Design Principles | Task 2 Visual Analysis

19 February 2024 -  04 March 2024 / (Week 3 - Week 5)
Hanson Pea Wei Hao / 0359463 / Section 04
Design Principles / Bachelor of Design (Hons) in Creative Media
Task 3: Design


1. Module Booklet for the Module:

2. Task 2 Brief Recap

For this task, I need to analyze the artwork I selected in my last task. I need to list   down how design principles are used as well as the purpose of the artwork and how it relates to the UNSDG go.


3. Visual Analysis
As briefed in the lecture, visual analysis is separated into 3 phases, Observation, Analysis, and Interpretation.

Selected Design :
Fig 1.1,  Digital illustration, gender equality


Observation: 
The Design for this artwork is in a Portrait format. In the center of the picture, there is a "person" who is holding both genders. By the costume and the sitting posture, this looks like an ancient god and a person who can take control of both genders. I will assume this person is the community of both genders or either a god. There is a scale in front of the person that balances both of the genders’ icons, Males and Females. The main colors observed are blue, pink, and purple. The colours are iconic for genders which are females for pink and males for blue, which can let us think about what the image is about in our minds.
120 words 
  
Analysis:
This Design is Symmetrically balanced. The emphasis is on the scale with strong purple colors and the side icons of genders, which are shown in neon blue and pink. A Repetition of gender icons can be seen in the person's body or even on both sides of the scale. There is Harmony in this art which is the visually satisfying effect of combining color. There is also using Symbols in this design. For example, the circle above a cross (♀), signifies female, and the circle below an arrow pointing diagonally upward to the right (♂), signifies male.
97 words

Interpretation:


fig 1.2, Fera the fox

Fig 1.3, Eluxia the dragon

The artist is mainly drawing digital art, stuff that is realistic In the anatomy of creatures like dragons and more. For the art style, I chose the art which was drawn by the artist. The artist usually shares his artworks in the ArtStation where I discovered him. The artist uses fascinating subjects like mysterious creatures in the design I am choosing. For the design I chose, the artist used ancient Japanese culture like “Demon Fox” and “Dragon”. This kind of mysterious appearance often hides unpredictable behavior, which makes people have complicated emotions about it.
96 words
(312 words)
References:

Feedbacks

Week 4: Highlight the design principles in bold. Need to figure out the interpretation idea to maybe medium, the link between or the cultural artist use for, and the similarity about the art style the author uses.

Week 5: Do citations in the part for interpretation.
 
Reflection

This task is more fun than the last task. In this task, We were able to analyze and explore more deeply about the artist's ideas. By using design principles to explore the artist's art we selected in the previous assignment, I got to learn more ideas from a professional perspective. However I did find it a bit challenging because this artist didn't have much description about himself, So I recovered most of it part by my idea and other information.


Further Reading

Fig 1.4, The Handbook of Visual Analysis

    This book evolved from our different relationships with the visual and from our experiences with visual analysis. Carey had recently evaluated a young men's sexual health clinic which had included analysis of the images in sexual health leaflets and posters available for young men (Jewitt, 1997, 1999). The images reinforced stereotyped forms of masculinity which, had they been put into words, would have been unacceptable to most sexual health workers. Interestingly, these resources had been rejected by many of the young men who used the clinic; the images were key in this rejection, but most people found it difficult to articulate why they disliked them. Finding a way to ‘articulate why’, to understand ‘what might otherwise remain at the level of vague suspicion and intuitive response’.

    One of the difficulties was accessing useful information about visual analysis. Theo had often been involved in a search for this kind of information by postgraduate students and colleagues in linguistic discourse analysis and pragmatics and had rarely been able to fully satisfy them. At our initial meeting to discuss some of the difficulties involved in visual analysis we came up with the idea for this book. We wanted above all to produce a book that would be a useful resource for researchers investigating the visual representation of significant social issues, and which provided exemplification of a range of methods and perspectives of visual analysis in sufficient detail to make it possible for readers to actually use the approaches explained in the book.


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