers to the distribution of visual to reach a state of equilibirum to create harmony and stability. It can be symmetrical (evenly distributed elements across a central axis ) or asymmetrical (different elements balanced through contrast, color, or composition). Asymmetrical balance has a more dynamic, structure to it that often evokes feelings of movement, vitality and modernism through its disruption of symmetricsalbalance.

Other terms;

Radial Blanace; Arrangement of elemnts wually around a central point. this allows elemnts to have depth and movement, also helping to create emphazises to the subject in its central point. 

Approximate Symmetry: Similar but not identical forms are positioned around the central axis. This symmetry allows for my dynamic images to be reated while sill remaiing harmoniously balanced. 

Example: 

   

Fig 2: GOD IS A CIRCLE SERIES by Lore Vanelslande  Drawing (26cm-26cm), 2010, Shanghai.

• Fig 2 is part of the series, that achieves visual balance by evenly distributing forms, colors, and spaces for a cohesive design. Circular compositions and radial symmetry reinforce unity, while slight variations around a central axis add movement without disrupting harmony.

•  Instead of perfect mirroring, the series may arrange equivalent yet slightly varied forms around a central axis, creating symmetry that feels organic rather than rigid. This approach introduces movement and variation while maintaining an overall sense of harmony.

The Golden Ratio:

This ratio makes from the fibonacci sequence, a naturally occuring sequence of numbers, that often can be seen in nature. this reoccuring balance throughout nature, made everyone conclude that the golder ratio is a represnetation of perfect beauty due to it visual balance. 

Fig 2.1: Gucci's home page (edited in the Fibonachi Sequence Spiral)
https://www.gucci.com/us/en/?srsltid=AfmBOoqv8_fUeXEku0mdpC23hQVEs7Ath3lmwycNiLlX0Zi_h7EePP0q

• Gucci uses 1:1.618 proportions in its layouts shown in Fig 2.1(added in by blog writer for clarity ) , ensuring harmony in spacing, typography, and imagery.

• The woman's face is positioned near the smallest section of the spiral, making it the primary focal point.

• The curve then expands to the man's face and the "Spring Summer 2025" text, ensuring that all important elements follow an organic visual flow.

• The layout is divided into sections where the largest portion (61.8%) is occupied by the models, and the remaining 38.2% contains interactive elements such as buttons ("For Her" / "For Him") and navigation.

• Gucci’s product grid aligns with Fibonacci spirals, ensuring a dynamic and balanced visual hierarchy.

The Rule of Thirds:

this is known to be a composition guide that divides a image equally into thrids vertically and horizontally. doing so the artist has to place the subject in one of teh intersection or along the line itself. Doing so, effectly grabs the audience's eye.

Fig 2.2: Rule of Thirds in Gucci’s  UX Design (edited in the Rule of Thirds Grid) 
https://www.gucci.com/us/en/pr/women/shoes-for-women/sneakers-for-women/low-top-sneakers-for-women/womens-gucci-re-motion-sneaker-p-832918AAEZM9067

• Gucci places the main product slightly off-center in images shown in Fig 2.2 (added in by blog writer for clarity ), aligning with Rule of Thirds gridlines for a more dynamic composition.

• The product name, price, positionedin the center and purchase button are positioned in the lower-center third, making the interface both functional and visually appealing.

Emphasis & Dominance

Emphasis is the technique of drawing attention to a focal point in a design. This can b
e done using contrast, color, scale, or placement to highlight the most important element. It often punctuates the image that completes a look.

Example:

A luxury brand often uses this principle through thier campains to luanch a new product line or style. Like seen in the Lady Dior bag campaign featuring celebrities like Marion Cotillard,

Fig 2.3: Lady Dior bag campaign featuring Marion Cotillard 

• The bag shownw in Fig 2.3, often stands out against a neutral background or outfit, using a bold color or glossy texture.

• It’s strategically positioned in the frame, sometimes enlarged or placed closer to the camera and addes more weight on one side than the other, grab's the audience's attention to the absurdity of balance, resulting in greater emphasis.

• The model’s hand or body directs attention toward the bag, ensuring it remains dominant in the composition.

• This technique ensures that, despite the luxury setting and styling, the bag remains the hero of the image, reinforcing its status as an iconic must-have.

Lecture 3: Repetition and Movement

Repetition; Pattern and Rythm

Repetition in design, using diverse elements, forms patterns that establish logic and evoke rhythm through emotion and continuitiy.

 Variety within repetition (differnece in composition, angles and exposure)  keeps the rhythm dynamic and engaging, while patterns enhance the visual impact on the surface.

repition is also used in man design major to stay within a same theme of design to create a collection, a mood from architecture etc.

One of Missoni's defining style elements are her zigzag patterns, which come in a variety of hues and have stripes curved like lightning bolts. The zigzag textiles for the Missoni family's Fall/Winter 1967 collection were made using a raschel machine.

 

Fig 3: Missoni family's Fall/Winter 1967 collection

• This strategic repetition shown in Fig 3, doesn’t just create visual rhythm—it also enhances brand recognition, storytelling, and consumer connection, making Missoni’s designs instantly recognizable in the fashion world.

    Movement;

This principle refers to how elements guides the eye through manipulation of elements (kinds of shapes, forms, line and curves being used), providing energy and vitality.

• Fashion magazines use movement to bring designs to life, making garments feel dynamic and expressive. They achieve this through model poses, flowing fabrics, lighting, and composition, guiding the viewer’s eye and enhancing the visual impact.

Fig 3.1: Valentino Campaign Featuring Zendaya

•  In this Valentino campaign in Fig 3.1, movement is captured through the model’s windswept hair, fluid dress, and dynamic pose, creating a sense of effortless elegance and luxury.

Heirarchy;

This technique refers to the narration of an artwork through each element's composition, communicating a message. it identifies navigation through secondary content. keeping important content at eye-level is the mos important apect to keep the audience engaged at thier first glance.

Hierarchy in fashion films guides the viewer’s focus, ensuring key designs stand out while maintaining a cohesive visual flow.

Fig 3.2: The Devil Wears Prada was created byYasuha Ohno in 2003  

• In The Devil Wears Prada Fig 3.2,  framing highlight statement pieces, reinforcing the character’s transformation and the film’s fashion-forward narrative.

Alignment;

Alignemnt refers towards the palcement of elements in a manner that causes edges to line up, overall creating a stable visual. alignment would help show movement yet still display the infomrationin an orderly manner.

In visual merchandising, alignment creates balance and structure, while dynamic elements add movement to engage passersby.

  

Fig 3.3: Louis Vuitton's "Townhouse" at London's historic department store, Selfridges in November.

• Louis Vuitton’s window displays shown in Fig 3.3, uses symmetrical product arrangement for harmony, while angled props, lighting, and layered backgrounds guide the viewer’s eye, creating a sense of flow and storytelling.

Lecture 4; Harmony and Unity 

Harmony;

Harmony is the principle that refers to the shared trait in elements, while still presenting variety across them. Doing so, the elements fit into a theme, a reoccuring reseprentation of a aesthetic or style. 

This is often shown through the analogous colour scheme in relevnat elements. Attaching meaning with colour creates a stronger harmonious blanace, resulting in a strong association and message.

Fig 4: "Sex and the City" (2008) poster

Example: 

• "Sex and the City" (2008) poster shown in Fig 4:  uses a soft pink gradient background paired with metallic gold typography, reinforcing the theme of luxury and femininity associated with the show.

•  The sleek serif font contrasts with the glittering gold texture, mirroring the blend of sophistication and glamour that defines the film’s fashion-forward aesthetic. 

Unity;

Unity in design is the sense of cohesion where all elements strategically grouped to create a complete and intentional composition, through a repetion of a common element (line, colour, shape, focal point etc). 

It differs from harmony, which focuses on the aesthetic balance of elements, ensuring they complement each other without necessarily being identical.

Example:

Fig 4.1: Blue Union- Geometric Painting Abstract Art by Sharon Cummings Gallery

          

Fif 4.1 artwork demonstrates unity through its harmonious color palette of varying shades of blue and the repetitive circular patterns that create visual cohesion. The overlapping circles and gradual color transitions further reinforce the sense of interconnectedness, making the composition feel complete and balanced.

Scale and Proportion;

Scale refers to the overall size of an element in relation to the space it occupies,

 while proportion is the relationship between the sizes of different elements within a design to create balance and visual appeal.

Scale dictates how large or small an element appears within a composition, influencing emphasis and impact. Else it would be often used to draw scale models, which rely heavily on acual measurment, any deviation to the scale model would have a dramatic result on the actual model.

 Proportion ensures that the relative sizes of elements create harmony and aesthetic balance. Together, they shape visual hierarchy, guiding the viewer’s eye and enhancing the overall design cohesion.

Fig 4.2: "Phantom Thread" (2017) were designed by the agency Eclipse.

Example: 

• "Phantom Thread" (2017) poster shown in Fig 4.2, masterfully uses scale and proportion to emphasize the power dynamic between designer and muse. Daniel Day-Lewis appears larger and ghostly, looming over Vicky Krieps, symbolizing his control and influence over her. 

• The delicate contrast in their sizes, paired with soft lighting and flowing fabric, creates a haunting yet elegant composition, reinforcing the film’s themes of obsession, artistry, and emotional tension while maintaining a unified and refined aesthetic.

Lecture 5;

Symbols, Words and Image;

Symbols are visual representations that convey meaning without the use of words. They are often abstract and culturally significant.

• Examples: Logos, icons, pictograms, road signs
• Purpose: Instant recognition, branding, conveying complex ideas simply

Types of Symbols;

1. Figurative Representations

These symbols are based on recognizable objects, shapes, or figures that resemble real-world elements. They help in easy interpretation as they have visual references to reality.

Fig 5: Ralph Lauren Polo Player Logo

Fig 5 The Ralph Lauren logo features a detailed depiction of a polo player on horseback, symbolizing luxury, sport, and aristocratic leisure. While stylized, the figure remains easily recognizable, making it a strong example of figurative representation in design.

2. Graphic Symbols

Graphic symbols are simplified visual elements used to represent ideas, objects, or
actions. They can be divided into three main types:

 -. Pictorial Symbols

• These symbols resemble the object they represent.
• They are highly realistic and detailed, making them easy to understand.

Fig 5.1: Domino's logo

Fig 5.1 features a simplified domino tile, directly resembling the real-world object it represents. Since pictorial symbols are realistic and easy to interpret, the Domino’s logo fits this category

-. Abstract Symbols

• These symbols simplify or distort real objects into a more stylized or conceptual form.
• They retain some visual reference but are not directly recognizable at first glance

Fig 5.1: Lacoste crocodile logo

• The Lacoste crocodile logo is a iconic example of such. shown in fig 5.2
• The Lacoste crocodile logo is a classic example of a pictorial symbol, as it directly represents the brand’s identity and origin. Inspired by founder René Lacoste’s nickname, "The Crocodile," 

-. Arbitrary Symbols

• These symbols do not have any visual connection to what they represent.
• Their meaning is learned through cultural, social, or contextual association.

• Example: The chanel logo does this perfectly in Fig 5.3, The interlocking "C" logo of Chanel is an arbitrary symbol—it doesn’t visually depict fashion or luxury but has become synonymous with elegance and high fashion through cultural and brand association.

Fig 5.3: Chanel logo, featuring the iconic interlocking double C's, was designed by Gabrielle "Coco" Chanel herself in 1925

Image and Words;

Images refer to photographs, illustrations, or graphics that visually express a concept, emotion, or message.

Words in design refer to typography, text, and written language used to communicate a message clearly.

Words and images are two fundamental elements in design that, when used effectively, create visual hierarchy, deepen messaging, and establish balance.

 In effective design, words provide clarity, images evoke emotion, and their synergy creates impactful storytelling. The key is intentionality—choosing fonts, placements, and compositions that enhance rather than distract.

• Example: The British Vogue July 2022 cover in Fig 5.5, featuring Beyoncé masterfully blends image and text. Her commanding pose atop a red horse, set against a fiery backdrop, exudes power and luxury. The bold "VOGUE" masthead and the headline "Beyoncé Turns Up the Heat" amplify the dramatic visuals, creating a cohesive and striking composition.

 Fig 5.5: British Vogue July 2022 cover featuring Beyoncé

Selected Design Work 

Naga Fabric Digital Design, Created by "Rea by Rhea", Artist; Rhea, November 2024

The design principles used in the digital design is;

Balance

Movement 

Contrast 

Harmony

Emphasis

Repetition

Rhythm 

Unity

This digital artwork resonated with me as a fashion enthusiast because Rhea’s fabric design isn’t just decorative—it’s integral to the garment’s identity. By crafting the textile from scratch, she merges artistry with fashion, creating a piece that tells a story through its very construction.

The bold colors, intricate linework, and radial composition immediately drew me in. The design balances strength and fluidity while maintaining harmony. It blends organic and structured elements, particularly in the floral motif and the snake. The floral motif transitions from structured petals to organic leaves, while the snake’s geometric-patterned skin contrasts with its rough, organic scales. This interplay enhances the composition’s dynamism, exemplifying balance and movement.

Rea by Rhea

Naga Blazer (unisex)https://reabyrhea.com/products/naga-blazer

Gestalt principles of symmetry and similarity unify the design. The mirrored snakes and floral motifs create cohesion, while repeated shapes, colors, and patterns reinforce unity. Contrast plays a key role, with vivid blues and reds adding depth and movement. Warm and cool tones, along with gradients, emphasize intricate details.

Emphasis is on the snakes’ open mouths and fangs, drawing focus to the center. Symmetry ensures balance, while repetition in floral motifs and mirrored snakes enhances rhythm and cohesion.

Through contrast, symmetry, and symbolism, the design tells a visual story without words, showcasing bold artistic expression and technical precision.

Feedback

Week 1:

My teacher advised against copying graphics from slides, encouraging me to engage with each example through my own understanding and interpretation. This helped me analyze artworks more critically rather than relying on existing visuals.

Week 2:

She suggested improving my design skills by making the blog more visually appealing, formatting it better, adding captions to images, and incorporating more dynamic examples beyond clothing, such as concepts from Fashion Week. This feedback is helping me refine my presentation and expand my creative approach.

Week 3 :

Today's feedback session highlighted the importance of accurately categorizing design principles and symbols in visual communication. One key takeaway was refining my understanding of different types of symbols—particularly pictorial, abstract, and figurative representations.