Design Principles - Task 2: Visual Analysis & Ideation

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Name: Liong Xenyi 
ID Number: 0383125
Module: Design Principles (GCD60804)
Date: 17/2/2025 - 3/3/2025 (Week 3- Week 5)
Degree: Bachelor of Design (Honors) in Creative Media 
University: Taylor's University 


TASK 2: Visual Analysis & Ideation


Table of Contents

Lecturer's Notes

Visual Analysis 
Visual analysis is the understanding of the visual elements and design principles used in a design. The literal definition is: the description and explanation of a visual structure. Furthermore, the purpose of visual analysis is to observe and recognise the choices made by the designer when creating the design, understanding the formal properties of a design that communicates ideas, content or meaning.

Visual analysis is a critical part of visual literacy, a skill that helps people read and critically interpret images. It could be in a museum, in entertainment, on the news, on social media or in advertising. In modern times, we are mostly surrounded by visual media. Practising visual analysis helps sharpen critical judgment skills, for people to find answers rather than passively receive information. 

There are 3 steps in doing visual analysis work:
  • Step 1: Observation
  • Step 2: Analysis 
  • Step 3: Interpretation 

Step 1: Observation
Observation is to look closely and identify visual elements of a design, and to try and describe them carefully as accurately as possible in your own words. Nothing about the design should be read beforehand. The observation step is about looking, thinking and using the best language to communicate what you see.

Step 2: Analysis
Analysis is about giving thought about the observations and making statements about the design work based on the evidence observed. The specific visual elements which were identified are combined to create design principles that complete the design or artwork. Explain how these principles affect the viewer and why they do. Apply the design principles knowledge that was learnt previously. 

Step 3: Interpretation 
Interpretation is about fusing the observations, descriptions and analysis of the work with facts about the design (or the designer themselves) and historical context that are found from credible published sources. Explain the meaning of the design and what the purpose of the design is. 




Module Information Booklet 


Task 2: Visual Analysis 

Recap of Task 2: 
This task requires you to assess, investigate, document and analyse the existing art/design work you selected in Task 1. You will study the design principles found in that work, as well as the size, placement, purpose, effectiveness of the design. Write a 300- to 350-word visual analysis of the artwork you selected from the art gallery. Refer to Visual Analysis lecture notes and guide to write the visual analysis.

Fig 1.1 Orpheus and Eurydice by Catherine Adelaide Sparkes

Title of Artwork: Orpheus and Eurydice
Artist's Name: Catherine Adelaide Sparkes 
Year: 1842-1910
Location: Wolverhampton Art Gallery, United Kingdom
Medium of the Artwork: Watercolour on paper

Observation:
The artwork is in a portrait format. Orpheus, the man on the right, is kneeling down on the ground at the entrance of a cave, as he is basked in the sunlight. Whereas on the left, Eurydice is drawn towards the darker side of the cave, away from the entrance of the cave, surrounded by shades (shadows) enveloped by linen that covers their entire being. She is seen to be dragged away from the ground, as she hovers over nothing. There is a lyre at the bottom, which belongs to Orpheus. The visual elements observed in this artwork consists of main colours which are strong red, bright dirty yellow, dark grey-blue, light yellow, alongside with numerous lines, especially used on the linen, and shading of the elements. Similar shapes are grouped together, the most often seen are the figures being clothed in linen.


Analysis:
Emphasis is brought on Orpheus, as he is wearing dark red clothing with light rays highlighting his figure, which creates a focal point. There is movement in the painting, as the eye is drawn to Orpheus (the dominant figure), which then follows the light rays that shines on Eurydice, the other focal point, with her head tilted back, hand reached out and her linen clothes flapping widely at the back, creating the illusion that there is a wind blowing her from the right to left. Following that direction, the principle of continuation groups the lines made by the shadows' linens that forms lines which leads the eye from right to left, alongside with Eurydice's curved linen lines heading towards the left. 

Orpheus and Eurydice stand out as figures against a dull and dark background, as Orpheus is dressed in a strong, dark red colour that contrasts against the bright light at the entrance of the cave, while Eurydice is dressed in dirty, pale white colour contrasted against a dull background of dark, grey-blue shadows. 

The left side has more elements consisting of Eurydice and the shadows, weighing more than the right side which only consists of Orpheus and an almost empty outside scenery with mostly the sky. This creates an asymmetrical balance in the painting. In addition to a third of the painting being inside the cave, this imbalance gives a feeling of uneasiness and intensity, creating a sense of movement as the painting is tilting towards the heavier side (left side). This conveys the action of Eurydice being forcefully dragged away from the right towards the left, as she has no power to escape this, while Orpheus balances out on the right that conveys emptiness. 

The constant use of lines on the linen and the free-flowing shapes in close proximity form a sense of unity among the elements in the painting, as the triadic colour scheme (red, yellow and blue) with similar shades and tones creates harmony in the painting.


Interpretation:
This artwork is painted by Catherine Adelaide Sparkes, a not well-known painter. During the period when she was alive (1842 - 1910), she studied at the Lambeth School of Art and later exhibited her artwork at the Royal Academy. Sparkes' painting is an Academic art, a style of painting or sculpture produced under the influence of European academies of art that shows a more naturalistic and realistic representation of an object. 

Sparkes was inspired by the tragic tale of Orpheus and Eurydice, a popular Greek mythology that was retold by many, with different variations and adaptations stemming from history till now in modern times. 

To summarise, Orpheus, a talented musician and poet, fell in love with a wood nymph, Eurydice, and they both happily married. However, the newlyweds were shortly separated -  Eurydice was bitten by a poisonous snake and died. Struck by grief, Orpheus went down into the Underworld to see his wife. With his talent and song, Orpheus moved the guardians of the Underworld with emotion, and later moved Hades (king of the Underworld) and his wife Persephone with his grief. Hades allowed Orpheus to take Eurydice back to the world of the living under one condition: he shall not look back until Eurydice is in the light.

Travelling back into the living world, Eurydice followed Orpheus behind. However, Orpheus was filled with doubt and anxiety that the gods had tricked him, so upon nearing the exit to the Underworld, he looked back. He caught a glimpse of Eurydice, before she was forcefully dragged back into the Underworld, and Orpheus, struck with grief and sorrow, is separated once again from his lover. 

There were numerous paintings and interpretations of this tragic myth. However, Catherine Sparkes' painting caught my eye as it, in my opinion, captures the right emotions shown during the moment when Orpheus looked back as Eurydice was dragged away. 

Kneeling down with his arms stretched towards Eurydice, Orpheus was filled with desperation, regret and fear as he realised his mistake while being unable to do anything. Eurydice is shown to be dragged away. with a wistful, sad longing that she too cannot be with her lover, with an arm reached out towards Orpheus as a last attempt to be near him, only to be forcefully sent back to the Underworld by the other shades (shadows). The light rays highlight the little hope that Orpheus almost reached his goal, but in the end failed, as Eurydice is still hidden in the darkness of the cave. The almost-touching of their arms show how close they were, but yet were so far apart and will never be together in the living world.





Ideation - 3 Sketches
Recap of Task 2: 
Next, using your design principles knowledge, sketch 3 ideas on how the selected design can be improved. Describe each idea and support it with a rationale in about 30-50 words. You may include some visual references (cite the sources) that inspire your own ideas.


Sketch 1
Fig 2.2 Sketch 1.1
 
I improved the design by making Eurydice the emphasis of the painting, as Orpheus and Eurydice become the figure accompanied by a duller foreground behind. To show a flow of movement of Eurydice being taken back to the Underworld, it starts from the cave entrance, following the light into the cave, to Orpheus leaning downwards, with his clothes hanging over the edge and his hand reaching out below, and Eurydice's hand reaches out towards him as her body is dragged below, with her clothes dragging her downwards, while the shades (shadow beings) will have linen lines that goes downwards. More than half of the painting will be filled with Eurydice and the shades which will carry more weight, creating a sense of asymmetrical balance to implement more weight and emotion on Eurydice being dragged away. 


My Process:

                    
Fig 2.2 Sketch 1.1                                                          Fig 2.3 Sketch 1.2

                       
Fig 2.4 Sketch 1.3                                                         Fig 2.5 Sketch 1.4

Fig 2.6 Sketch 1 notes

 
References: 

                          
     Fig 2.3 Hands Reaching Out by DragonImages               Fig 2.4 Two People Falling by orenjistudio

                           
           Fig 2.5 Tenki no Ko by Makato Shinkai             Fig 2.6 Alaa Kahel - Falling towards the sky by                                                                                                         savingeliza




Sketch 2
Fig 3.1 Sketch 2

For my second sketch, I opted for approximate symmetry instead, using contrast and harmony of two complimentary colours to show the separation between the two lovers, as they are equally parted from two different worlds: the Underworld (dark blue) and the living world (light yellow). Eurydice is shown as an empty figure, emphasising the point that she is dead and gone, while Orpheus is filled with the dark colour contrasted against the bright world, showing more of his doubt, regret and grief while portraying him as alone without Eurydice with him. The flow of movement will be shown from Orpheus reaching downwards while just out of reach with Eurydice, as hands of the shades are shown as if to drag Eurydice down below. The hands are silhouettes surrounding and grabbing Eurydice, as she is trapped in the Underworld, using repetition and similarity to group the shades' hands. There will be incomplete lines to form closure for the human eye to complete the picture, and to allow the figures to stand out from the foreground.
 
My Process:

                    
Fig 3.2 Sketch 2.1                                                    Fig 3.3 Sketch 2.2

                   
Fig 3.4 Sketch 2.3                                                   Fig 3.5 Sketch 2.4

Fig 3.6 Sketch 2.5


Fig 3.7 Sketch 2 notes


References: 
(some of them are above)

                 
Fig 3.3 Hands grabbing a man by Sakalgath                    Fig 3.4 Omori fanart by itodenwa_1

                        
Fig 3.5 Kingdom Hearts fanart by nims




Sketch 3
Fig 4.1 Sketch 3

Lastly for the third sketch, I used a different perspective to show this scene of the story, using an aerial perspective which emphasises on Eurydice falling back down into the Underworld. Instead of a cave, a hole opening is used, surrounded by tree roots, which is inspired by Alice in Wonderland's rabbit hole. The continuation of roots show a flow of movement into the hole, which have radial symmetry to bring focus unto the figure of emphasis, Eurydice, in the center. With Orpheus on top reaching downwards into the hole, it shows a flow going from out to in. The shades are surrounding Eurydice with similarity and repetition, having unity, while grouping them with movement as they try to drag Eurydice down into the Underworld. There is contrast of Eurydice against a complimentary colour, so that the figure can stand out against the foreground. The duller and natural colours, with roots, rocks and the shades seeming like shadows, will create a sense of harmony.

My Process:


Fig 4.2 Sketch 3.1                                             Fig 4.3 Sketch 3.2

Fig 4.4 Sketch 3.3


Fig 4.5 Sketch 3 notes


References: 

 
Fig 4.6 Falling down the rabbit hole by ifihadaworldofmyown


Fig 4.7 The Royal Wedding by 2veinte





Feedback

Week 4: Work on making the blog more pleasing - use 3 fonts to make it more organised and structured. More elements and design principles to be added - Eurydice's linen clothe has a big flap at the back, with her head tilted backwards to show movement, as if there is a wind pushing her back. 

Week 5: Separate the paragraphs into smaller sections for readers to read easily and bolding important words would help. Add the ideation process of my sketches, to show authenticity and my though process as I make my sketch, for a better understanding. 




Reflection

I have observed that during the visual analysis process, it helped me to breakdown the artwork I have chosen, as I learned to study the visual elements and design principles that help promote an eye-catchy design while telling a story behind it. With how this painting of Orpheus and Eurydice caught my eye, I deduced the reasons behind it, and later interpretated it with facts about the artist and the myth, giving a deeper explanation and meaning to the design. 

Trying to sketch and redesign the artwork, I learned how to apply the design principles I have learned, and how to combine them to make an effective and eye-catching artwork, while still telling the myth with the emotions I imagined Orpheus and Eurydice had during the moment. It was challenging to reimagine and learn how to draw the design I imagined, and especially when I am still new to digital art, but nevertheless, this task has pushed me on to take the challenge.




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