09/02/2026 - 17/03/2026 (Week 1-Week 7)
Lizzie Tanaka (0362065)
Design Principles | BDCM | Taylor's University
Final Compilation and Reflection
Task 2: Visual Analysis and Ideation
Task 3: Development and Design
A. Task 1: Exploration
1. Task Recap
Assessment Task 1 - Exploration
1. Students are to describe each of the design principles within a given list and provide visual examples for clarification.
2. Students are to explore and select a suitable work of design, write a short justification for selecting the design, and describe the principles of design that are found in that design.
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2. Design Principles
2.1 Gestalt theory
a. Definition:
- Rules that describe how the human eye perceives visual element, aiming to exhibit how complex visuals can be simplified and explain how our eyes perceive shapes as a united element rather than separated.
b. Principles of Gestalt Theory:
a. Principal of Similarity: Human eye tends to see similar elements in a design as a complete element, even if it's separated.
b. Principal of Continuation: Human eye follows paths, lines, curves in a design, preferring to view a continuous flow of elements.
c. Principle of Closure: Human eye wants to see complete shapes even if the elements are incomplete. It can perceive it as a complete element by filling in the missing visuals.
d. Principle of Proximity: Ensures that elements that are related are positioned together. Unrelated elements should be placed apart. Close proximity shows that the elements are related.
e. Principle of Figure/Ground: Elements are instinctively seen as either in the foreground or background.
f. Law of Symmetry and Order: Elements that are symmetrical tend to be seen as a group.
g. Law of Uniform Connectedness: Elements that are connected to each other using will be perceived as one element when compared with other elements that are not connected.
h. Law of Pragnanz: The human eye simplifies complex shapes to a simple shape.
i. Law of Common Fate: When elements point to one direction, it is seen as one single element.
c. Example:
Fig 1.1 Example of Gestalt Theory by Lacoste,
applying principles of closure
2.2 Contrast
a. Definition:
- The juxtaposition of two strongly different elements, providing visual interest while emphasizing on a focal point and expressing the content. Without it, the overall visual experience will be monotonous.
b. Example:
Fig 1.2 Illustration by Anna Parini via The New Yorker, 2017
2.3 Emphasis
a. Definition:
- To create dominance and focus in a piece and it can be achieved by using different elements such as color, shapes, or value.
b. Example:
Fig 1.3 Image by Margherita Vox via Instagram, 2024
2.4 Balance
a. Definition:
- The distribution of visual weight in a design. Visual balance of elements that makes the overall design look balanced. It can be both symmetrical or asymmetrical
b. Symmetrical Balance:
- Equal visual weight on equal sides of a centrally placed element
- Placing elements equally around one centre point: radial balance
- Bilateral balance: Equal placement of elements on either side of a central axis, can be horizontal or vertical.
- Approximate Symmetry: Equivalent but not identical elements are arranged around the axis line.
c. Asymmetrical Balance:
- Unequal visual weight on each side; one might be more dominant, balanced with lesser focus elements on the other side.
- Offers more visual variety
d. Golden Ratio
- Also known as phi, it's a math concept and a number that goes infinitely. Ratio came from the Fibonacci sequence; a number sequence that occur naturally and can be found everywhere.
- Have been perceived as the 'perfect beauty' thus it has been used as a guide to craft visual balance in art.
- In design, golden ratio can achieve harmony, balance, and structure.
e. Rule of Thirds
- Composition guideline for a more dynamic work of design, film, painting, and photography.
- A work is divided into thirds, evenly, both horizontally and vertically. Subject is in the intersection of these lines.
b. Example:
Fig 1.4 Image by Cohen Berg via Unsplash, 2025
a. Definition:
- Makes a design seem active, as it creates rhythm and pattern.
- Variety is still essential to keep the rhythms exciting and active, avoiding monotonous work.
- Having patterns improve visual experience and excitement.
b. Example:
Fig 1.5 "Push for Change" by Finn Creative, designed by Kevin,
n.d.
2.6 Movement
a. Definition:
- The way an artwork leads the eye; the path that our eyes follow. Occurs when elements seem to be moving.
b. Example:
Fig 1.6 Coca-Cola Smile Poster by
2.7 Harmony and Unity
a. Definition
- Selection of elements sharing the same traits. Without variety, it becomes monotonous. Sense that every element in your design fits nicely together; same theme, style, or mood.
Fig 1.7 Image by Kenzo Hamazaki via Dribbble
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Fig 1.8 Poster Design by Bauhaus University Weimar for
Projectile 2015 via Design Made in Germany
2.8 Symbol
a. Definition:
- A shape or object or sign that is utilized to represent something. Symbols can convey information when applied in graphic design.
- Types: Pictorial, abstract, arbitrary symbols
b. Example:
Fig 1.9 Image by Conran Design Group for Roland-Garros,
via Lemanoosh
2.9 Word and Image
a. Definition:
- Imagery is a crucial part of design in any media. Users should be able to relate to the concept/brand if the imagery is accurate.
- Choose the right words to pair with the imagery to deepen the design's meaning, done by selecting a suitable typeface and placement, ensuring hierarchy and balance.
- Use of typography, the design and placement of text, is to provide a message or strengthen a message.
b. Example:
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Fig 1.10 Image via Pinterest
3. Design of My Interest
Credit
Title: Anatomy of a Murder
Designer: Saul Bass
Year: 1959
Medium: Silkscreen (First printed in 1985)
Size: 25x35 inch
Source: Film Art Gallery
Other than that, I’m personally interested in the more playful, illustrative take of the main title design for a rather dark, adrenaline-filled film of crime and thriller. It takes people by surprise but when analyzed, the poster design and concept is very well-thought of.
158 words
Design principles I found:
a. Contrast: Color contrast between the black title treatment and the red background, as well as the red against the cream background.
b. Emphasis: Saul Bass put emphasis on the title treatment by using a very contrasting color with the background.
c. Gestalt theory: Principles of Proximity can be seen in this poster from the title and the director's name is placed in close proximity. Principles of Closure is seen from the loosely placed elements of cut-out body. They do not touch but they are placed closely to each other and the human eye sees these as one element: a body.
B. Task 2: Visual Analysis and Ideation
1. Visual Analysis
Fig 2.1
Credit
Title: Anatomy of a Murder
Designer: Saul Bass
Year: 1959
Medium: Silkscreen (First printed in 1985)
Size: 25x35 inch
Source: Film Art Gallery
i. Observation
This is a film poster by Saul Bass for the 1959 crime legal drama, Anatomy of a Murder. The poster features a big bold red rectangle that fills up nearly the entire space, serving as the background against the title treatment. The title consists of a person lying down, made up of rough imperfect shapes which has the title on it. Below the red rectangle is the movie credits, written in sans serif thin typeface, filling up the space. A tiny version of the person from the title design is also at the very end of the line.
(98 words)
ii. Analysis
The design is highly contrasting. With the use of a big red rectangle in the middle, it leads one’s eye immediately to the center of the poster, where the title lies. The title is black to be emphasized. The human illustration uses the Gestalt theory of Law of Proximity, where each element isn’t connected, but the proximity lets the brain visualize a human. The poster features hierarchy through the use of color and negative space, leading one’s eye to the title treatment first. The title text is also designed with hierarchy, the director’s name being on top and outside of the person, followed by each word positioned strategically so that the eye flows from top to bottom to right. Finally, viewers will be led to the tiny human on the bottom right, contrasting the cream and thin typeface, driving viewers to see the last part of the poster, the movie credits.
The poster has balance and unity, despite not being symmetrical. One part of the poster is not too heavy than the other.
(173 words)
iii. Interpretation
The poster is designed for a crime legal drama film, inspired by an actual murder case that occurred in Michigan, 1952. I find that the poster design has elements of several design movements during that time, namely the Bauhaus and Russian Constructivism. Both features minimalism and geometry shapes, which can be clearly seen in this poster. The Bauhaus concept, ‘less is more,’ is also applied by Saul Bass in this film poster. Inspired by the Russian Constructivism movement, this poster also features dynamic, minimalist geometry forms, accompanied by bold sans-serif typography as well as the use of limited but symbolic color palettes such as black, red, and white.
Reference
McCarthy, M. (2024, November 12). Saul Bass Didn’t Just Design Movie Posters: Exploring His Iconic Logos and Timeless Influence. Film Art Gallery. Retrieved from
2. Sketches
2a. Idea Sketch 1
- 1A: This sketch is the main idea. I chose a seesaw as a symbolism to the imbalance of social class between the two main characters and how it is a recurring conflict theme in the movie. I ideated for the text to be diagonal, following the imbalanced seesaw.
- 1B: This second one is a close up of half of the seesaw with the text seemingly sliding down, incorporating a more playful title treatment.
- 1C: This sketch incorporates a big irregular shape that symbolizes paper, as to represent the way Pride and Prejudice began from a book. It includes the original idea from 1A.
Fig 2.2 Sketch 1
2b. Idea Sketch 2
For this idea, I chose a cut-out rough shape heart to represent the theme of love and romance of the movie. The rough, irregular shape is to represent the imperfect, difficult journey of reaching the true form of love between the two characters.
- 2A: This sketch uses the heart shape divided into two while the title will be placed in the middle. The idea is to represent a storytelling of how pride and prejudice gets in the way of love, such as what happened in the movie.
- 2B: For this sketch, I ideated a different layout, by making the hearts diagonally apart, in hopes of giving the poster a more dynamic depth and not as flat.
- 2C: As for the last exploration of this idea, I chose to color block a shape for the background and fill it up with the cut-out heart shape. This will be completed with contrasting colors. Text can either be placed above the heart, or inside the heart. The storytelling of this came from the idea that pride, prejudice, social classes all contribute to the main character's journey in love.
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Fig 2.2 Sketch 2
2c. Idea Sketch 3
For my third idea, I decided to combine these two symbolizations into one.
- 3A: For the first sketch, I placed the cut-out heart on top of a balanced seesaw with the text inside the seesaw. The idea is to represent that love eliminates the differences in social classes, eliminates pride and prejudice, essentially.
- 3B: For the second exploration, I was inspired by another layout which is to do a half closeup of an imbalanced seesaw.
- 3C: For the last exploration, I cut the heart shape into two, trying to balance the seesaw to symbolize how two individuals try to overcome the challenges of differences.
Fig 2.3 Sketch 3
C. Task 3: Development and Design
Fig 3.1 Pride and Prejudice_Lizzie Tanaka_Task 3
Rationale
I chose to use red, black, with white as the neutral color. Red symbolizes passion and love, white represents the purity of love, black symbolizes rebellion from the two main characters, against the standards of the society. The rough cut-out shapes of the seesaw and the heart refers to the two characters' imperfect journey to love. The seesaw symbolizes society and the imperfectness represents the imbalanced society. The heart is balanced on top of the seesaw to convey that love overcomes the unfair standards of the society. I chose a rough-edged typeface for the title to symbolize that the love story is full of trials. To complement it, I used a sans-serif for the extra texts.
The poster has design principles like emphasis and contrast, utilizing colors like red and black, rough shapes against the clean rectangle, and different sizes such as the size of the title element. This allows the user's eye to flow from the title element first then the extra texts. I also utilized movement, as seen from the positioning of the title and the imperfect cut of the shapes, making it more dynamic. Balance is also used to ensure that the poster is visually appealing and cohesive.
200 words.
FINAL REFLECTIONS:
This module's experience have been quite eye-opening. It brings me back to the basics of what makes a good design: design principles. I learned that sometimes it isn't really visible at a glance but when we analyze a good artwork, we realize that the artist applied multiple design principles seamlessly. And this module taught me exactly how we can apply multiple principles well and create a good design. I observed and found that the more I design, sometimes I forget to make sure that these design principle should be applied and this module refreshed my mind to the foundation of crafting a great artwork. Overall, I'd say I've learned a lot from this module about design principles and the projects have taught me more and more about the subject.
From all three tasks, I enjoyed the visual analysis the most. Choosing a poster exposed me to so many different amazing design that I believe inspire me a lot as well. And analyzing the poster I chose really opened my eye in realizing how being able to break down why a poster works so well can make the sketching and ideating process a lot simpler, especially since our goal was to create something inspired from the poster. Despite that, I think the sketching wasn't my favorite part as it was a bit challenging to ideate something so complicated into a simple symbolism.
Personally, I have learned that my design process will be much quicker if I'm able to break down what works and what doesn't, when designing something that is inspired from another design. I think it would ease the process of ideating and experimenting, knowing why a design works well.
Throughout this learning journey of seven weeks, at first, I was quite the procrastinator, especially with my major project module running the same time. Honestly, I find myself thinking that this module would be so simple and easy and quick to finish. However, throughout the way, I realize each task required me to dedicate more time than I had expected. It made me realize that no matter how quick or simple a design goal looks, I will have to dedicate my time and effort to doing my best for the project.
From this module, I aspire to apply the knowledge I have gained to my future projects and endeavors. I aspire to remember what I've learned throughout this journey.
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