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You must enable JavaScript to fully view this webpage. If it is not enabled, your experience will be limited and you will be unable to purchase products, complete forms or load images and videos. The 1. Check out just some of the brand-new features and major improvements below, including a new contour tool and select same in Affinity Designer , package output, data merge and PDF passthrough in Affinity Publisher , and the ability to add non-destructive liquify layers, path text and linked layers in Affinity Photo.

All downloads come with a range of incredible free content when you register your app, including brushes, textures, overlays and templates.

If you own the apps already, get the update today for free, otherwise head over to our homepage to learn more about our professional creative software. Expect big performance gains when working with large complex vector documents in all apps as well as much faster IDML import in Publisher.

Match attributes such as fill color, stroke color, stroke weight, transparency, blend mode or shape type by selecting all objects in your document. This ensures that the file will be a perfect representation of the original PDF when exporting, regardless of whether you have the embedded fonts installed or not.

Now, Windows users can experience these large performance boosts too with up to 10x faster performance on pixel-based tasks like filter effects, adjustments and painting.

Requires Windows 10 April update or later with a Direct3D feature level Collate your document alongside all used image and font resources into a folder. This can then be easily transferred to another system to aid collaboration or for print production. This allows for better noise reduction and manual lens corrections, and also gives you more cropping flexibility.

Effortlessly add a contour to any object or increase the width of single open curves with this powerful new tool. An easy way to create abstract shapes or an offset path — great for various architectural purposes or for making a logo or print file for a sticker.

Liquify operations can now be done non-destructively or applied over the top of a load of layers rather than just on a single pixel layer. Perfect for creating certificates, business cards, badges, tickets, form letters, envelopes and catalogues. You can now create text on a path in Affinity Photo, just like you can in Designer and Publisher. The path can be created from any line, curve or shape drawn using any of the line or shape tools and allows you to explore a whole range of diverse typographical designs.

You can now link resources in Designer and Photo just like you can in Publisher, opening up collaborative workflow possibilities and reducing document file sizes. Organize layers more efficiently by selecting all objects of a certain type all symbols, all pixel layers, any shapes without a stroke, etc within your document to make editing them even easier.

Instead of remaining embedded within the document, any pixel layers you have in Affinity Publisher can now be converted to an image, which can also now be linked or packaged as a resource. This new feature opens up creative and practical techniques like correcting color casts, enhancing infrared imagery and augmenting live filters.

You now have the ability to link your apps with your Affinity account and download all of your content from the store directly to your apps. In addition to our already amazing PSD handling, when placing a PSD, Affinity Publisher now uses the flattened bitmap representation in the file rather than interpreting the file content itself.

This will provide much better results without needing to have the correct fonts installed. You can still choose to edit the layers of the placed PSD should you wish. Save your favourite workspace setups for different tasks and easily switch between them. Additional controls now make it possible to avoid flowing text onto both sides of a curve and to hide overflowing path text if desired.

You can now change the color of the bleed and margin guides in your documents. When opening an Affinity document with artboards in Publisher, it will no longer automatically prompt to convert to spreads. It will open as an artboard document, but you can convert at any time through the option in the pages panel. You can now see and edit the scale percentage of any placed files in the context toolbar previously only available for images.

The curves adjustment now gives X and Y readout values for each node on the graph, allowing you to make incredibly precise numeric adjustments. Dodge and burn on masks and use brush tools with blend modes.

Gives you fine tonal control when masking. Bookmarks provide a listing of flagged content present within a PDF document and are a great tool to save digital readers time as it allows them to skip to certain parts of a document, such as an order form. They can now be added via the Anchor Panel or automatically generated from a Table of Contents. You can now use a selection of destructive filters on mask layers, including blurring, sharpening, distortion and noise.

Works on mask layers, adjustments, live filters, fill layers and spare channels. When you connect your iPad to an external monitor, you can now configure your two displays separately to have one showing your document without the user interface, and the other showing your normal workspace. This allows you to zoom in and work in finer detail on one display, while viewing the final composition on the other. New benchmarking option lets you run a series of vector and raster operations to measure the speed of your device.

Separate CPU and GPU tests are performed, giving you a clearer idea of how they will both contribute to performance as you work. You can also select an area of a mask to convert into an intensity brush.

You can still choose to start the drag from the top left of the object if you wish. Improve signal-to-noise ratio by stacking multiple exposures together to bring your astrophotography to life. Add a fixed size bitmap layer that repeats across your entire document.

These pattern layers can be painted on, masked, manipulated with filters and transformed non-destructively — all while you watch the resulting pattern come to life in real-time. Edit layers simultaneously by linking them. Useful and powerful feature, especially for pixel artists and also for applications where the output must not be antialiased. All 1. Three professional, editable and print-ready templates.

All supplied in both US letter and international A4 sizes with a commercial license. Three texture packs from MiksKS, including 20 vector and raster ink stamp textures and 30 raster paint roller textures supplied as. All supplied with a commercial license. Four overlay packs by Paper Farms, including 20 fog overlays, 60 snow overlays, 35 rainbow overlays and 20 rain overlays.

All supplied in. Get the Memento pack by Pixelbuddha, comprised of 35 vector and raster brushes including scatter, noise, hatch and shadow also work with pressure too , plus 12 accompanying textures in. Add grunge effects to your compositions with dust brushes and overlays from xresch. Welcome to Affinity 1. Performance improvements Expect big performance gains when working with large complex vector documents in all apps as well as much faster IDML import in Publisher.

Select same Match attributes such as fill color, stroke color, stroke weight, transparency, blend mode or shape type by selecting all objects in your document.

Package desktop only Collate your document alongside all used image and font resources into a folder. Contour tool Effortlessly add a contour to any object or increase the width of single open curves with this powerful new tool.

Add live liquify layer Liquify operations can now be done non-destructively or applied over the top of a load of layers rather than just on a single pixel layer.

Add path text You can now create text on a path in Affinity Photo, just like you can in Designer and Publisher. Linked images and resource manager desktop only You can now link resources in Designer and Photo just like you can in Publisher, opening up collaborative workflow possibilities and reducing document file sizes.

Select object Organize layers more efficiently by selecting all objects of a certain type all symbols, all pixel layers, any shapes without a stroke, etc within your document to make editing them even easier. Convert pixel layer to image node Instead of remaining embedded within the document, any pixel layers you have in Affinity Publisher can now be converted to an image, which can also now be linked or packaged as a resource.

New divide blend mode This new feature opens up creative and practical techniques like correcting color casts, enhancing infrared imagery and augmenting live filters. Content sync of store purchases You now have the ability to link your apps with your Affinity account and download all of your content from the store directly to your apps. Flattened bitmap representation used for all PSD files In addition to our already amazing PSD handling, when placing a PSD, Affinity Publisher now uses the flattened bitmap representation in the file rather than interpreting the file content itself.

Studio presets for the UI layout desktop only Save your favourite workspace setups for different tasks and easily switch between them. Path text improvements Additional controls now make it possible to avoid flowing text onto both sides of a curve and to hide overflowing path text if desired.

Configurable bleed and margin guide colors desktop only You can now change the color of the bleed and margin guides in your documents.

Artboard conversion to spreads now optional When opening an Affinity document with artboards in Publisher, it will no longer automatically prompt to convert to spreads. Placed scale for all placed files desktop only You can now see and edit the scale percentage of any placed files in the context toolbar previously only available for images. Curves numeric field controls desktop only The curves adjustment now gives X and Y readout values for each node on the graph, allowing you to make incredibly precise numeric adjustments.

Blend modes for mask layers Dodge and burn on masks and use brush tools with blend modes. PDF bookmarks Bookmarks provide a listing of flagged content present within a PDF document and are a great tool to save digital readers time as it allows them to skip to certain parts of a document, such as an order form. Use filters on masks You can now use a selection of destructive filters on mask layers, including blurring, sharpening, distortion and noise.

External display support for iPad iPad only When you connect your iPad to an external monitor, you can now configure your two displays separately to have one showing your document without the user interface, and the other showing your normal workspace. Benchmarking New benchmarking option lets you run a series of vector and raster operations to measure the speed of your device.

Stacking improvements for astrophotography desktop only Improve signal-to-noise ratio by stacking multiple exposures together to bring your astrophotography to life. Pattern layers Add a fixed size bitmap layer that repeats across your entire document. Linked layers Edit layers simultaneously by linking them. Hierarchical control of antialiasing Useful and powerful feature, especially for pixel artists and also for applications where the output must not be antialiased.

Free new content All 1. For desktop. Affinity Publisher. Affinity Designer. Affinity Photo. For iPad. Affinity Designer for iPad. Affinity Photo for iPad. Buy now – Visit the store How do I update? We no longer support Internet Explorer.

 
 

 

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Between educational foundation 5. Attending short term training This is where the Divemaster Training falls in 6. Journalist that already has permit from the authority 7. Non-commercial movie production that already has permit from authority 8. Conducting business conversation such as sale and purchase of goods and services as well as production or goods quality supervision 9.

Giving speech or joining non-commercial seminar in term of culture, social, and government, after getting permit from the authorities Joining non-commercial international exhibition. You must apply and receive the visa before you enter the country. The B visa can be applied for in almost all countries that has an Indonesian Embassy. Passport valid for at least six months at the date of entry. A copy of the main page of the passport.

A copy of the page with the entry stamp in a country where you apply for a Visa. Copy of ticket to Indonesia Some consulates may even ask for a return ticket out of Indonesia after 2 months — the initial duration of the Visa. You will also be needing a few extra things, which any agency in Bali can help you out with.

A sponsorship letter 2. A letter of guarantee 3. Photocopy of their ID. Some consulates may also ask bank statement to guarantee availability of funds for covering your expenses in Indonesia. So, you should ideally be contacting the embassy before applying for the visa, to ensure that you have all the documents required before applying.

Once in Indonesia, you need to get in touch with your agency again, who will help you schedule a visit to the Immigration office, where you have to go and give your biometrics. Before the 60 days expiry, the visa needs to be extended, which you can do it personally by visiting the immigration office. In other words, every design activity includes a designer subject and a designed object.

Designer subject, with its mental abilities, removes the given object from the three- dimensional natural order and places it into a design world. In this respect, even the simplest activity of knowing, described as converting something perceived by the senses into an information object, is a design.

With another definition, the design should not be considered as a model, pattern or embellishment. It should be accepted that a design must have a structure within itself and a planning behind this structure. The phenomenon of design is the source of all arts. The design has a quite precise and also complex structure. Design can be mentioned only where planning is involved Becer, It can be accepted as an act of designing the way that is applied to reveal the phenomenon of design because the act of designing involves all activities related to the organization of the structure to be formed.

Due to its the various concepts and references, a design can communicate in many different ways and progress at different levels.

Every design element communicates with a target audience, but because of the differences in how people perceive and interpret the data, messages may not always be identifiable, acceptable, or understandable at first sight. Therefore, design can be seen as a discipline shaped by a group of different and eclectic influences from both past and present, which determine the choices and decisions made during the formation process Ambrose, Gavin, In this context, designing can be expressed as the development of ideas in the mind resulting from different effects, the designing of them and then converting them into a disciplined action.

To create a design, visual design elements such as point, line, tint, color, texture, form, scale and direction are needed. These elements, separately or all, form the visual images. A writer needs words to write, a musician needs notes to compose, and a visual designer needs design elements to solve a particular problem with a visual language Hashimoto, Additionally, design elements provide the works, designed by visual designers, to be perceived visually accurate and satisfactory.

Point Point is one of the preeminent design elements. Point is a dynamic element, it may vary; It can turn into a straight line by combining itself during a composition which is formed, or it can lengthen or shorten.

When the point is used alone, it gives an immobility effect. This effect changes into dynamism as it increases. In this context, it is possible to say that the point, the smallest design element when it is used alone, can affect the design in terms of both form and content.

Figure 1 Point shalom3, Line Line, which is one of the basic design elements, can have various features such as straight or curved, thick or thin, continuous or dashed, grainy or sharp. The lines also convey several messages depending on their position: Horizontal line communicates: Serenity, Vertical line communicates: Dignity, Diagonal line communicates: Vitality, Curved line communicates: Elegance, may communicates these messages Becer, The line may create either a balance or imbalance between the objects composing the design depending on how it is positioned.

For instance, it can be observed that the balance between them will be lost when one or several vertical lines are placed between balancedly repeating linear objects on a horizontal plane. Value Tint is determined by the amount of light reflecting from a surface. In this context, tint can be described as the usage of color in bright or dark form due to the effect of light. The tint often used on design surfaces are the variations of gray or the shades of black. Color The effect of light impinged on eyes after striking an object is called color.

When the light strikes an object, the object absorbs one of the seven colors in the light, and then reflects the others, so that we see that object in the reflected color.

This is the reason why dark and white are not accepted as colors; black absorbs all colors while white reflects all of them. Consequently, colors, one of the most significant design elements, exist with light and create different effects on people. Some of these effects can be described as personalized while some are described as generalizable.

The stimulatory effect of warm colors can be shown as an example of generalizable effects. There are 3 primary colors which are red, yellow and blue. The primary and intermediate colors form the set of standard colors together Becer, When the case is design, every color corresponds to a certain wavelength of light, but there are several describing methods developed to express the color concepts better.

The color concept can be reduced to changeable three main features. The first one of these features is the color tone.

Color tone belongs to a specific color and helps to distinguish that color from others. Color tones are consisted of different wavelengths of visible light. For instance, mostly yellow and orange tones will be used on a Naturmort painting themed a forest in fall. The second feature, saturation, refers to the purity of color, and it is expressed by the intensity level of gray color within the image. As the saturation of a color decreases, the intensity of the gray within increases, and the color gets paler.

Color saturation may vary relating to the message given by the designer. Accordingly, if the designer designs a contemporary work, he or she will prefer more saturated and vivid colors; however, if it is a retroactive work, he or she will prefer more matte and sepia colors.

The third feature, brightness, is used to describe the level of darkness of a color. The brightness of a color can be changed by mixing that color with white and black in different amounts Ambrose and Harris, In this context, the brightness varies according to the intensity of feeling in the message to be aimed to be given through design.

Texture If there is a formal order based on repetitions, on a surface, it can be mentioned about a presence of a texture there Becer, The texture may vary depending on the features of materials. They can be flat, rough, matte, glittery or colorful materials. In other words, in the design, texture can be defined as the effect left in the visual perception by the shapes on the surface of objects.

Texture is divided into two in terms of perceiving: Visual Textures: It is the textures obtained through vision, not by touching the surfaces. Accordingly, a motif work drawn on a glossy paper can be an example for it. Physical texture is the texture effects obtained by touching the surfaces. For instance, the adorning techniques used on book covers lac, embossing give texture to the paper. Form Every object in nature has a geometric shape constituting its outer appearance.

Form is a feature that provides an image to be perceived through the sense of sight or touch Samur, Form also depicts volume, mass and the three-dimensional look that an object has within the area. In this context, form can be characterized as the physical look in which objects are perceived.

For example, when the book object is mentioned, it is visually perceived as an object with a rectangular form and shape.

Scale A graphic design product always consists of visual elements with different and certain sizes. As the sizes enlarge, the effectiveness and perceptibility increases Becer, In this context, in design, the smaller sizes mean the decreasing effectiveness and perceptibility.

Scale is a significant element for the physical and visual hierarchy between the objects of a design. Direction The position of the objects taking place in the composition which consists of the design, is determined according to the direction decided by the designer. As positioning the objects in different directions creates a dynamic sensation regarding the design integrity, positioning them in same directions creates a monotony.

Yet, in graphic design, perceptual integrity must exist as well as visual integrity. The design principles can be explained by the following seven principles below.

The designer must apply the design principle or principles which will be solution, after doing research and determining the problems of the composition to be created for his or her work. These principles create the visual and perceptual integrity in the composition. Balance The principle of balance in design can be defined as neatly application of the elements such as color, form, and font, between the objects in the composition constructing the design.

With other expression, it is the equal distribution of the visual weight in the design Lauer and Pentak, Becer, defining the design with the balance principle as a design at peace with itself, also states that there must be a balance between the composition elements in the design as every design a movement elements within it. It is possible to mention about two types of balance in the design; Symmetrical Balance and Asymmetrical Balance.

Symmetrical Balance: Symmetric balance is one of the design principles, which is often consulted by the designers today and in the past. It is possible to see the reflection of the concept of symmetry. The human body is the most explicit example of it. Symmetrical balance is defined as a general structure created by an imaginary line or balanced or proportional parts to the plane Becer, Asymmetrical Balance: Asymmetrical balance has a dynamic structure contrary to symmetrical balance.

Randomness and arbitrariness are in the forefront of the asymmetrical form of the composition establishing the design. It is defined as the dynamic equality existing in the balance and order between the objects which are not equal or similar to one another in the design composition. That is to say, it is the lack of balance between parts of the whole, which means the lack of symmetry Williams, Focus Point Focus point is one of the efficient disciplines applied by the designer to convey the intended message effectively to the viewer.

It can be defined in the design as the point that gathers the visual attention. It is the situation that one of the elements or a group of the elements surpassing or being dominant on the others by the aspects of color, texture, scale, value.

Contrast It is the case of inappropriateness between the composition elements. However, it is not a coincidental inappropriateness, but rather than a preference by the designer to bring a visual interest to the design. The contrast feature in the design arises from the differences of the objects in texture, direction, color, texture, form and scale. For instance, an art lover looking at the painting is able to compare the brightness or darkness of the colors, or the sizes of objects in that painting through the contrast discipline.

Repetition Repetition is based on the correct usage of visual hierarchy in the design. The case of the elements such as color, form and scale, being transitive within the inner dynamics reveals the repetition in the design. In this context, if the eye can continuously transit between the objects in the design, it can be mentioned about the repetition in that design. The designer must provide the repetition to involve the viewer in the design by gathering his or her attention.

The amount of repetition is to be limited on a scale, otherwise, it will cause a monotony in the work. Unity Unity is probably the most significant discipline among the design disciplines. The objects with the same basic form, texture, size, color or message create the unity in a design Becer, In this context, the visual and perceptual effect left by the design is directly proportional to the unity discipline within the design. According to Becer, there are several methods applied by the designer to create the unity: Border: Borders enclosing the surface of the design is used for creating a unity.

Therefore, the similarities size or style can lead the design to the unity. As a result of this, the viewer can establish a unity-based bond between the independent units by realizing this similarity. White Space: It is possible to create a unity by leaving white spaces in the required parts.

Axis: One of the most common methods to create a unity on the graphic design surface is to use an axis. The roof of a surface of a design is consisted of three or more horizontal and vertical axis, but at least two axes is a must. Axis are used to align the image and typography. The Three-Point Method: Designer can use three focal points determined on the design surface, to connect the independent units of the design. The eye can perceive the design as a unity by combining the three objects on a surface through imaginary lines.

Proportion and Visual Hierarchy The principles of proportional and visual hierarchy in the design are the principles towards visual perception of the viewer. The proportion is always a problem that encountered when combining two or more visual objects on the design surface. The designer tries to construct variable structure in the proportional relations of the visual elements as the designs in which the width equals to the length, or the colorful one equals to the colorless one, or one scale equals to the other, seem dull Grafikerler.

Visual hierarchy refers to the scale of visual elements according to the message to be emphasized in the design. In some designs the photograph is highlighted while in some typographic elements, color or even white space on the surface is highlighted. Dynamics relations can be established between the elements in the surpassing conflict within the hierarchical structure Becer, 69 — In this context, the types of design and the areas of use in which design principles are applied can be explained as follows; Graphic design, Industrial design and Environmental design.

Thus, they have a planning. Designing includes all activities related to organization of the structure and product to obtained.

Graphic Design Graphic design is a method of visual communication. It is to convey a certain message or service to the target through visual elements such as poster, press release, package, book, social media poster, banner, magazine, brochure, logo and so on. Industrial Design Industrial design is to develop the products aimed at the ultimate user theoretically and redesign them as new products, regarding the functionality, appreciation and needs of target audience ETMK, Environmental Design It can be defined as a design principle with a wide application area involving building, landscape, indoor and outdoor design.

Visual Communication Design And Its Features In our age, the increasing competition environment with the advent of technology can be seen in the field of visual art as in many other areas. The aim of Visual Communication Design is to combine technological advancements with design culture and to render new products in this context. In other words, it focuses on the visual language of the communication, and while creating that visual language, it benefits from the modern communication mediums, system and digital technology.

Hereby, it aims to forward the product to the target audience in the shortest and best way. Visual communication designer works on the interpretation, editing and visual presentation of the messages. These are: method design , purpose communication and tool imagination Frascara, 3. It can be said that the concept of visual communication design change with the introduction of the computer into our lives.

Visual communication applications have gained speed with the use of developing sectoral programs by people engaging with plastic arts and designers Demir, Based on these definitions, visual communication design can be defined as the visual narrative style in which human beings can express their feelings, thoughts and actions throughout history. Visual communication design, which has acquired a new dimension with the development of technology, is expressed in different narration styles.

The Definition of Visual Communication The visual aspect of communication actually has come from the past to present, and it has been in many various conveyances compared to the period which had only visual messages. In other definition, communication is the conveyance of information, opinions, manners or emotions via several signs from a person or a group to the other one or others.

Besides, communication is a process that participants create a message and share this message with each other in order to achieve a mutual understanding Mutlu, In this context, as it also can be understood from its name, the visual communication helps understand and interpret the intended messages to be given with non-verbal communication, through eyes which is the one of our sense organs. The visual communication explicitly reflects the message composed by combining visual codes, and conveys it Ekim, In this regard, the visual message intended to be created effectively composes of expression narration , abstraction and symbolism.

Expression is any message we see around us. In visual communication, abstraction is transmission of the meanings lying beneath the existing expressions in the simplest form. The visual process is a system based upon interpretation of the given messages, and also, the process called perceiving is actually the abstraction itself. In visual communication, primarily an eye, and then a brain interpreting the data perceived by the sense organ, is required Parsa, At the same time, symbols are the most important communication tools addressing to the human sight.

They can be composed by simple or complex shapes. These shapes can be formed by numbers, letters, geometric shapes, a living in nature, or the combination of all these Netvent, In this sense, as a visual communication design element, illustration is required to be explained.

Designers create and communicate through visual means to influence everyday life for individuals, communities and societies. Visual Communication Design relies on drawing as the primary component of visual language to support the conception and visualisation of ideas Sheko, Visual communication and design focuses on understanding and applying drawing techniques and design practice to communicate design ideas.

In this context, it can be stated that everything visible is visual. To make messages or ideas more comprehensible, various manuel or computer-based methods are used in visual communication design such as two-dimensional or three- dimensional modelling, depiction or drawing.

Illustration comes from the root of “lustrare”in Latin and its meaning is “make it understandable”. In other words, it is a “text” or the name given to “visual entities” contained within the subject. Its main purpose is to explain an idea more effectively and efficiently, and clarify. Like a map or diagram, the illustration informs explicitly without hiding something Gikonv, The people illustrating the concepts are called illustrator.

In this context, the illustration can be regarded as a visual communication element as it is the type of picture that describes and interprets the verbal message or a concept in visual language. The visual conveyance of the message in visual communication is essential in the illustration as well. With a wider definition the illustration is a type of painting in which an idea, an object, a text and an event are portrayed sometimes as they are or sometimes with interpretations.

It differs from the painting with its message-sending feature. The illustration needs to be expressed and along with that, communication is also required. To communicate with what is expressed creates the illustration Dursun, Illustration which can be termed as a type of painting uses materials and techniques used in the art of painting.

The difference between illustration art and painting art is related to the task assigned on it. The illustration has been applied with varied methods from the first day it is used to the present. Illustration methods which are mostly produced can be stated as Conceptual illustration, Advertising illustration, Character and Portrait illustration, Book illustration and Digital iIllustration. Conceptual Illustration Concepts and the meaning of these concepts with the conveyance of the message compose the conceptual illustration.

Many concepts can be treated such as nature, love, death, contrast, deception, superior, judgment, fellow, enemy, lie, monotony, attractive, outsider, education, universe, capitalism, consumption, goods, politics, freedom.

Descriptions can be simple or they can be detailed as well. It is possible to make use of traditional art disciplines as well as experimental ways Dursun, Illustrations play an important role in the creation of surreal images, the sense of humor, naturalness and creation of an intimate atmosphere. Illustration can describe a situation in a clear, dramatic or entertaining way. Character and Portrait Illustration To design a character with portrait design is a common type of illustration.

Particularly to reflect the psychological state of the characters in book illustrations and to depict the character of the subject related to social developments in media are the fields that this type is usually applied Dursun, It is a field that allows fantastic depictions and children to force their imagination.

The child allows and tolerates this situation.. Among the most important advantages of the digital illustration to an illustrator, to evaluate a large number of modifications in a short time and to make color adjustments are the top on the list.

In works produced in digital environments, artist can benefit from traditional object and make it as a part of his or her work. After the image is transferred to digital environment through camera method or scanners, that work becomes a part of digital environment.

Processing, transferring and finalizing the image is achieved through some digital methods Dursun, The most preferred techniques in digital illustrations are vectorial-based and pixel-based digital illustrations. Basically, no matter which technique is used or how it is done, if the intended message is given correctly and the desired effect is created in an illustration work, it has achieved its aim.

Illustration has been used as an limning element in Turkish culture going back centuries. In Central Asia, in the pre-Islamic Turkish culture particularly in the Uyghurs , wall painting and miniature art were developed significantly. Turkish miniature art has been a branch of art that produces superior works such as the printing and painting art developed in the west.

To make the intended messages understood and perceived in the visual communication process, varied styles and movements have been put forward by the designers. The common feature of these movements is the similarity of the benefited design principles.

Gestalt theory is one of the mentioned movements. Visual Perception and Gestalt Theory Perception can be defined as the situation of transmitting objective world to subjective conscious by senses. In other words, perception is the design of the world image created by senses, occurred in the conscious.

What is perceived is the reality of objects, which is seen and accepted by individual Derman, Perceptions are shaped by physical, cultural features of the perceived, and psychic, physiological, cultural, personal of the perceiver. This leads to the different evaluations of the perceptible features of the objects by different people Derman, Light is necessary for visual perception, it can be considered even as a part of the object which is perceived.

Visual perception cannot be mentioned in an environment without light because visual perception level is as much as the level of the light reflection to the object. Therefore, light is mandatory for visual perception process. Besides, to sight sense to be realized, the eyes have to be open, focused on a certain point, the layer behind the eyes has to react to the light, the optic nerves needs to convey data to the brain.

If any of these conditions remaining unfulfilled the sight sense is blocked. Consequently, it can be said that the knowledge obtained about reality, is based on the perceivable features of objects and the interpretations of them Derman, In virtue of Gestalt theory, new methods have been formed in the subjects of perceiving, learning, memory, recalling, problem-solving.

From this perspective, there is a close link between visual perception and Gestalt theory. The mind somehow fills the small gaps in a way that creates a logical unity. From the point of Gestalt theory, the background of a shape has also a strong effect on perception. The simplest example is the brightness – darkness contrast. It also depends on the stimulation of its environment. The same gray frame appears whiter on the dark background, and blacker on the light background.

The other significant feature is that the objects tend to have stability while the features of the stimulus constantly changes Ana Britanica, According to Gestalt theory, there are several main principles for shapes to be perceived as unite.

Figure 9 Proximity Babich, Figure 10 Similarity Spencer, Closeness: It is the case that when design items are missing, on the basis of past experience and visual understanding, the others are perceived as a whole instead of being separated in order to fill the gaps.

Figure 11 Closeness Spencer, Figure 12 Symmetry Lile, Continuity: It is the situation that the points or lines on the same direction on the design surface are perceived as a whole.

In other words, eye sees the design with a visual continuity due to the similarities and hierarchical order between visual elements. Comprehension and Interpretation in Visual Perception Visuality is the shortest and most effective way to communicate Denli, Since the early periods humankind have started to communicate through images. Even in the ages before the invention of writing, people developed a narrative tool among themselves by drawing shapes.

It is figured out that in the caves of BC Altamira Spain and BC Lascaux France , a slice of everyday life had been treated in the human and animal figures Tepecik, As stated in the examples, it is understood that in these mentioned periods, people had striven for comprehending and interpreting their daily life by figurative drawings.

In this process, the designer seeks to emphasize the communication design in visual integrity in form of photography, drawing, illustration or painting. During thid research designer uses various of sign system. There are many systems consisted of a series of signs lying beneath on basis of either visual or verbal communication.

The necessity of scientific examination of these signs, and the examination of the ways how meanings are generated, lead to emergence of semiotics Denli, The concept of semiotics should to be examined at this point.

According to this, Mehmet Rifat defines semiotics as a system established by natural languages used by people to communicate through their knowledge e. It is known that the concept of sign is first stated by the Swiss linguist Ferdinand De Saussure.

According to Saussure, the concept of sign is formed by signifier and signified. He engaged with the acoustic aspect of the signs as he was a linguist. Saussure states the signifier, which is one of the components of sign, as a physical concept, and the signified as a cognitive concept. Ekim, Berna, The other important pioneer of semiotics is undoubtedly the American logician, philosopher and mathematician Charles Sanders Peirce.

Peirce put forward a theory related to both linguistic and non-linguistic signs and called it “semiotic” Rifat, 30, Every sign actually refers to one another. Human being is also a chain in the string of signs formed by adding one another from the past Akerson, It addresses somebody, that is, creates in the mind of that person an equivalent sign, or perhaps a more developed sign.

Peirce classifies signs as three types which are index, symbol, and icon. Index is the sensory signs can be directly perceived by eyes, ear, or nose, and presenting in nature. In another definition, it is defined as the signs that lose its feature composing it when its object is removed, but which don’t lose it when the interpretant is missing Rifat, The case of that dark clouds appearing in the sky is the indications of rain can be stated as an example.

Symbol is unnatural signs created by humans. Rifat defines symbol as the signs which lose its feature forming it when there is no interpretant. That is, symbol is a sign based on agreement between people Rifat, For example, “no smoking” picture is accepted as a symbol sign with an agreement between people. Figure 17 No Smoking symbol Clipartmax. For instance, a line drawn in pencil that stands for a geometric line.

That is to say, icon directly represents and animates the object that it indicates. From this point of view, a painting, a pattern, or a photograph carries such a feature. Consequently, the icon is in a similarity relationship to the object which it points to its existence. The indication of a telephone icon to the telephone which is a communication tool.

Figure 18 Telephone icon OpenClipart. Another important representative of semiotics, the French philosopher Roland Barthes, tries to highlight the ideological aspect of particularly popular culture. Barthes, just like Saussure, states that sign is formed by the signifier and signified. For Barthes, a sign is composed with a signifier and a signified.

Signified is one of the two connecting elements of sign. The only distinctive feature that makes it the opposite of signifier is that the signifier has qualification of an instrument. Objects, images, behaviors, etc. The only distinction that separates the signifier than signified is that the signifier is an instrument, it must have a material. Barthes, 40 Signifiers creates the expression while signified creates the content Barthes, Barthes divides the plane of expression into two categories as denotation and connotation.

Denotation refers to lexical meaning of sign, and connotation refers to its associative meaning. That is, denotation states what is photographed, while connotation states how the object is photographed. Barthes describes the relation of signifier and signified perceived in denotation as the first level.

In the second level, there are connotations formed formalistically based on culture, and the myths associated with context. The visual elements used in the designs express the desired signs, the meanings lying under these signs are indirectly conveyed to the target audience through several messages. Myth, in which sense that Barthes uses, is the second-level interpretation.

When any material, action, action series, posture, gesture, image, style, social situation, or a sign or a sign set is given a general culture meaning, the mythical meaning emerges. On the basis of these definitions, it can be said that myths are some kind of associative narrations, thus, they can be interpreted in the aspects of culture, economic and social.

A classroom desk bringing the class to mind; a yellowed leaf suggesting of autumn, or snow referring to winter in the mind, can be examples of it.

Metonymy is based on continuity. For this reason, metonymy seems more natural than metaphor. In some metonymy, a piece actually stands for the whole. Therefore, success in the management of consciousness is easier through metonymy. In metaphor, there is an associative deduction with a sensory sign. That is, it can be described as showing a concrete object with the purpose of expressing an abstract concept.

The olive branch expressing peace and the leaves of plane tree expressing autumn are examples of it. The olive branch and plane tree leaves used in the examples refer to the signifiers, and the concepts of peace and autumn refer to the signified. In addition, information about the current state of Micro Art in world and Turkey and its development are included. Metodology 3. The research is determined according to the qualitative research data and the one-to-one interview method is selected to obtain information related to the subject of the research.

Before the one-to-one interview, interview questions were sent to Micro Art artist Hasan Kale to make an interactive interview and ensure him to give sufficient answers to the questions. Research Objective This thesis was conducted with the purpose of increasing the awareness about Micro Art by examining it with an academic perspective.

The current situation of Micro Art is examined through the one-to-one interview with the artist Hasan Kale, orienting on the recognition degree of Micro Art and its future. The aim is to introduce Micro Art more and to suggest that it is a modern art discipline. Gestalt theory and semiotics theory compose the theoretical framework of research. Besides this, the definition, characteristics, historical development of Micro Art, and the important Micro Art artists in the world take place in this thesis.

Also, its situation in Turkey has been discussed by one-to-one interviews with the Micro Art artist Hasan Kale. As a result of these evaluations, it has been suggested that Micro Art is an art branch with modern discipline. Research Method The method of the research comprises the literature review graphic design sources, books with art content, journals, articles and theses from data gathering techniques, and the one-to-one interview method from qualitative research methods.

Two interviews in the varying period between 80 and minutes were held with the Micro Art artist Hasan Kale at different times, based on voice-based, face-to- face, and by means of voice recording device. The interviews were conducted with 16 open-ended and fully structured questions. In line with the flow of the interview, the interviewee was given the opportunity to comment and thus, new questions were enabled to be derived.

As a result of the artist’s answers to the questions in the interviews, it has been deduced that there are problems in the matter of recognition of Micro Art in Turkey. Moreover, it has been concluded that Micro Art being an art discipline requiring a lot of effort rather than talent, is the main reason why it is not being preferred by many artists.

Research Problem The main problem of the research is to examine Micro Art from the visual communication design perspective in theoretical framework, and to receive opinion on the development of Micro Art in Turkey and determine how this art is carried out. In accordance with this, after investigating the artists engaging with Micro Art in Turkey, Hasan Kale was chosen as the main case, who is known with his works at national and international level and performs the first Micro Art popularly in Turkey.

In addition, the validation of the hypothesis of the study was limited by the implementation of Hasan Kale. In this context, the research was limited to the one-to-one interview with Hasan Kale, visual communication design and literature review related to Micro Art. In advance of the one-to-one interview with the artist, a question template with 16 questions, was created for the purpose of the research.

Correspondingly, in the appendix chapter of the research, the question asked in the one-to-one interview with the artist and the answers of the artist were given in detail without any additions or extraction. According to this, it should be taken into consideration that the possible deficiencies and limitations that may arise from the one-to-one interview method, may have an impact on the outcome of the research.

With another expression; Micro Art is a genre of art where paintings, sculptures and sketches are created on a much smaller scale than is the usual standard of these types of art. Some can be the carving out of a section of pencil very carefully and over time manipulating the led and wood to sculpt an object or scene, and the same thing applies to Micro painting or drawings.

Therefore, Micro Art is a sector includes every part of the world on project basis. I believe in that Micro Art creates a brand-new narration language. For this reason, I also firmly believe that the art has a unifying feature. It removes the big-small concepts between people since they see the necessary details on a small object rather than the big ones; thus, it becomes the main purpose.

I actually find this situation quite beautiful. Micro Art in World Micro Art is generally seen in sculpture around the world. It appears on the tiny needle eyes, nail heads, hair strand, or as very tiny sculptures made in different areas. If you accept it or not is not important.

What the world accepts, whatever you do, is art now. Micro Art is an art branch and it is an art movement all over the world. I started my journey ignorant of all these 25 years ago. Yes, Micro Art is an art and its ways of expression are incredible.

Regarding this, Hasan Kale states that an artistic expression widely accepted by large masses in the world should be accepted as an art movement or art branch.

Hasan Kale also argues that Micro Art is an art branch and an expression way accepted in the world. It is known that various artists in the world make miniature sculptures and differently drawn Micro Art works, on varied objects and with different styles and themes. The artists have rendered different works on Micro Art in the world are explained below. Jonty Hurwitz Jonty Hurwitz creates nanosculptures that cannot be seen by the human eye alone; rather, they can only be seen through the screen of an electron microscope.

Trust by Hurwitz is the smallest artwork to be created by a human: it measures 80 x x 20 microns a micron is 0. Like Willard Wigan, Trust is also place in the eye of a needle, or even on a single strand of hair Jagodzinski, Picture 5 Eye of Needle 2 The Guardian, Slinkachu began making street installations in when he was looking to find a creative outlet outside of his day job. Intrigued by urban art, Slinkachu aimed to interact with the city but in a manner different than graffiti.

He began by leaving miniature train sets around London for the city dwellers to discover Jagodzinski, Ghetti is able to create incredibly detailed micro sculptures, typically using only the tips of pencils. Particularly impressive is the fact that he relies on very basic tools: a needle, sculpting knife and razor blade.

Initially, Ghetti specialized in sculpting everyday items Alexander, Picture 8 On the Pencil Tip- 1 Steps, Picture 9 On the Pencil Tip – 2 Steps, Jon Almeda Jon Almeda is a self-taught ceramicist whose detailed work has managed to charm audiences with their unique proportions and dimensions.

He creates miniature ceramics that typically follow a one-inch scale and are fully-finished pieces that are often painted, glazed or even carved. Having an affinity for scale, Jon has also produced oversized creations but was more drawn to the challenge in creating perfect miniature replications, a process he believes has made him a better potter overall Asianpaints, Picture 11 Micro Accessories almedapottery.

Tanaka Tatsuya Japanese artist Tanaka Tatsuya, has been creating miniature dioramas out of everyday objects one might find around the house.

Paired with miniature figurines, his scenes dramatically and humorously come to life Johnny, Additionally, the Brazilian artist Dalton Ghetti’s millimeter designs only on the tip of pencils, the American artist Jon Almeda’s ceramic works which are not more than centimeters in diameter and Tanaka Tatsuya’s pictures on a grain of pasta or on clothes brush, or any other object used in everyday life also suggest the different narration style of Micro Art has.

This state that audience see the details, normally seen in big picture, in the millimeter-sized works shows that these Micro Art artists are both interesting and different from other artists. Micro Art in Turkey and its Development In consequence of various wars and sociological problems at the end of the 16th century, particularly migrations from Iran and several Arab countries, the Micro Art samples in Anatolia were found as, writing verse from the Qur’an on a grain of rice being in the first place, calligraphy, illumination, and amulet writing on different objects.

In near history, as an art discipline, Micro Art works have been encountered in Turkey since the mids. The cultural wealth of Anatolia, especially in İstanbul, is seen as the foremost reason for Micro Art works to have rich content. It is not possible to express yourself without it. For instance, if everyone be a boss, businessman, industrialist or agriculturist, there will be no investment to the future.

If there is no art branch created in your country or society as an expression way to tell about 21th century, you cannot convey anything to next generations. Therefore, we have to start new trends and new things in our line. The common feature of these four artists is that they have started their art life with miniature and calligraphy arts before Micro Art.

Following extracting 6 bones, each one of 4 centimeter, to make a small box, the skillful artist shapes these bones as square by sticking them to each other with skeleton glue. The master cuts a piece of wood according to the inner base of the product expected to dry, and then move to the cover construction. The bone cut fittingly to the body part of the box is stuck with the same method again. Both the body and cover parts of the pieces ensured to be dried are sandpapered expertly, and in this way the ovality of its edges is created.

The objects passed through the sandpapering process are ready to be painted. The artist depicts the subject on it passing through his mind at that moment, and he uses Chinese ink in some of his works either. Particularly in the field of painting, he considers himself as a curious student never getting tired and an artist who aims to bring new concepts to the art which is a universal language what everyone can understand Kul, In this way, he leads his audience to be selective in perception.

It is seen that small objects are used as canvas in the Micro Art works of Mesut Kul, such as bird feathers, butterfly wings, hair strands, noodles or a shell of sunflower seed. He creates the world’s smallest works using a butterfly wing, a rice grain, a feather or even a sunflower seed instead of real canvas. His choice to use small surfaces instead of large ones leaves both fascinating and unforgettable marks.

Using his art as a point of view to the world, the artist intends to create a universal language with it. It opens a new window to art and leads its audience and artist to be selective in perception.

Within this context, it can be seen that the common point of the artists introduced above is their communication with audiences by virtue of the universal language of art, through micro-sized paintings on the differentiated objects. The artists, who bring a different perspective to the field of art and design, accept Micro Art as a form of expression against life.

The way of conveying these expression forms to people may be a composition or portrait drawn on the surface of objects such as an ordinary ceramic piece, plumage, onion skin or lemon pip. Yet both in the examination of the works and in the expressions of the artists, it is observed that the artists render their Micro Art works without any effect of a specific design theory or art movement. Being distinctly with his Micro Art and works more than , his uncommon style, and his recognition in both Turkey and the world, Hasan Kale and his works compose the main case of thesis.

Due to these features, Hasan Kale and his works have been examined in detail under a separate title. As A Micro Art Artist Hasan Kale In our very big world, it is easy to pass over the tiny things the small insects, the tiny bits of trash on our streets, the itty-bitty peels of seeds and soft and sweet leavings of caterpillar cocoons. In Istanbul, one artist, Hasan Kale, uses these tiny forgotten items as backgrounds for his micro-paintings.

Transforming the smallest and least seen items into mind-blowing works of art, spending countless hours crafting realistic paintings on surfaces most of us barely ever even see. An avid artist, Hasan Kale has been painting and drawing since early childhood in Istanbul. Now, he is famous for his micro-art.

Using his rare gift for miniature painting and drawing, Hasan tries to interpret places, things, and feelings with a contemporary edge, but based in traditional fine art practices. He can paint on just about anything and loves a good challenge. From a grain of rice, a nail head, a silk cocoon shred, a needle, a butterfly wing, a piece of candy or a seed, Hasan Kale tries to call attention to the unseen small things in this world, that we take for granted.

He opens up a fascinating dialogue about material and fine art, and perception in the art world. He teaches his skills in conferences, seminars and university courses, but his creations alone are the best lesson. By adding new detail and decoration to old objects or small insignificant items, he transforms them into valuable fine art objects, and calls attention to worlds within worlds, tiny biomes underneath our own noses, reminding us to value everything, and inspiring us to see the potential in anything Senn, Picture 27 Hasan Kale 1 Kahraman, Although he was asked in the interview with Hasan Kale, the artist did not prefer to give detailed information about his life outside of the art.

I was using oil paintings, charcoals, water color and then I met with miniature in a company. When I met with miniature in the s, everyone was doing the same things already existed, and put their own signatures under them.

At those times, I was practicing with my brushes and drinking my coffee at around 3 a. If there is no art branch created in your country or society as a way of expression to tell about 21th century , you cannot convey anything to next generations. The number of people like Leonardo have to increase. Therefore, we have to start new trends and new things in our movement. This is what I meant in the case of opening new doors.

The accord and harmony of these works are the results of an inner voice and talent. I always go with the flow after I start. Yet the final work always ends up in accord with design principles in terms of its light, the relationship of figure and background, and the balance and harmony between objects in it.

I may express this by relating it to the talent and good observation ability. Besides, to transmit a large place on a tiny object can be seen as an expression way exclusive to Micro Art. Yet apart from the other Micro Art artists in Turkey, he has been working in this extraordinary style as his domain for 28 years, converting an ordinary object into an art capsule. The other reason is that Hasan Kale is the artist who has the most work of Micro Art more than works and these works are exhibited in several international fairs and exhibitions.

Within this context, the research subject includes the examination of works by Micro Art artist Hasan Kale, in terms of visual communication design. Along with being an art work by various drawings on different objects, the aim of research is to explain how these works are also visual communication designs in semantic and formal aspects.

As a result, the design theories of the works of Hasan Kale, constituting the works in accordance with the aim of the research, have been examined with the visual interpretation approach. The visual legibility of the micro art works to be analyzed is examined in line with the basic design principles while the visual perceptibility will be evaluated according to the Gestalt Theory. General Description of The Picture: Picture composes of oil painting drawings of Fatih Mosque on the left wing of an inanimate butterfly with three centimeters width and one and a half centimeters height, Fountain of Sultan Ahmed III on the right wing, and the İstanbul Bosphorus where small boats swims in.

The picture is drawn colored on a horizontal plane in accordance with the physical form of the butterfly. The objects depicted with a realistic character draw attention in terms of color, light, form and visual order. The depicting of the figures, generally comprised of long- lasting historical places, on a short-lived butterfly gives a contrast meaning to the visual message of work in terms of time concept. The vanishing point of the work appears to be the back of the butterfly.

From the aspect of design principles: Examining the work in general, it can be seen that visual weight is on the left wing of the butterfly, and the drawings on the lower left and lower right creates balance with the drawing on the left side which is the focal point of the work. The asymmetrical balance between the objects and the internal mobile positioning of the boat figures forms a lively settlement in the design.

The unity principle, one of the significant design principles, is strongly seen in the work. The physical harmony of the basic form, color, light and texture between the mosque, fountain, boat and tree figures drawn in the composition gives an ideal unity to the composition. In line with the principle of visual hierarchy of design, the mosque emphasizes that it is the main figure in the design by being drawn bigger than the other figures. From the aspect of color choice: Seven colors were used in the drawings of the work; yellow, green, gray, black, brown, blue and white.

The yellow and black colors making up the background are the own natural colors of butterfly. The transitivity between colors used throughout the composition eases perceptibility of the intended message.

The mentioned color transitivity enables the formation of unity in design. The Analysis of the Object: The maximum life span of the butterfly, which forms the main element of the work, can vary from 4 days to months, but it is between 2 and 14 days according to several researchers Bilgio. The butterfly object has both a stylistic narrative and an ideological mythical narrative depending on culture.

Accordingly, a short-lived butterfly is seen as a metaphor of short life in many cultures. The process of butterfly being egg, cocoon, caterpillar and, finally, turning into a butterfly capable of flying is found similar to human life process as in birth egg and cocoon stage , growth caterpillar phase , and lastly, death flight phase. It is seen that this process has a mythical narrative, especially in the eastern societies. The desire of each artist to make themselves immortalize through their own works is not found in Hasan Kale in this research.

In the research, it is seen that the artist wants to convey a message with paradoxical content to the audience by depicting historical structures in particular. It is seen that the portrait work is drawn on a vertical plane in accordance with the form of rice. The visual weight of the drawing in on right side of the object.

The effect of light to the figure is given at an angle of 45 degrees to create visual dimension and depth perception in the work. The form of the figure is depicted as realistic. From the aspect of color choice: Two colors, black and white, are used in the work.

Although the contrast of the used colors separates the figure from the ground, the harmony between the colors on the visual plane is remarkable. The Analysis of the Object: It is a known fact that rice has mythical narrative in different cultures, societies and religions. Especially in the fareast, rice is very important in countries like China and Japan. One of the gods in Shintoism, the Japanese indigenous religion, is the Rice god called Inari.

It is the symbol of inward and abundance. Therefore, rice represents fertility in Japanese culture. The rice is attributed to holiness in Islam, it is believed to be created from the divine light of the Holy Prophet Muhammad. While eating it, people say salawat, and remind each other to do so. For this reason, not even a single rice grain is wasted in the meal. A dining table without rice is unimaginable Kapucu, The rice has a quite special place in Anatolia within this context.

Artists are accepted as the carriers of cultural memory in societies. Moreover, the fact that the rice grain is also its own seed represents nobility, and its breeding from a single grain represents fertility. The artwork is drawn on a vertical plane according to the physical form of the almond. The intensity of the objects depicted in the composition is gathered in the center of the ground object.

The light originates from left at an angle of 45 degrees, and with a soft effect. The light on the figures being balanced brings a visual dimension and depth perception through the work. With the mobile depiction of the birds that are above the mosque, and the boats; two minarets heading towards upper from the lower part where is the intensity point of drawings, create an inner dynamism and rescue the composition from the immobility that the mosque brings.

The drawings of figures being with visual depth and in detail give a realistic outlook to the work. It shows that there is a visual balance perception in the overall work.

The bigger depicting of front minaret and boat figures, compared to the other minaret and boat, creates a depth of field parallel to visual hierarchy principle.

For the effect of light on the figures to be perceived, brown tone and soft black colors are also used. It is seen that blue color is used on the sea surface. The ground color is straw yellow which is the natural color of object. The colors in desaturated and pastel tones appear to be chosen overall in the work. Almond tree.

Almond is one of the commonly used fruits in Turkish poetry, and it is stated that in terms of its features, the main function of almond in classical Turkish poetry is to be used as an analogy for the eyes of beloved one. Besides, almond also physically resembles to eye.

Hasan Kale refers to classical Turkish poetry by using almond object as a canvas in his work. General Description of The Picture: The design consists of the drawing of stars and planets in the outer space with the acrylic painting technique on a biscuit object with a width of eight centimeters. The drawings are in a circular form in line with physical form of biscuit object. It is observed that the main figures are planet figures in the design. They are located with regard to density-sparsity principle.

The sensation of infinity, evoked by the concept of outer space, is provided by the visual depth created by the light and color tones in the design. It is seen that the density of the objects depicted in the composition is concentrated in the lower right and lower left parts of the ground object.

Internal dynamism is given to the composition with the shooting star drawn in the center of the design. The depiction of planet figures in outer space also proves that the design is not immobile. From the aspect of design principles: It is seen that the planet figures being drawn in different dimensions constitute the visual hierarchy which is one of the design principles in the composition.

The figures are positioned according to asymmetrical balance principle in the design. In the design, that the stars are drawn according to the rule of density-sparsity rule and their overflowing out of the center focus of the composition shows that they are drawn in line with continuity principle, which is one of the most important principles of design. From the aspect of color choice: Seven colors are used in the overall design: Blue, purple, black, white, green and orange. Since the outer space composes the main theme of the design, blue and purple tones are used in the composition.

The distinction between planet figures is seen to be created by use of green, orange and gray colors.