Design Principles - Task 1: Exploration
03.02.2025 - 17.02.2025Chan Zhi-Ren Zenndan / 0369069
Design Principles / Bachelor of Design (Honours) in Creative Media / Taylor's University
Task 1: Exploration
Module Information Booklet (Instructions)
Document 0.1 Module Information Booklet (03/02/2025).
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1. Design Principles
1.1 Gestalt Theory
- "Gestalt" refers to "shape" or "form" in German.
- Gestalt principles are rules that describe how the human eye perceives visual elements.
- These principles aim to show how complex scenes can be reduced to more simple shapes.
- They also aim to explain how the eyes perceive the shape as a single, united form rather than the separate simpler elements involved.
Principle of Similarity
The human eye tends to group similar elements together, seeing them as one complete shape or pattern, even if they're spaced out. Our brain links up these similar parts to create a unified image.
In Fig 1.1.1, even though the white cans might not be from the same brand, I still group them together because of the principle of similarity. Their similar color makes me see them as a single group.
Fig 1.1.1 Example of Principle of Similarity (Source: the kitchn, 2024; Accessed: 10/02/2025).
Principle of Continuation
The human eye naturally follows the lines, curves, and paths in a design, and it prefers to see a smooth flow of elements instead of things being scattered or separated.
In Fig 1.1.2, even though the curved roads aren't connected, my eyes still see them as one smooth path, thanks to the principle of continuity.
Fig 1.1.2 Example of Principle of Continuation (Source: iStock; Accessed: 10/02/2025).
Principle of Closure
The human eye likes to see full shapes. If something’s missing, the brain can fill in the gaps and complete the shape on its own.
The logo of the World Wildlife Fund can be used as an example to represent this principle. My eyes automatically close the shapes of the head and the back of the panda, even though there are no outlines there.
Fig 1.1.3 Example of Principle of Closure (Source: World Wildlife Fund; Accessed: 05/02/2025).
Principle of Proximity
The principle of proximity is about grouping related elements together and keeping unrelated items spaced apart. When things are placed close to each other, it shows they’re connected, which helps to organize the design and add structure.
In Fig 1.1.4, you can easily see that the like, comment, and share buttons are all grouped together, which makes it clear that they’re all about interacting with the post.
Fig 1.1.4 Example of Principle of Proximity (Source: SocialPilot; Accessed: 10/02/2025).
Principle of Figure/Ground
Objects are naturally seen as either in the foreground or background. Some elements stand out in the front (the figure), while others fade into the background (the ground).
The example below illustrates the principle of figure-ground. At first, one might perceive the image as a row of buildings, but upon closer inspection, the shapes of piano keys emerge from the background.
Fig 1.1.5 Example of Principle of Figure/Ground (Source: Pinterest; Accessed: 05/02/2025).
Law of Symmetry & Order
The law of symmetry & order says that symmetrical elements are usually seen as a single group. Like the law of similarity, it suggests that symmetrical things are more likely to be grouped together than those that aren’t.
In Fig 1.1.6 (left), it's clear that the person is wearing mismatched shoes, which don't feel like they belong together. On the right, the shoes are symmetrical in both shape and size, making them appear more cohesive and naturally seen as a pair.
Fig 1.1.6 Example of Law of Symmetry & Order (Source: schuh (left), Pinterest (right); Accessed: 10/02/2025).
1.2 Contrast
Contrast is about putting very different elements next to each other. Without it, everything would look too similar and boring. It adds interest, highlights important parts, and helps communicate the message.
In Fig 1.2.1, the light from the window creates a strong contrast by highlighting the male figure on the right. The bright background contrasts sharply with the solid black figure, making the figure stand out.
Fig 1.2.1 Example of Contrast (Source: Pinterest; Accessed 05/02/2025).
1.3 Balance
Balance is about how visual weight is distributed in a design. It creates a sense of equilibrium, making the whole image feel balanced. This can be done symmetrically or asymmetrically.
Symmetrical Balance, Radial Balance, and Approximate Symmetry
Symmetrical balance means the visual weight is evenly distributed on both sides of a central point or axis. Elements are arranged the same on either side, creating a sense of balance. In radial balance, elements are arranged evenly around a central point. Approximate symmetry is when the shapes are similar but not identical on each side.
The first thing that came to mind when considering symmetrical balance was CHANEL's official logo (Fig 1.3.1). Its design is symmetrical along the vertical axis, with the two C's serving as mirror images of each other.
Fig 1.3.1 Example of Symmetrical Balance (Source: CHANEL; Accessed 06/02/2025).
An example of radial balance can be found in Paul La Farge's novel The Night Ocean (Fig 1.3.2). The lines spiral towards the central focal point, creating a sense of movement that draws the viewer's eye to the title of the book.
Fig 1.3.2 Example of Radial Balance (Source: Goodreads; Accessed 06/02/2025).
Fig 1.3.3 demonstrates my understanding of approximate symmetry. While it's not perfectly symmetrical, it maintains a sense of balance by sharing very similar elements when the picture is divided in half.
Fig 1.3.3 Example of Approximate Symmetry (Source: Pinterest; Accessed 06/02/2025).
Asymmetrical Balance
Asymmetrical balance means the visual weight isn’t evenly distributed on each side. One side might have a big, dominant element, while the other side could have smaller elements to balance it out. It feels more dynamic and interesting, often evoking a sense of modernism, energy, and movement. It can be trickier to achieve since the relationships between elements are more complex, but it adds more variety.
Asymmetrical balance can be observed in two ways in Fig 1.3.4. First, through the difference in font-weight between the headline and the taglines, and second, in the background, where a hill sits at the bottom with a vast sky above the mountains.
Fig 1.3.4 Example of Asymmetrical Balance (Source: Pinterest; Accessed 06/02/2025).
The Golden Ratio
The Golden Ratio (phi, 1.618033…) is a mathematical concept derived from the Fibonacci sequence, where each number is the sum of the two previous ones. This ratio appears in nature, such as in the spiral shapes of seashells or the arrangement of leaves, creating visually harmonious patterns. Used in architecture and art, it helps create balance, and designers use it to bring structure and appeal to their work.
Fig 1.3.5 demonstrates the use of the Golden Ratio. The photographer positioned each element—sky, tree, and person—according to the ratio, with each acting as a central point of focus within the frame.
Rule of Thirds
The Rule of Thirds is a guideline used in design, photography, and art to add dynamism. The image is divided into thirds both horizontally and vertically, and the subject is placed at the intersections or along the lines.
Fig 1.3.6 is a scene from Pulp Fiction (1994), and it serves as a great example of the rule of thirds. The focus can shift between the person on the right or the left, with both figures positioned at the intersections of the grid. This placement creates a sense of dynamism, as neither figure is placed directly in the center of the frame.
Fig 1.3.6 Example of Rule of Thirds (Source: Videomaker; Accessed 06/02/2025).
Emphasis and Dominance
Emphasis creates focus and dominance in a design. Elements like color, shapes, or value are used to highlight certain parts of the design, making them stand out.
In Fig 1.3.7, the chick stands out because of its huge size, much bigger than the farmer and his tractor. This makes the chick the main focus of the image.
Fig 1.3.7 Example of Emphasis and Dominance (Source: Pinterest; Accessed 06/02/2025).
1.4 Repetition - pattern and rhythm
Repetition gives a design energy by creating rhythm and patterns. However, adding some variety keeps things interesting and stops it from feeling too repetitive.
Fig 1.4.1 shows a closed composition of a Talavera tile design. You can see repetition in the petals of the flower, which creates a sense of movement. The outer petals add variety with their different angles, making the design more interesting.
Fig 1.4.1 Example of Repetition (Source: Pinterest; Accessed 09/02/2025).
1.5 Movement
Movement in a design is how the eye travels through the composition, following a path. It’s the sense of motion that happens when objects appear to move. This movement comes from the shapes, lines, and curves used in the design.
Fig 1.5.1 shows movement, with the colors flowing in a curved direction. They almost seem like they’re drawing out or coming toward the viewer.
Fig 1.5.1 Example of Movement (Source: Pinterest; Accessed 09/02/2025).
1.6 Hierarchy
Hierarchy is how content is arranged in a design to help communicate information and meaning. It guides the viewer’s eye to the most important parts first and helps navigate through the rest.
In Fig 1.6.1, the bold 'I WANT YOU' is probably the first thing that grabs your attention. Then, the figure pointing directly at you keeps your focus. After that, the smaller text, like 'U.S. Army,' and 'nearest recruiting station' comes last.
1.7 Alignment
Alignment is all about arranging elements so their edges line up in rows or columns, or their centers are aligned. It’s also a great way to guide someone’s eye through a design.
Fig 1.7.1 displays an example of right alignment. The words are lined up against the right edge, staying neatly within the invisible vertical line without spilling over.
Fig 1.7.1 Example of Alignment (Source: Pinterest; Accessed 09/02/2025).
1.8 Harmony
Harmony is about choosing elements that share a common trait, but without some variety, it can feel dull. It’s the sense that everything in your design fits together, whether through a shared theme, style, or mood.
In Fig 1.8.1, the bar creates a sense of harmony with its warm red and amber tones, which flow together naturally. The soft lighting under the bar and on the ceiling complements the rich wood and dark cabinets, giving the space a cozy and well-balanced feel.
1.9 Unity
Unity is the repetition of key elements, like colors, shapes, or materials, to create a cohesive design. When these elements are balanced and arranged well, they form a clear theme. Though unity and harmony are related, they each have distinct roles in how we experience design.
In Fig 1.9.1, the gradient blues and purples, along with the repeating pixel-like patterns, create a cohesive look, reinforcing unity through consistency and rhythm.
1.10 Symbol
A symbol is a shape or sign that represents something else. In design, symbols can convey a lot of information, often replacing entire sentences or even telling a story.
Pictorial Symbols
Image-related and simplified pictures.
Fig 1.10.1 displays the recycling logo. The arrows clearly convey the concept of recycling, making it easily recognizable without the need for any words.
Fig 1.10.1 Example of Pictorial Symbol (Source: PNGWing; Accessed 14/02/2025).
Abstract Symbols
Abstract symbols can look like the objects that they represent but have less details.
Fig 1.10.2 shows the mute and unmute symbols, using simple icons to represent sound being on or off without directly depicting sound.
Arbitrary Symbols
Arbitrary symbols don’t resemble what they represent. They’re created with assigned meanings, often using shapes and colors, and we have to learn what they mean.
In Fig 1.10.3, Facebook's like button is an arbitrary symbol because the thumbs-up doesn’t naturally mean "like" or "approve," but we've come to associate it with that on social media.
1.11 Word & Image
Images are crucial in design, helping people connect with a brand or concept. Pairing them with the right words is just as important, as the right typeface and placement create balance and clarity. Typography is how text is arranged to communicate a message.
Fig 1.11.1 shows the poster for Lost Highway, combining eerie imagery with bold typography to perfectly capture the film’s unsettling tone and mystery.
2. Exploration
_theatrical_poster_(retouched).jpg)
Fig 2.1 Psycho (1960) – Theatrical Poster
Designer: Macario Gómez Quibus
Year: 1960
Size: 68.6 cm × 104.1 cm (27” × 41”)
Medium: Printed promotional poster. Source: Heritage Posters
I chose the promotional poster for Alfred Hitchcock’s Psycho because it’s visually striking, well-organized, and full of suspense. Plus, I recently watched the movie, and seeing how the poster reflects its tone made me appreciate it even more.
One thing that stood out was Gestalt’s Law of Proximity. The cast names are neatly arranged in a separate column, taking up about a quarter of the poster. This makes the information easy to read and keeps the layout structured.
The contrast is also strong—especially with the bold yellow title and Janet Leigh’s bright image against the dark background. This sharp color difference instantly grabs attention and sets a dramatic mood.
Lastly, emphasis is used in the way the title "PSYCHO" is huge and jagged, with a slash through it. This design choice directly ties into the film’s thrilling and violent themes, especially the famous shower scene.
Overall, the poster’s bold design, strong contrast, and well-thought-out layout make it both eye-catching and effective as a promotional piece.
3. Feedback
Week 1
No tutorials
Week 2
Week 3
Everything looks well-documented, though I used too many movie posters. I may start working towards Assignment 2 now.
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