Design Principles: The Importance of Hero, Antagonist, and Golden Ratio Points in Creating Interest and Tension

The Hero and the Antagonist in Design

In the case of my peony flower, it is the main hero of the picture. However, what should we do about those spots? They are also golden, and your brain will still catch them. Your brain will still focus on those four points, with one of them being the main hero. But what about the other four?

The Natural Law of Conflict

First of all, there is another rule: every hero has an antagonist. Like in movies, if there is one good guy, there should be one bad guy, and usually, it's Russian spies or mafia. Nowadays, it's our hackers. But this rule is also developed from a natural law of conflict, which means that everything in nature has a conflict or a fight going on all the time.

For example, in wood, there is something called "spalting," which is a war between fungi or mushrooms on a micro level. Even if the wood is spalted nicely, you can still see a country's division with a black or dark brown line between those fungi. One of the fungi conquers the most territory and becomes the hero of that piece, surrounded by other fungi. Usually, there are two or three colors, mostly greenish or pinkish, but it's always a war going on for the territory. That's nature - everything fights for territory and establishes borders.

That black line is just like a border, and they don't cross each other. Sometimes, they move territory slowly, but if it's alive fungus, the movement will continue. If you like spalted wood and wood turning, you have to dry it really well before it rots to death. They will fight until they all die, like the United States and Russia. Two superpowers think the same thing - who's going to be the superpower? Nowadays, it's one country, another day, it could be China. It's like a fight between countries, like Arabs and Israelis, which has been going on for 3,600 years. The one on the side that wins is happy, but somebody always wins. Two guys killing each other, and someone's just happy if they kill each other. The Chinese didn't shoot one bullet there, but you get the point.

The Antagonist in Design

It's important to understand that if you look at that flower, my superpower is that peony. But, like I said, every hero of design is supposed to have an antihero or antagonist. Who's the antagonist in this case? It's right there, the bad guy if you wish. Do you understand the logic? On the other hand, it starts with that movement, but it's actually right there, also important. That guy falls on a golden ratio, and that's antagonistic to that guy. It's the main problem, the main fight, the main conflict if you wish.

Is it easy enough to understand the way I'm explaining? So in every design, there are multiple golden ratio points. It's not just one flower with a few petals. You really have to hit the antagonist. If there's no fight, there's no interest. If there's no war, there's no superpower. So you constantly fight even for your life. Be healthy, who's going to conquer you? All those worms, are you going to kick them out?

The Importance of Movement

Remember about the movement. It's logical - see that swirl? We call it the loot. It starts with the loot and moves upward. It's almost supernatural. It's how the brain reads that. You wouldn't even think about it, but it looks organic to the eye because it wasn't just my expression - "Oh, express

Golden Ratio and Movement in Design

So in every design, there are multiple golden ratio points. It's not just one flower with a few petals. You really have to hit the antagonist. If there's no fight, there's no interest. If there's no war, there's no superpower. So you constantly fight even for your life.

The golden ratio points are essential in every design to make it pleasing to the eye. It's important to understand that if you look at that flower, the peony is the main hero. But every hero of design is supposed to have an antihero or antagonist. Who's the antagonist in this case? It's right there, the bad guy if you wish. It's the main problem, the main fight, the main conflict if you wish.

The movement is logical, and it starts with that swirl. We call it the loot. It starts with the loot and moves upward. It's almost supernatural. It's how the brain reads that. You wouldn't even think about it, but it looks organic to the eye because it wasn't just my expression - "Oh, express yourself. Splash it. Put some whatever like California people do." That image is the main guy, and the antagonist is going to be right there.

Remember, it's not a secondary hero; it's actually an antagonist. It's also powerful and has emptiness around it. So, is it trying to fool our eyes with someone else? Well, it's actually the direction and movement itself. You're still going to look at that loot. The loot is also a developed and essential element, not an underdeveloped one. It's a superpower, and who knows who's going to be next again? It always falls on the sinister.

In this case, the movement was on a Baroque because it was upward from left to right starting point. Remember that bus I drew? The bus going uphill. In this case, it was like this and goes up, so it grew. But your eye can logically understand that the main guy is there, then you look right there. Oh, that is actually going this way.

Conflict and Territory in Nature

Even in nature, there is always a conflict or fight going on for territory and establishing borders. For example, in wood, there is something called "spalting," which is a war between fungi or mushrooms on a micro level. Even if the wood is spalted nicely, you can still see a country's division with a black or dark brown line between those fungi. One of the fungi conquers the most territory and becomes the hero of that piece, surrounded by other fungi. Usually, there are two or three colors, mostly greenish or pinkish, but it's always a war going on for the territory. That's nature - everything fights for territory and establishes borders. That black line is just like a border, and they don't cross each other. Sometimes, they move territory slowly, but if it's alive fungus, the movement will continue.

If you like spalted wood and wood turning, you have to dry it really well before it rots to death. They will fight until they all die, like the United States and Russia. Two superpowers think the same thing - who's going to be the superpower? Nowadays, it's one country, another day, it could be China. It's like a fight between countries, like Arabs and Israelis, which has been going on for 3,600 years. The one on the side that wins is happy, but somebody always wins. Two guys killing each other, and someone's just happy if they kill each other. The Chinese didn't shoot one bullet there, but you get the point.

Conclusion

The idea of having a hero and an antagonist is not only limited to design or nature but also applies to other areas, such as storytelling and marketing. In storytelling, the hero and the villain are the main characters who create a conflict or a problem that needs to be resolved. In marketing, the hero and the antagonist can be the product or service and the problem it solves or the competition.

The golden ratio is also an essential aspect of design that creates balance and harmony in the composition. It is a mathematical ratio that has been used in art and architecture for centuries. The golden ratio points refer to specific points in the design where the ratio is applied. These points can be used to guide the viewer's eye and create a sense of flow and movement in the design.

In conclusion, understanding the importance of having a hero and an antagonist, the golden ratio points, and the movement can help improve the design and make it more visually appealing. Whether it's a flower, a piece of wood, or a marketing campaign, these elements can be applied to create interest, tension, and balance. So, next time you encounter a design, remember to look for these elements and appreciate the thought and effort that went into creating it.