DESIGN PRINCIPLES / TASK 1

Naura / 0356798 / Interactive Spatial Design
GCD60804 / Design Principles
Task 01: Exploration

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Lecture 01: Elements and Principles of Design, Gestalt Theory and Contrast

Design Basics:

Visual communication design is used to send intentional messages to a specific audience. It is built on two categories:

• Elements of Design: The individual "building blocks" of a work.
• Principles of Design: The organizational fundamentals that guide the arrangement of those elements.

The 7 Elements of Design:

1. Point
   

   

   Fig 1.1 | Point, Bradley, S., & Bradley, S. (2010, July 12). Points, Dots, and Lines: The Elements of Design Part II. Vanseo Design. https://vanseodesign.com/web-design/points-dots-lines/

   
   The most basic unit. When repeated, it creates a line. Moving a point through space creates 2D and 3D forms.
   
   
2. Line
   

   

   Fig 1.2 | Line, https://254-online.com/line-visual-element-graphic-design/

   
   Can have "personalities" such as aggressive, passive, sensual, or mechanical. They define boundaries, show direction, suggest volume or solid masses, and convey motion or emotion. Can be grouped together to depict qualities of light and shadow or to create patterns and textures.
   
   
3. Shape
   

   

   Fig 1.3 | Shapes, https://guymanningphotography.wordpress.com/2012/02/15/shapeform/

   
   A 2D area defined by lines or changes in value (lightness/darkness), color, or texture. They can be organic (relaxed, curving, and informal) or geometric (regular and precise).
   
   
4. Form
   
   

   

   Fig. 1.4 | Forms, https://vanseodesign.com/web-design/form-surface-volume/

   
   Refers to 3D areas, often major elements in sculpture and architecture. Volume is created when a form encloses space. In 2D art like painting or drawing, form must be implied (tricked into looking 3D).
   
   
5. Texture
   

   

   Fig 1.5 | Texture, https://buzzflick.com/basic-elements-of-design/

   
   
   The tactile surface quality or the visual representation of those qualities. It is divided into two categories: Actual (experienced by touch) or Simulated/Implied (created to look like a real texture).
   
   
6. Space
   

   

   Fig 1.6 | Space, https://buzzflick.com/basic-elements-of-design/

   
   The indefinable, general "receptacle" for all objects. In graphic design, space is defined as positive (filled space) or negative (empty space). Depth is suggested on flat surfaces through overlapping, varying sizes, placement, or perspective. We experiaence mass from the outside and volume from the inside of a 3D space.
   
   
7. Colours
   

   

   Fig 1.7 | Colours, https://254-online.com/colour-as-a-visual-element-in-graphic-design/

   
   A byproduct of light wavelengths reflecting off a surface or transmitted through a medium
1. Hue: The specific colors of the spectrum (e.g., Green).
2. Value: The lightness or darkness from white to black. Adding white creates a tint; adding grey creates a tone; adding black creates a shade.
3. Intensity/Saturation: The purity or brightness of the color.
4. Schemes: Monochromatic (variations of one hue), Analogous (adjacent on the wheel), and Complementary (directly opposite on the wheel).

The Principles of Contrast:

It is basically putting very different things next to each other (juxtaposition) so it stops a design from being boring (monotonous). In other words, to create visual excitement, points out what's important, and helps express the meaning of the work.

Gestalt Theory:

The word Gestalt is German for "shape" or "form". The main idea is that our brains are naturally wired to find patterns and logic in what we see. Instead of seeing a bunch of random dots, we see a single, united shape.

6 Main Gestalt Principles:

1. Principle of Similarity: We group things together if they look alike (same color, shape, etc.), even if they aren't touching.
2. Principle of Continuation: Our eyes like to follow a smooth path or line rather than stopping at separate objects.
3. Principle of Closure: If a shape is missing a few pieces, our brain "fills in the blanks" to see the whole object anyway.
4. Principle of Proximity: Things that are close together are seen as being related or part of the same group
5. Principle of Figure/Ground: We automatically decide what is the "main object" (the figure) and what is just the background (the ground)
6. Law of Symmetry & Order: We see objects that are symmetrical to each other as one unified group.

Extra Laws Mentioned:

1. Law of Uniform Connectedness: Elements that are physically connected are seen as a single unit.
2. Law of Common Fate: Objects moving in the same direction are perceived as a group.
3. Law of Prägnanz: We tend to interpret complex images in their simplest form possible.

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Lecture 02: Balance and Emphasis

Balance

Balance is the distribution of visual weight within a composition to achieve equilibrium.

    Symmetrical Balance

• Bilateral: Elements are arranged equally on either side of a central horizontal or vertical axis.
  

  

  Fig 2.1 | Bilateral Symmetry, https://www.adsoftheworld.com/campaigns/wonderfilled2

  
  
• Radial: Elements are arranged equally around a single central point.
  

  

  Fig 2.2 | Radial Symmetry, https://pin.it/TqyIHb3p0

  
  
• Approximate Symmetry: Equivalent, but not identical, forms are placed around the fulcrum line.
  

  

  Fig 2.3 | Approximate Symmetry, https://pin.it/41doejfM1

  
  

    Asymmetrical Balance

Fig 2.4 | Asymmetrical Balance, https://pin.it/7pnMjfcD2

• Achieved with unequal visual weight on each side.
• Often involves balancing a dominant element with several smaller focal points.
• It is often more dynamic through the use of evoking energy, modernism, and movement, though it is more complex to execute than symmetry.

 Compositional Frameworks

• The Golden Ratio (phi) : A mathematical ratio derived from the Fibonacci sequence. It is used to create organic harmony and structure that mimics natural beauty.
  
  

  

  Fig 2.5 | The Golden Ratio, https://ridgelightranch.com/fibonacci-abstract-art-podcast-52/

  
  
  
• Rule of Thirds: A grid-based guideline where an image is divided into nine equal parts. Placing subjects at the intersections or along the lines creates a more dynamic composition.
  
  

  

  Fig 2.6 | Rule of Thirds, https://pin.it/gMqaU3Whz

  
  

Emphasis and Dominance

Fig 2.7 | Emphasis through color and direction , https://pin.it/GoJC2cdyS

Emphasis is the intentional use of design elements to create a clear focal point.

• Dominance can be established through the strategic use of color, value, and shapes.
• It ensures the viewer's eye is drawn to the most important part of the work first.

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Lecture 03: Repetition and Movement

Repetition, Pattern, and Rhythm

Fig 3.1 |  Repetition + Rhythm, https://pin.it/5digEWLa1

Repetition is the use of recurring elements to make a design feel active and cohesive.

• Created through the consistent repetition of design elements. Patterns specifically enrich surface interest and increase visual excitement.
• Essential to prevent monotony. Slight differences in angles, exposure, or objects keep the rhythm exciting and dynamic.

Movement

Fig 3.2 | Movement, https://pin.it/27UOIDRnp

Movement is the path the viewer's eye follows as it explores a composition.

• Motion is suggested through the strategic use of specific shapes, forms, lines, and curves.
• Movement leads the eye in, around, and through the work, creating a narrative flow.
  
  

Visual Hierarchy

Fig 3.3 | Hierarchy, https://clay.global/blog/web-design-guide/visual-hierarchy-web-design

Hierarchy is the "choreography" of content used to communicate meaning and importance.

• Directs viewers to the most critical information first.
• Identifies the path through secondary and tertiary content to ensure clear communication.

Alignment

Fig 3.4 | Alignment, https://pin.it/2O19bPxsF

Alignment involves placing elements so their edges or centers line up along common rows, columns, or axes.

• Creates a sense of stability and overall aesthetic harmony.
• Acts as a powerful tool to lead a person’s gaze through the design.

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Lecture 04: Harmony and Unity

Harmony and Unity work together to make a design look "right" and professional. 

Harmony

Fig 1.0 | Harmony, https://en.wikipedia.org/wiki/Gar%C3%A7on_%C3%A0_la_pipe

• The selection of design elements that share a common trait, theme, or mood.
• It creates the sense that all parts of the design fit together.

Variety

Fig 1.1 | Variety. https://pin.it/7w0MbPueH

• Needed to change or slightly differ elements to keep the composition from becoming boring.
• Harmony becomes monotonous if there is no variety involved.

Unity

Fig 1.2 | Unity, https://pin.it/3Mif5Gd5z

• The repetition of specific elements like colors, shapes, or materials to pull a look together.
• It occurs when elements are balanced to give a sense of oneness or a specific theme.

Scale

Fig 1.3 | Scale, https://pin.it/64ZfIQR9I

• The size of one object in relation to other objects.
• It can be determined by actual measurement or visual estimates based on comparison
• Changing scale drastically can create dramatic results and visual interest.

Proportion

Fig 1.4 | Proportion, https://www.behance.net/gallery/16815785/Basic-Principles-Poster-Series

• The size of the parts of an object in relation to other parts of that same object.
• It involves the relationship of two or more elements and how they compare in size, color, quantity, or degree (the ratio).
• Effective use of proportion helps create a harmonious and unified design.

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Lecture 05: Symbol, Word, and Image

Symbols

• A Symbol is a sign, shape, or object used to represent something else.
• In design, symbols can convey massive amounts of information, equivalent to several sentences or even an entire story.
• Figurative Representations are graphic symbols that look like recognizable objects.
• Pictorial Symbols are simplified, image-related pictures that clearly represent an object.

Fig 2.0 | Pictorial Symbol, https://pin.it/2k0aJwYnh

• Abstract Symbols look like the objects they represent but contain significantly less detail.

Fig 2.1 |  Abstract Symbol, https://graphicmama.com/blog/types-logos/#abstract

• Arbitrary Symbols have no physical resemblance to the ideas or objects they represent.
• These symbols are invented, and their meanings are constructed, often using geometric shapes and colors. 
• Because they aren't literal, we have to learn what arbitrary symbols mean.

Fig 2.2 | Arbitrary Symbol, https://monicagrz.wordpress.com/2011/03/08/arbitrary-signs/

Word and Image

• Imagery is a vital part of both print and digital design. 
• The right images help viewers relate to a specific concept or brand. 
• Typography is the art of designing and arranging text to convey a message. 
• Choosing the right words to pair with an image deepens the overall meaning of the design. 
• Using a suitable typeface and positioning it strategically creates visual hierarchy and balance.

Fig 2.3 | Word and Image, https://www.instagram.com/p/DU-AiGfjtWh/

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TASK 01: Exploration

Our task includes:

• To describe each of the design principles listed below and select unique, suitable design examples to demonstrate my understanding:

1. Gestalt theory
2. Contrast
3. Emphasis
4. Balance
5. Repetition
6. Movement
7. Harmony & Unity
8. Symbol
9. Word and Image 

• Then, select one specific design work that piques our interest for a deep-dive analysis. This section of my blog will include:  
• A high-quality (300dpi) image and a full credit line.
• A 150–200 word write-up explaining my choice and a simple list of the design principles observed in the work.
• Document any feedback and suggestions provided by my lecturer regarding my analysis.

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1. Gestalt Theory 
   a. Principle of Similarity
   When we see objects with shared characteristics like the same color, shape, or size, our brains automatically grouped them together. Even if they aren't right next to each other, we see them as a single unit.
   

   

   Fig 4.1 | Similarity, https://www.pedalo.co.uk/the-principles-of-gestalt-within-web-design/

   
   b. Principle of Continuation
   Our eyes prefer to follow a continuous line or curve. Once we start following a direction, we will continue to travel that way until we encounter another object.
   
   

   

   Fig 4.2 | Continuation, https://pin.it/1FjroJW04

   
   c. Principle of Closure
   As long as enough essential information is present, our minds supply the gaps to create the whole picture.
    

   

   Fig 4.3 | Principle of Closure, http://blogs.longwood.edu/trevorheath/2018/03/01/chapter-7/

   
   d. Principle of Proximity
   When objects are placed near each other, we perceived them as a group. If we move them apart, we start to see them as seperate, individual items.
   
   

   

   Fig 4.4 | Principle of Proximity, https://eng-archive.jeonjufest.kr/db/festivalList.asp?EP_NUM=14

   
   
   e. Principle of Figure/ Ground
   Our brains decide what is the "object" (the positive space) and what is the "background" (the negative space). We rely on this relationship to make sense of depth and focus in our designs.
   
   
   

   

   Fig 4.5 | Principle of Closure, https://www.red-dot.org/project/give-me-a-hand-21654

   
   
   f. Law of Symmetry & Order
   We naturally try to find symmetrical shapes more visually pleasing because they feel "right" and finished. When we look at something balanced and organized, our brains don't have to work as hard to process it. Instead of seeing a mess of random lines, we naturally search for order and harmony in every layout we create or see (Lake, 2024).
   
   

   

   Fig 4.6 | Symmetry & Order, https://www.scifinow.co.uk/news/insurgent-new-imax-art-poster-is-gorgeous/ 

   
   
2. Contrast
   Viewers perceive differences in size, color, or texture as contrast, which establishes visual hierarchy by distinguishing focal elements from their surroundings. Designers employ it to direct attention effectively, much like a spotlight illuminating the stage (Ashraf, 2023). 
   
   

   

   Fig 4.7 | Contrast, https://pin.it/4xh9TGzym 

   
   
3. Emphasis
   Emphasis designates a primary focal point through variations in scale, color, or placement, drawing the viewer's gaze to the design's core message.
   
   

   

   Fig 4.8 | Emphasis, https://www.henrimatisse.org/goldfish.jsp

   
   
4. Balance
   Balance distributes visual weight evenly across a composition, fostering a sense of stability and equilibrium. Symmetrical or asymmetrical arrangements prevent any single area from dominating, promoting overall composure.
   
   

   

   Fig 4.9 | Balance, https://pin.it/5FAS0CutY

   
   
5. Repetition
   Repetition of elements such as shapes, colors, or patterns creates rhythm and reinforces unity throughout the design. It establishes consistency, allowing viewers to navigate the composition intuitively (VistaPrint US, 2025).
   

   

   Fig 4.10 | Repetition, https://graphis.com/entry/18c7b800-a719-4175-be3f-7e553b76fdc6
   

   
   
   
6. Movement
   Strategic lines, shapes, and gradations guide the eye along a deliberate path, simulating directional flow within the layout (VistaPrint US, 2025).
   

   

   Fig 4.11 | Movement, https://pin.it/5rcpO2y0d
   

   
   
7. Harmony & Unity
   Harmony integrates colors, forms, and textures into a cohesive whole, while unity binds disparate elements into a singular, coherent composition. Together, they ensure the design conveys a unified narrative (Benzehda, 2025).
   
   
   

   

   Fig 4.12 | Harmony & Unity, https://pin.it/7MMHrSk4z

   
   
   
8. Symbol
   The use of written marks, shapes, images and/or physical objects that represents something else efficiently. Designers leverage them to embed meaning, allowing viewers to grasp concept at a glance (Levanier et al., 2021). 
   
   

   

   Fig 4.13 | Symbol, https://www.australiansafetysigns.net.au/products/warning-radioactive-materials-storage?srsltid=AfmBOooMEoQmYGth5JvkNUTisURGXI79nwnfsIbuPz7G0Byjs6uVfte7&variant=653194901 
   
   

9. Word and Image
   Typography and imagery work togethre to deliver a unified, impactful message within the design. Together, they reinforce each other's strengths, ensuring the concept resonates clearly with the viewer.
   

Fig 4.14 | Word and Image, https://pin.it/4NS5fi1Mc 

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SELECTED ARTWORK

https://www.henrimatisse.org/goldfish.jsp

Title: The Goldfish

Designer's Name: Henry Matisse

Year: 1912

Size: 140 cm x 98 cm

Medium Used: Oil on Canvas

Reason

The reason I chose this specific work to be studied is because Matisse’s use of high-contrast and vivid colors makes the image pop. I was drawn to the juxtaposition between the bright orange color of the fish and the cool greens and blues of the water and plants. The background also features soft pinks and purples that contrast with the green foliage, making the colors feel more intense. In a way, I feel a sense of calm and balance because the painting is just a peaceful, domestic scene. I also love the emphasis on the goldfish; because we see them fromt wo angles at once, it creates a sense of movement as if they are swimming in circles, giving the piece a whimsical feel since the table is tilted a bit weirdly.

(132 words)

Design Principles from my Observation:

• Contrast: Matisse uses color contrast by placing the bright orange fish against a cool blue and green background to make them stand out. There is also a contrast in the thickness of the strokes between the solid-looking fish tank and the thin, sketchy lines of the plants.
• Emphasis: By placing the bright orange fish in the middle of the composition, Matisse ensures they are the first thing the viewer looks at.
• Balance: The artwork has a sense of approximate symmetry. Even though the plants on the left and right aren't exactly the same, they frame the fishbowl in a way that makes the whole image feel stable and "heavy" in the center.
  
• Unity: The consistent use of organic, leafy shapes and a bright, tropical color palette creates unity. All the different parts—the table, the fish, and the garden—feel like they belong together in one peaceful environment.

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REFERENCES

1. Understanding Gestalt Principles in Design | VoOBA blog. (August 19 2024.). https://vooba.co.uk/blog/gestalt-principles/ 
2. Ashraf. (2023, March 20). Contrast principle of design. Graphic Designer in Nairobi, Kenya. https://254-online.com/contrast-principle-of-design/
3. Levanier, J., Levanier, J., & Levanier, J. (2021, March 3). The power of using symbolism in design. 99designs. https://99designs.com/blog/design-history-movements/symbolism-design/
4. Benzehda, A. (2025, December 2). The Principles of Design (With examples and infographic). Toptal Design Blog. https://www.toptal.com/designers/ui/principles-of-design#unity
5. The principles of design and how to use them (With infographic) | VistaPrint US. (2025, August 15). Vistaprint Ideas and Advice US. https://www.vistaprint.com/hub/principles-of-design?srsltid=AfmBOor02DBavnEBpzHj9yVU9eX6gKXjFXv61iL1bIQUSLa0w3WWXVQB 

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FEEDBACK

10.02.26 : Make sure to add your own example images for the design elements and principles. Do not reuse the images from the lecture notes or videos; find unique examples to show these concepts.

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OTHER LINKS

• Task 02
• Task 03
• Final compilation