Design Principle - TASK 1 (Exploration)

on
10/02/2025 - 17/02/2024  (Week 2 - Week 3)
Gabriella Grace Christyanti / 0371915
Design Principles / Creative Media / School of design 
Task 1: Exploration

TABLE OF CONTENTS 

1. Module Information Brief (MIB)
2. Lectures
    2.1 Gestalt Theory  
    2.2 Contrast
    2.3 Emphasis
    2.4 Balance
    2.5 Repetition
    2.6 Movement
    2.7 Harmony & Unity
    2.8 Symbol
    2.9 Word and Image
3. Selected Art/Design
4. Feedbacks
5. Reflection

1. MODULE INFORMATION BRIEF (MIB)


2. LECTURES 

INTRODUCTION - Elements & Principles of Design

Visual communication uses design to give a purposeful message to a target audience. To achieve this, a design must be well thought out and well executed by understanding the elements and principles of design and applying them correctly.

To learn about the elements of design, we should start with the simplest and most basic element first which is Point. 

Figure 1.1 arcxplore, elements of graphic design

A point is a single dot that serves as a visual focal point. When there is only one point on a blank paper, like in the picture, the viewer's eyes will automatically be drawn to it. An example of this is a target dartboard, where the focal point is the dot in the center, as it is the main focus. 
(information from arcxplore and onlinedesignteacher)


When points are used repetitively, as shown in the last picture (Figure 1.1), our brain automatically attempts to connect the dots and form a line. If these points move through space, they can create two-dimensional shapes or even three-dimensional forms. 

The next basic design element is the Line. It is the foundation of almost all designs and can be found in drawings, paintings, and even sketches before making a sculpture.
(information from arcxplore)

Figure 1.3 drawing, painting, sculpture

When a series of points are connected, they form a line. Lines can be created in various ways to convey different qualities, such as active or static, aggressive or passive, and sensual or mechanical. Lines can also used to indicate directions, boundaries of shapes and spaces, and imply volumes or solid masses, and suggest motion or emotion. When grouped, it helps illustrate light and shadow and help form patterns and textures.

When the ends of the lines connect, it creates a Shape. Shapes are two dimensional area defined by a real or implied lines, without lines, a shape becomes visible when the area changes in value (lightness/darkness), color or texture, or any adjustment that helps it stand out from it's surroundings. Examples of two dimensional shapers are triangles, squares, and rectangles. 

Figure 1.4 arcxplore, elements of graphic design

As shown from the picture above, there's quite a lot of shapes. Fun Fact, mathematically speaking, there is an infinite number of possible shapes due to the ability to infinitely vary parameters like side lengths, angles, and curvature, even within basic geometric figures. 
(information from quantamagazine)

There's also 2 types of shapes, geometric and organic. Their main difference is Geometric is precise and consistent, while Organic shapes are more irregular and relaxed. Because Geometric shapes are consistent, they are easier to duplicate so they're typically found in man made products. 

Examples of geometric shapes in everyday life
Figure 1.6 sign, whiteboard, nut

Shape is quite similar to Form, the difference is that form is three dimensional because it has depth too instead of just length and width and the space inside it is called volume. It's three dimensional properties made it a big element when sculpting and/or architecture. Same as shapes, there is an infinite amount of forms. 


There's also what's called fluid organic forms and rigid abstract geometric forms. Here are some of the examples of those in architecture. 


The next element of design is Texture. There are two types: rough texture, which you can feel on the surface, and implied texture, which only looks like it has surface variation. Unlike other elements, texture is both a visual and tactile element. It gives the audience an impression of how something looks and feels. Texture can be created using points, lines, shapes, or colors

Figure 1.9 points, line, shapes, color

After that, we have Space. Space is the area around and within objects. In two-dimensional design, space is defined by height and width, creating different spatial effects. In three-dimensional design, we experience space through positions, surfaces, and empty areas at varying distances. Mass is how we perceive an object from the outside, while volume is the space inside it. In graphic design, space refers to the area a shape or form occupies and can be positive (filled) or negative (empty)

Figure 1.10 space

Lastly, we have Color. Colour is the visual result of light interacting with a surface—either transmitted through a transparent medium or absorbed and reflected. The human eye perceives colour as different wavelengths of light. Colour is defined by three main properties: hue, value, and intensity. Hue refers to the colours of the spectrum, with a pure hue being in its most intense and saturated form. Value describes the lightness or darkness of a colour, ranging from white to black. Adding white to a hue creates a tint, grey produces a tone, and black results in a shade. Intensity, also called saturation or chroma, measures the purity of a hue; adding other pigments dulls its vibrancy. 

Colour schemes create harmony in design. Monochromatic schemes use variations of a single hue in different values and intensities. Analogous schemes combine colours that are next to each other on the colour wheel and share a common hue. Complementary schemes emphasize contrast by pairing two hues that are directly opposite each other on the colour wheel. 

Figure 1.11 onlinedesignteacher

DESIGN PRINCIPLES:

1. Gestalt Theory

The word Gestalt comes from German. In German, 'Gestalt' (/ɡəˈʃtɑːlt/) means an organized whole that is perceived as more than the sum of its parts. Another meaning is 'unified whole.'
(information from LindsayMarsh)

Gestalt theory explains how we perceive things as whole patterns rather than separate parts. It suggests that change happens through mutual discovery and personal growth. A ‘Gestalt shift’ is a sudden change in perspective rather than a gradual one.

(information from oxfordreference)

There's six commonly recognized Gestalt principles of perception. 

  • PRINCIPLE OF SIMILARITY

This principle states that when elements have similar color, shape, or size, our eyes see them as a group, even if they are apart. Our brain naturally connects them into a whole. A real-life example of this is a grocery store, where similar items are grouped together. 

Figure 2.1 the similarity principle, grocery store

  • PRINCIPLE OF CONTINUATION 
This principle states that the human eye naturally follows paths, lines, and curves in a design, preferring a smooth, continuous flow over separated objects. This can be used to guide viewers in a specific direction, such as arranging items in a line, like horizontal sliders or product listings, to create an effective flow of visual information. The clear example of principle of continuation in our everyday life is paths in maps, like subway maps.


Figure 2.2 continuity principle, Tokyo subway maps. 

  • PRINCIPLE OF CLOSURE 
The human eye prefers to see complete shapes, even when parts are missing. The brain fills in the gaps to create a whole, a concept known as the Gestalt principle of closure. This is closely related to continuity, as our brain tries to find recognizable patterns. Closure is commonly used in design and logos, such as the World Wildlife Fund's panda, where the missing parts are implied rather than fully drawn. Or the Adidas logo where the three slanted stripes form a triangle shape.. Another example we often see is crosswalks that use broken lines that our brain perceives as continuous.

Figure 2.3 World WIldlife Fund's Panda, Adidas Logo, Crosswalk

  • PRINCIPLE OF PROXIMITY
The principle of proximity states that related design elements should be placed close together, while unrelated elements should be spaced apart. When items are near each other, they appear connected and form a single visual unit, helping to organize and structure a layout. Our brain naturally groups elements based on their spatial arrangement, influencing how we perceive their relationship. An example of this in our daily life is how menus in restaurants would put the food and beverages separated because of practicality and user experience.


Figure 2.4 principle of proximity, menu

  • PRINCIPLE OF FIGURE/GROUND 
Objects are naturally seen as either in the foreground or the background. Some elements stand out, while others recede. This principle explains how we perceive visual elements by organizing them into a main subject and its surroundings. It relates to space in design, where positive space is the area occupied by an object, and negative space is the empty area around it. An example of this in our daily life is in road signs. Black illustrations on traffic signs stand out clearly against a contrasting yellow background for easy readability.

  • PRINCIPLE OF LAW OF SYMMETRY AND ORDER
Our brain likes things to be simple and balanced. The Law of Symmetry means that when things look the same on both sides, we naturally see them as a group. This is why symmetrical designs feel more organized. A similar idea is the Law of Common Fate, which means we see things moving in the same direction—like birds flying together—as one group. Examples of Law of Symmetry in real life is Butterfly wings and also Traffic Lanes.

2. Contrast

Contrast is when elements are strongly different from each other or if there is a noticeable difference. The purpose of this is because when there is a strong difference between elements, it could make viewers focus into a certain point that's emphasized or pop out from all the others. Contrast can exist in shapes, color, lighting, size, literature, and many more.

From my own observation, contrast can be a powerful when used as a storytelling tool. Traditionally, good is bathed in bright yellow light, while evil lurks in deep shadows, emphasizing the divide between light and darkness, good and bad—much like the Jedi standing in the light while the Sith dwell in the dark. However, the film Nimona flips this convention, reversing the contrast between its characters. In the film, the evil ones are placed in the light, while the supposed "good" remains in the shadows, challenging our perception of morality.

Figure 2.7 Nimona

3. Emphasis

Emphasis is used to create dominance and draw attention to a specific part of a design, also known as the focal point. This can be achieved using elements like color, shape, or value to make certain parts stand out. For example, in a row of black chess pieces, a single white chess piece would immediately catch the viewer's eye due to its contrast. By making certain elements more prominent, emphasis helps guide focus and highlight important areas in a design.

In the Spider-Man: Across the Spider-Verse poster, emphasis is achieved through size, position, and contrast. All the Spider-People in the background are facing forward, appearing smaller and uniform, while Miles is placed front and center, much larger than the others. His upside-down placement further separates him from the rest, making him the focal point of the composition. From my observation, in the story telling perspective, the other Spider-People are upright and aligned, because of their shared understanding of what it means to be Spider-Man, while Miles is inverted, because in the story, he is forging his own path. 

In Spider-Man: Into the Spider-Verse, emphasis is used through color contrast. The movie features a bright, vibrant world with neon hues and flashy visuals. However, Miles' Spider-Man suit is black with red accents, which strongly contrasts with the colorful background. This contrast makes Miles stand out instantly. The bold difference in color draws the audience’s focus directly to him, ensuring he remains the central figure in the scene.

Figure 2.8 Spider-Man: Across the Spider-Verse scenes poster, Spider-Man: Into the Spider-Verse

4. Balance

Balance in design refers to the distribution of visual weight, creating a sense of stability and harmony. It ensures that elements are arranged in a way that feels natural and pleasing to the eye. There are two main types of balance: symmetrical and asymmetrical.

  • Symmetrical Balance: Elements are evenly arranged on either side of a central axis, making the design appear formal and stable. A variation of this is radial balance, where elements radiate outward from a central point, like a sunburst or a flower. Examples of symmetrical balance in how to train your dragon.
  • Asymmetrical Balance: Elements have unequal weight on each side of a composition. One side may have a dominant element, while the other is balanced with smaller or lighter elements. This type of balance creates a more dynamic and visually interesting design. Example of this is in scenes where Hiccup and Toothless fly often use asymmetry, with one side of the frame showing the rocky mountains and the other filled with toothless. 
  • Golden Ratio: A mathematical ratio (approximately 1.618) found in nature and art. It helps designers create visually harmonious layouts by guiding the placement of elements in a way that feels natural. The poster below for How to Train Your Dragon follows the Golden Ratio, starting with Hiccup on the far left as the largest figure. As our eyes follow the Golden Ratio curve, we briefly take in the dragons in the sky before naturally moving downward to see the rest of the cast.
  • Rule of Thirds: A composition guideline where an image is divided into nine equal parts with two horizontal and two vertical lines. Key elements are placed at the intersections to create a more dynamic and balanced design. In How to Train Your Dragon 2, the Rule of Thirds is used in the scene where Toothless and Cloudjumper soar above the clouds. Cloudjumper and Valka are on the left third, while Toothless and Hiccup are on the right third, with the sky filling the background

5. Repetition

Repetition in design creates rhythm and pattern, making the composition feel more active and engaging. By repeating elements such as shapes, lines, or colors, a design gains consistency and structure, guiding the viewer’s eye through the work. However, variety is essential to prevent monotony—small changes in elements, angles, or composition keep the rhythm dynamic and interesting. Patterns formed through repetition can enhance visual interest, adding depth and coherence to a design. A great example of repetition in character design is Elsa’s final dress in Frozen 2. The dress features geometric ice crystal patterns that repeat across the fabric, reinforcing the theme of her connection to nature and the elements.

Figure 2.13 Frozen 2 concept designs

6. Movement

Movement in design is how a composition guides the viewer’s eye from one element to another using lines, shapes, and curves. It creates a sense of flow and makes images feel more dynamic. Movement can also be shown through hierarchy and alignment, helping direct focus to important parts of a design. In visuals, movement happens when objects seem to be in motion, achieved through directional lines, dynamic layouts, or repeated patterns. This makes designs more engaging and easier to follow.

An example of movement in an animated movie is in Moana during the scene where baby Moana interacts with the ocean. The water forms curved waves that gently guide her forward, the flowing motion of the ocean create a natural visual path, drawing the viewer’s eye through the scene.

Figure 2.14 Moana

7. Harmony & Unity

Harmony ensures elements fit together within the same theme or style, while unity creates consistency by repeating colors, shapes, or materials. Harmony needs variety to avoid monotony, and unity ties everything together for a cohesive design. Though similar, harmony connects elements visually, while unity makes them feel complete. 

In the graveyard scene from Coco, harmony and unity create a visually cohesive and emotionally powerful moment. The warm golden glow of countless candles contrasts beautifully with the deep blue night sky, while the repetition of orange marigold petals and traditional decorations enhances the sense of harmony by tying all elements to the same theme. Unity is achieved through the consistent placement of candles and marigold pathways.

Figure 2.15 Coco

8. Symbol

Symbols in graphic design visually represent a brand’s identity, communicate its story, and influence consumer perception through logos, icons, or abstract marks. They convey complex ideas efficiently using shapes, signs, or objects instead of text. There are three main types of symbols: pictorial, which are simplified images directly related to what they represent; abstract, which resemble their subject with fewer details; and arbitrary, which are geometric or color-based with meanings that must be learned. Used throughout history to communicate messages, symbols remain essential in modern design, appearing in logos, icons, and signage.

In Tangled, symbolism plays a key role in Rapunzel’s journey of self-discovery. The Corona Sun symbol, seen throughout the kingdom on flags, murals, and even Rapunzel’s own artwork, represents her royal heritage and true identity. Its presence subtly foreshadows her connection to the lost princess. Meanwhile, the floating lanterns, released every year on Rapunzel’s birthday, symbolize hope and the enduring love of her parents, who continue to search for her. When she finally sees the lanterns up close, it marks a turning point in her journey, where she starts to uncover the truth about herself and what she truly wants.

Figure 2.16 Tangled, Corona Sun

9. Word and Image

Word and image work together in design to create meaning, enhance clarity, and strengthen a message. Images allow viewers to connect with a concept or brand when chosen carefully, while words provide context and reinforce the intended message. The right typography, through font choice, placement, and hierarchy, ensures balance and readability in a composition. Whether in print or digital design, selecting suitable visuals and pairing them with well-placed, complementary text results in a more effective and engaging design. This combination helps improve understanding, retention, and overall impact.

The Inside Out (2015) poster cleverly uses both imagery and typography to visually represent the film’s core themes. The central image features a head silhouette, filled with the five colorful Emotions—Joy, Sadness, Anger, Fear, and Disgust—who live inside her mind. This design effectively symbolizes how emotions shape our thoughts and personality. The film's title, Inside Out, is intentionally tilted, with the top of the "I" aligning with Riley’s eye, reinforcing the idea that thoughts and feelings are constantly moving inside her head and out into the world. The slanted letters, especially the extended "E" and "T", create a sense of movement, almost as if the words are flowing like thoughts. 

Figure 2.17 Inside Out Poster

3. SELECTED ART/DESIGN

Figure 3.1 Coraline Poster

Title of Artwork/Design: Coraline movie poster
Artist: Laika Studios
Year: 2009
Size: 27" x 40"
Medium of the Artwork: Digital illustration

Why I choose this artwork: 

I chose Coraline because I’ve always had a love for animated movies, and this film, in particular, has stuck with me due to its eerie atmosphere. The unsettling yet mesmerizing story, combined with the incredible artistry of stop-motion animation, makes Coraline an experience that just got embedded into my child mind. The way stop-motion was handled in this movie heightened the eerie, almost uncanny feeling of the story, making the unsettling moments even more disturbing.

While I don’t think the Coraline movie posters fully showcase the uniqueness of its stop-motion animation, I still find them visually striking. They serve as an impressive piece of artwork that gives viewers a vague yet intriguing sense of the film’s plot.

The Coraline poster captures attention with its contrast between light and dark, hinting at the movie’s horror. The left side, shrouded in a dark purple aura, represents the ominous and unsettling presence of the Other World, while the right side, bathed in a cool blue light, symbolizes the real world. This duality effectively establishes the film’s eerie atmosphere. However, from the poster alone, I wouldn’t have guessed just how unsettling the movie would become. While the silhouetted branch reaching toward Coraline’s head adds a subtle touch of creepiness, it doesn’t fully convey the deceptive nature of the Other World.

One of the film’s most unsettling aspects is how the Other World initially feels warm, bright, and inviting—almost too perfect. In contrast, Coraline’s real life is dull, drab, and unpleasant. This exaggerated contrast is what makes the movie so unsettling; the Other World is so welcoming that it starts to feel wrong. I wish the poster had reflected this contrast more strongly—perhaps by giving the Other World warmer, inviting tones while keeping the real world cold and muted. This visual approach would have better represented the film’s core theme about the dangers of escapism.

The story itself has a strong message, Coraline is a story about escapism, the desire to run away from reality when it feels unfulfilling or difficult. The film explores how, if left unchecked, escapism can become all-consuming. It forces us to ask about what happens when you lose yourself in a dream world and never return? While escapism can offer temporary relief, it becomes dangerous when it prevents personal growth and traps us in a cycle of avoidance. This idea is symbolized by the buttons—choosing to sew them over one’s eyes represents willingly blinding oneself to reality, losing oneself in a false sense of comfort. Reality may not always be perfect, but it is real, and facing it is what allows us to truly live and grow

Design principles applied:

  • Contrast

Figure 3.2 Coraline Poster
Figure 3.3 Purple and Cool Blue

Color:

The Coraline movie poster employs a sophisticated use of analogous color contrast, primarily utilizing shades of purple and blue to establish a sense of both cohesion and tension. The deep purple hues on the left is for a vibe of mystery and enchantment, subtly alluding to the deceptive allure of the Other World. In contrast, the cool blue tones on the right evoke detachment and unease, reinforcing the somber reality Coraline seeks to escape. Though these colors are adjacent on the color wheel, their juxtaposition within the composition generates a visual and thematic contrast. 

Figure 3.4 Coraline Poster

Lighting:

The Coraline movie poster employs contrasting lighting to emphasize the film’s central themes of duality. The left side is covered in a dim, moody glow, casting deep shadows that enhance the sense of mystery and unease associated with the Other World. In contrast, the right side features a cooler, subdued illumination, reflecting the bleakness and isolation of Coraline’s real life.The controlled use of light and shadow accentuates Coraline’s position at the center, visually isolating her as a character caught between two opposing forces.

  • Balance
Figure 3.5 Coraline Poster

Rule of Thirds:

The Coraline movie poster demonstrates a well-balanced composition through the application of the Rule of Thirds, strategically positioning key visual elements to guide the viewer’s eye. Coraline is placed at the center intersection, drawing immediate attention as the focal point. The contrasting halves, the dark purple aura on the left and the blue aura on the right, create a visual equilibrium, ensuring that neither side dominates the composition. Additionally, the creepy cat positioned in the lower right third serves as a secondary point of interest, subtly leading the viewer’s gaze downward and hinting at its significance in the story. 

  • Emphasis
In the Coraline movie poster, emphasis is primarily achieved through lighting and contrast, drawing the viewer’s attention to Coraline as the focal point. Positioned at the center, she is illuminated by a distinct glow that makes her stand out against the darker, more saturated background. The contrasting colors—a deep purple aura on one side and a cool blue aura on the other—create a visual divide that enhances the tension between the real world and the Other World. This contrast further highlights Coraline’s presence, as her lighter tones and detailed figure pop against the more abstract, atmospheric backdrop. The strategic use of brightness on her face and body ensures that she remains the primary point of focus.

  • Word and Image
Figure 3.6 Coraline Poster

The title Coraline uses a handwritten or whimsical font, with irregular, slightly curved letters that give it a storybook-like quality. This choice mirrors the film’s dark fairytale essence. The organic, free-flowing nature of the lettering contrasts with the structured, more rigid fonts often used in traditional movie posters, emphasizing Coraline's uniqueness as a stop-motion fantasy film. Additionally, the tagline is placed subtly under the title, ensuring it complements rather than overpowers the main visual elements.

  • Movement

Figure 3.7 Coraline Poster

The position and curvature of the branch create a sense of movement, making it feel as though it is slowly creeping toward Coraline, rather than remaining static. Its twisted, claw-like form subtly mimics the motion of fingers closing in. This effect is further enhanced by the contrast between the dark silhouette of the branch and the lighter background, making the grasping motion more pronounced. The placement of the branch near Coraline’s head also plays into the psychological impact of looming threats, as viewers instinctively associate such positioning with a sense of vulnerability. 

4. FEEDBACKS

Week 1
Feedback : - 

Week 2
Feedback :

  • Don't forget to put the link to the source for every picture we take
  • Give explanations and examples to the things written
  • Write the blog like and explain it with your own definition, think of it like explaining design to a person who has no knowledge in design
  • When giving examples, try to only focus on one topic instead of getting multiple examples from multiple different things (Movies, books, etc.)
  • Try to not pick common images and try using images that are more personal to you
  • Bring your opinion into the narrative

Week 3
Feedback : 

Contrast is what makes an image stand out, guiding the viewer’s eye and creating a strong visual impact. It can be achieved in many ways—through light and dark shading, the separation of foreground, middle ground, and background, or even by using conceptual opposites like good and evil. For example, in a film poster, the hero might be bathed in light while the villain lurks in shadows, reinforcing their moral divide. But contrast isn’t just about color or tone—it’s about perception. You might look at a dusty construction wall and suddenly notice the shape of an apple in the ash, or gaze at the clouds and see a dragon forming. It’s the way our minds make sense of differences, turning abstract elements into something meaningful.

If explaining contrast to someone with no design knowledge, I’d say: it’s what makes things pop. A bright red dot on a plain white page grabs your attention instantly because of the stark difference between the two. The same principle applies to composition in art and design. In book covers and movie posters, a single striking element is often chosen to stand out rather than overwhelming the viewer with too many competing visuals. Angle and alignment also play a role—shifting the perspective slightly can change the entire feel of an image, subtly leading the viewer’s focus. Whether through shading, subject placement, or storytelling elements, contrast shapes how we interpret what we see.

5. REFLECTIONS

Experience: 

Through studying and analyzing various artworks and animations, I have seen how major studios like Disney, Pixar, DreamWorks, and Sony Animation consistently use design principles to create visually compelling and emotionally engaging stories. Whether it’s in character design, backgrounds, or promotional materials, these principles help shape how audiences perceive and connect with the visuals. 

Observations: 

In many famous animated films, balance, movement, contrast, and emphasis play a key role in guiding the viewer’s eye and storytelling. For example, Inside Out uses color and composition to highlight emotions and moods, while Nimona uses lighting and contrast to show moments of power and vulnerability. Even in promotional posters, like Spider-Man: Into the Spider-Verse, dynamic composition and color contrast create a sense of energy and movement, making the visuals stand out. 

Findings: 

The use of design principles is not just about making something look good—it’s about enhancing storytelling, directing focus, and evoking emotions. Big animation studios use these principles intentionally to ensure that every frame, scene, and design serves a purpose. Without them, visuals can feel chaotic or unbalanced, making it harder for audiences to connect with the message. Understanding and applying these principles is essential for any artist or designer who wants to create impactful and memorable work.


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