19/2/26 - 5/2/26 / Week 3 - Week 5
Janice Cheah Pei Ern / 0376497
Design Principles / BDCM / Taylor's University
Task 2
LIST / JUMP LINK
LECTURES
Visual analysis includes the three phases below:
Phase 1: Observation
Look closely and identify visual elements then try to describe them carefully
and accurately using own words.
Phase 2: Analysis
Think about observations and visual elements identified. How do they combine
to create design principles to make a design work complete? What are the
effects on the viewers?
Phase 3: Interpretation
Fused observation and analysis with facts about the design work/designer and
historical context. What is the meaning of the design? What was the purpose
for it to be created?
INSTRUCTIONS
TASK
Task 2: Visual Analysis & Ideation
In this task, we have to do a visual analysis on the design work that we
selected in Task 1. Afterwards, we will draft out 3 sketches inspired by the design we selected.
Selected Design in Task 1:
Title: Yellow
Designer: MANOdeMARINA
Year: 2024
Size: 2160 px X 1440 px
Medium: Digital Art
Visual Analysis
Observation
This is a portrait design work done by MANOdeMARINA. The character dominates
the composition. She is drawn from the head to the knee, gazing at the
viewers. She is standing in a slanted body pose. She is doing a hand pose
where one of her hands is doing a salute-like gesture near her face while the
other hand extends outward. As for the visual elements, the main colours
observed are yellow, black and white. There is a huge rectangle behind the
character in the background. The character is majority drawn with curvy and
organic lines with a rough brush style. Some of her parts are outlined while
some are empty, blending into the yellow rectangle in the background.
At first glance, the illustration style reflects traditional Japanese
calligraphy styles (Image B) through its expressive, brush-like strokes
and variation in weight of the strokes, especially on the hair. It ties
back to the origins of the artist.
Image B:
“Do no evil, do good” by Ikkyuu Soujun (15th century C.E.)
The proportions and the overall style of the character also reflect
fashion illustration in the Art Deco era, particularly illustrations
done by Alfredo Bouret. His drawings (Image C) were focused on the
graceful figures and their elegance. By merging calligraphic
expressiveness with Art Deco elegance, the design combines both Eastern
and Western influences.
Image C:
Balenciaga by Alfredo Bouret (1960)
Analysis
There is a visible colour contrast of the dark black against the
bright, warm yellow, immediately catching the viewers’ attention. The design
is asymmetrically balanced, as even though there are more details on
the upper body of the character, it is still visually balanced with the help
of the extended outward hand, stabilising the composition. It looks visually
balanced, as there is also golden ratio applied, as observed when its
template is overlaid on the design (Image A). There are a lot of details on
her face and black shapes from her dress and glove near the upper body,
making it the emphasis of the composition and guiding viewers’
attention to it. Her hair has some sense of movement, which suggests
the air is breezing at her and preventing the composition from being static.
There is repetition in the style of the lines used for the character
to make everything look together, contributing to the
harmony and unity of the composition.
Gestalt’s theory of Figure & Ground principle and Closure
principle
is also noticed here. Although it is not fully outlined, we can still
differentiate the character and the background by visually completing the
missing information.
Image A:
Golden ratio template overlaid on the drawing
Interpretation
This drawing was designed by Japanese artist MANOdeMARINA and posted by them
on social media as a series that follows a similar concept but explores
different colour variations. In this particular piece, the usage of yellow
expresses a feeling of joy and creates a bright and cheerful atmosphere. In
addition, the character's playful and expressive pose further enhances the
joyful feeling in the artwork. Together, both the colour and the pose used
work hand in hand to make the design engaging.
Sketches
1st Sketch
Rationale:
For my 1st Sketch, I explored on the feeling of burnout. The vase resembles a
tired face while vines with wilted flowers rise from it, looking like smoke,
representing the overwhelming thoughts and exhaustion. At first glance, it
appears simple but on closer look it reveals a loss of motivation.
References:
Sources:
2nd Sketch
Rationale:
For my 2nd Sketch, I wanted to express the idea of breaking free from
restrictions to pursue dreams. I used the figure's hair as her own inner self,
where the whale represents her spirit. As the whale breaks through the chains
into the sea of stars, it symbolizes freedom from rules and limitations.
References:
3rd Sketch
Rationale:
For my 3rd Sketch, I thought of how cats are sometimes associated with greedy
behaviour, which also led me to connect with historical kings who wanted more
wealth to themselves. I made my cat looked like a king reaching for coins
while its ears are sharp resembling devil horns, symbolising corruption and
temptation.
References:
Sources:
Chosen Sketch
This sketch is chosen as it has the best concept and meaning among the others. It can also be further developed during Task 3.
FEEDBACKS
Week 3
General Feedback: Overall nothing requires adjustment.
Week 4
General Feedback: Try and play around more rather than follow the style
fully.
Week 5
Specific Feedback: Move interpretation part to observation and talk
about the colour and pose used instead. Sketches have the principles but
should have a concept/meaning behind it.
REFLECTIONS
This task was slightly harder for me at first because I thought I have to try and follow as closely as possible to the design I have selected. After my tutor, Mr. Max clarified on how I can do it in my own style and have some story/meaning for the sketches, the sketching process became smoother and he approved my sketches.
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