Chinese Balance

MEETS

Western Harmony

by :
Leslie Zhang

  Z H E N Z H E N
ZHANG

I don’t explain, I don’t tell, I show.

 Chinese Balance Meets
Western Harmony:
The closer you look at something, the more
complex it seems to be.

The Ratio 3/7 from the Book
of Changes in Western Graphic
Design

  Preface

The Ratio 3/7 from the Book of Changes in
Western Graphic Design
The design research proposal presented to
The School of Graduate Studies Nova Scotia College of Art &
Design:
NSCAD University
By Zhenzhen (Leslie) Zhang
In partial fulfillment of the requirements
For the Master of Design
NSCAD University
Halifax, Nova Scotia
Canada
April 2018
Copyright © 2018 Zhenzhen Zhang
All rights reserved. No part of this book may be used or
reproduced in any manner whatsoever without written
permission except in the case of brief quotations embodied in
critical articles or reviews.

I embarked on this research because I was deeply inspired by the Book of Changes (also known
as Changes, Yijing, I Ching, Zhouyi or Classic of Changes. It is an unparalleled philosophical book
converging Chinese wisdom and aesthetics of harmony. In fact, the book prompted me to ask
myself: How should I act in the rest of my life? Why would people use this book for divinations?
Why does this book contain a lot of mathematic knowledge? How is the ratio 3:7, which features
in the Book of Changes, applied in Chinese culture? And how would I apply the same ratio
in Western graphic design? I read Changes when I was in China. It made a strong impression
on me that continues to this day. Most people who know Changes are aware that it is closely
linked to Fengshui, which is a Chinese philosophical system aimed at helping people live more
harmoniously with their environment. Fengshui also includes aspects of divination.
The older I grow, the more I admire our ancestors for their wisdom and intelligence. Through
their books, paintings and sayings, they teach us and give us advice on how to adjust or balance situations we are facing and how to respond to a changing world at different stages of life.
For example, the following quote from Changes is used by Tsinghua University as the school’s
motto: “As heaven maintains vigor through movements, a gentle man should constantly strive
for self-perfection. As earth’s condition is receptive to devotion, a gentle man should hold the
outer world with a broad mind.” (Tsinghua University, n. d.).
The Chinese harmonious and balanceing ratio 3:7 is seen in the Book of Changes in the hexagrams which provide references that help people make the right decisions. What I would like to
do is to apply this ratio from Changes in Western graphic design instead of the Western golden
ratio of Phi 0.618 in order to facilitate cultural communication. Further, I would like to examine
whether the application of the ratio 3:7 could help make Western graphic design more appealing and fascinating in a different way.

 Acknowledgments
As a student and practicing designer, I am indebted to my professors at NSCAD University,
where I am studying interdisciplinary design. Thanks also goes to my classmates, who provided
useful resources and were always supportive of my research. As well, thanks goes to my
teacher, Professor Rudi Meyer. What I really learned from him is to be curious and patient,
because curiosity helps me discover more possibilities in the design field, and patience lets me
do my research carefully and effectively.
I also learned things in my daily life from my parents, Jinling Guo and Xuebin Zhang, my
brother, Hua Zhang, and my friends, Jessy, Mathew, and Shelby. I appreciate all the support
they gave me during my study.

 CONTENTS
Abstract
Introduction
Literature review
Research Design
Methodology
Final Outcomes
Conclusion
Bibliography

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2
4
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29
39
61
62

 Abstract
The Book of Changes is an unique philosophical publication which contains
Chinese wisdom and aesthetics of balance. Over the centuries, it has provided
inspiration for many fields, including design. This thesis study first introduces the
objective and significance for exploring the Book of Changes, and then reviews the
existing theory for the ratio 3 to 7 from the Book of Changes. This study intends to
show that the balanced and harmonious 3:7 ratio is one of the most crucial rules
and principles used in Chinese painting, architecture and Chinese traditional
dragon patterns. Finally, the work summarizes a recent discovery of the 3:7 ratio
in Western graphic design in order to open up new possibilities, facilitate cultural
fusion, and also to experiment with it to see if it could make better design.
Keywords: Book of Changes, I Ching (Yijing), Balance, Harmony, Western graphic
design.

 THESIS
Introduction

01

Nowadays, 525 Confucius Institutes and 1,113 Confucius Classrooms have been built all over
the world (Hanban, n.d.). It is a non-profit communication institute which adhere the concept
that “Harmony is most valuable," and "Seeking harmony in diversity" from Confucius in order
to promote and propagate Chinese culture. In terms of Chinese culture, there is a book that
inspired the birth of Confucianism - the Book of Changes (also known as the I Ching, Zhouyi
Yijing or Classic of Changes). It is viewed as the root of Chinese culture and was created in the
Neolithic Age. It is not only the earliest civilized classic, but also has an important influence on
Chinese Taoism, Confucianism, Chinese medicine, writing, mathematics, philosophy, and folk
culture.
The Book of Changes is also an prominent symbol of China’s entry into a civilized society. It
represents the brilliant achievements of ancient Chinese philosophy and science and has
become an important philosophical foundation for ancient Chinese social outlook and
world philosophy, values, and ethics. The greatest achievements it leaves behind for later
generations are the scientific thinking patterns generated in "human nature" and "natural
science" according to the description in The Worldwide Influences of Yijing (2015). These modes
of thinking are the world views and methodologies for people to observe the world, understand
the world, and transform the world. For example, the German mathematician and philosopher,
Gottfried Wilhelm Leibniz developed the modern binary number system, which is mainly used
by computer-based devices and modern computers due to the inspiration of the I Ching
(BBC, n. d.).

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So, the I Ching might be the reason why a great number of scholars spend their whole life on
the study of it. One of the most attractive Book of Changes studies in the design field is the
balance ratio of 3:7 that was presented by Xu Fan when he was doing his Master’s program in
Nanchang University. Fan found the ratio 3:7 not just in the I Ching, but also from the natural
phenomena. For example, around 30% of earth is land while 70% of earth is water, the land to
water ratio actually is 3:7. People believe that the human body consists of an average of 70%
water and 30% other elements as well, which is also related to 3:7. He proposed that this ratio
can be used in design (2007, p. 13). In his dissertation, he transferred the harmonious notion
from I Ching to a specific ratio-3:7, and deeply explored the aesthetic connotation and the visual
characteristics of 3:7, which provides the possibilities of I Ching’s harmonious concept entering
the modern visual design area.
Based on Xu Fan’s discoveries of 3:7 that he explored in his study, this study will discuss and
illustrate more details about the balanceable ratio 3:7 from Yijing. This study will touch on the
appearance of the ratio in Chinese paintings, architecture, traditional patterns, mathematics
and other Chinese traditions and analyzes the Western graphic design traditions, like the uses
of the golden ratio-Phi in logo design and grid systems, to examine whether 3:7 can be used as
the golden ratio in the Western graphic design tradition.
Admittedly, Chinese culture is integrating international communication, and the development
of Chinese graphic design references the Western modes. Additionally, the cultural fusion
and cultural integration tends to be inevitable because of the scientific and technological
progress and the internet popularity. People would like to see and hear diverse opinions and
ideas on the international design stage and enjoy the creative visual feast and the marvellous
collisions among different design concepts instead of the limitation and the monotony from
the monoculture. Thus, it is interesting to see if 3:7, from the dominant book-I Ching in Chinese
culture, would bring new design possibilities to graphic designers working in the western
tradition.

3

 LITERATURE
Review

02

Hexagram Qian

The sixth yang yao
The fifth yang yao

Origins of The Book of Changes

The fourth yang yao
The third yang yao

China has a reputation as being one of the greatest cradles of civilization. An ancient Chinese
classic, the Book of Changes (also known as the I Ching, Zhouyi, Yijing or Classic of Changes), is
considered a work of dialectical philosophy that is an outstanding representative of traditional
Chinese culture as well as the source for much of Chinese civilization. Its content, which
involves philosophy, politics, life, literature, art, science and many other fields, has served as
the wellspring for countless other works, including the books integral to Confucianism which is
defined “as a system of social and ethical philosophy rather than a religion (Asia Society, n.d.),”
and Taoism which is an ancient and traditional Chinese philosophy and religious belief (Taoism
at a glance, 2009). It has enlightened the wisdom of the Chinese people for thousands of years.
Originally, Yijing consisted of three books, Lianshan (连山), Guizang (归藏), and Zhouyi (周
易), but Lianshan (连山) and Guizang (归藏) have since been lost, leaving only Zhouyi (周易).
There are two main arguments as to when Yijing was written. The first is that Lianshan (连山)
was written in the Xia dynasty (2000-1600 B.C.E.), while Guizang (归藏) was written during the
Shang dynasty (1600-1050 B.C.E.) and Zhouyi (周易) during the Zhou dynasty (1050-256 B.C.E.).
The other theory posits that all three books were written at the same time, and that Fu Xi (also
known as Fu Hsi) only wrote Lianshan (连山). According to Jung Young Lee (1975), “if we accept
the tradition, it is possible … that the holy sages who were responsible for the formation of
the I Ching were Fu Hsi, King Wen, and the Duke of Chou or Chou Kung” (p. 8). The reason why
people call it Zhouyi (周易) is because they considered that Zhouyi (周易) was written by King
Wen (also known as Ji Chang) in the Zhou dynasty (1050-256 B.C.E.).

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| Thesis Document

The second yang yao
The first yang yao

Hexagram Kun

The sixth yin yao
The fifth yin yao
The fourth yin yao
The third yin yao

In terms of the content of the Yijing, there are two sections: the first part features the
text, which is called Ching (also known as Jing or 经), while the second part provides the
explanation, which is called Commentary or Zhuan (传). In the Book of Changes, there
are 64 different hexagrams (“gua” in Chinese), each comprised of 6 solid (—) or broken (–
–) lines (figure 1). The solid lines are called yang yao (—), and the broken lines are called
yin yao (– –). Each hexagram is also given a name (gua ming), which precisely describes
the hexagrams’ characteristics. Taking the first hexagram Qian (gua ming) as an example
(figure 1), Richard John Lynn, an accomplished translator, translated the judgment
(a term of an explanation for one hexagram) as “Qian consists of fundamentality,
prevalence, fitness, and constancy” (Lynn, 1994. p. 129). In this hexagram, the first solid
line (yang yao) says that “a submerged dragon does not act” (Lynn, 1994, p. 132). All
those hexagrams are significant for the composition of Yijing as well as they give clues to
scholars to find the Chinese harmonious ratio 3 to 7.

The second yin yao
The first yin yao

Figure 1
Hexagram Qian and Kun

5

 LITERATURE
Review

02

The Importance of the Book of Changes in Chinese Culture
In general, the Book of Changes as an ancient classic literature, has diffusely and deeply
impacted on the Chinese cultural history and the Chinese ideological history. It was classified
by Confucian disciples as one of the six classics which includes the Book of Documents, Book
of Odes, Book of Rites, Book of Changes, Book of Music, Spring and Autumn Annals in the Warring
States Period (475-221 B.C.E.). In Yuan (1279-1368), Ming (1368-1644) and Qing (1644-1912)
dynasties, Four Books (Great Learning, Doctrine of the Mean, Analects and Mencius) and Five
Classics (Book of Changes, Classic of Poetry, Book of Documents, Book of Rites and Spring
and Autumn Annals) were designated as the official teaching materials, of which the Book of
Changes was the head of Five Classics (“The Status and Significance of Yijing,” 2017). Therefore,
it can be seen that in Chinese cultural history and ideological history, Yijing has a distinctly
important and irreplaceable position. This is the reason why Yijing is entitled the greatest works
among all classics, the root and the source of Tao.
According to Richard J. Smith (2012), most people usually study the Yijing from the
perspective of mathematics, symbolism, and numerology. They explain a broad range of
natural phenomena and changes in many areas of knowledge, such as mathematics, physics,
cosmology, astronomy, meteorology, biology, and geology (p. 2). Many Chinese designers and
artists directly or indirectly use features of the I Ching in painting, calligraphy and architecture,
and the origin of Chinese calligraphy is deeply affected by the traditional culture represented by
the Yijing. Zhihui Ouyang (2009) commented that “the symbolic way of thinking from Yijing lays

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the foundation of the calligraphic art; the calligraphic way of thinking reflects the spirit of the Yijing as well (
周易的象思维方式奠定了书法艺术思维方式的基础， 书法所包含的艺术思维方式又体现了周易的
精神内涵).” Also, in terms of the Chinese painting, yin and yang in Yijing is like the black of Chinese ink and
the white of the rice paper.

Figure 2
The Development of Chinese Characters

In other words, the written characters are developing on the basis of the eight trigrams from Yijing which
are fundamental trigrams that help form those 64 hexagrams. In the book Qun Jing Yao Lue (群经要略),
the counselor of the Institute of Chinese Zhouyi, Shouqi Huang (黄寿祺) said that the hexagrams and the
symbolism in Yi (Yijing) inspired the Chinese wisdom and civilization; the previous scholars thought it was
the start of Chinese education. Actually, it was the origins of Chinese painting and characters as well. (盖易
之有卦画，肇启文明，昔人以为名教之始，实际为文字与绘画之初祖) (2000, p.13).
Chinese characters developed from hieroglyphs (figure 2) which commonly are a symbol or picture
that used to explain or represent a word or part of a word. In the essential eight trigrams, every trigram
represents a certain object or thing with undivided lines which symbolize yang and divided lines which
symbolized yin (figure 3). For example, the trigram Qian represents heaven; the trigram Xun represents
wind; the trigram Zhen represents Thunder. Moreover, the eight trigrams are seen as the oldest divination
in Chinese history, so this is the reason why the symbols of the eight trigrams are mostly considered as the
origin of the Chinese characters. Thus, the status of Yijing in Chinese Culture is apparent.

Fire

Figure 3
The Eight Trigrams

Wind

Earth

Lake

Thunder

Heaven

Mountain
Water

7

 LITERATURE
Review

02

Meng

The Research Actuality of the Ratio 3:7 from the Book of Changes
Considering the status of the Book of Changes in Chinese Culture and as a kind of popular
culture, more and more scholars are starting to study Changes. Interestingly, there are a
number of artists who are studying the relationship between the Chinese aesthetics and Yijing.
For example, in Shenghu Diao’s article Zhouyi: the source of traditional Chinese esthetic thought
(周易：中国传统美学思维的源头), he studied the philosophical theory in Zhouyi (including
the idea of unity of heaven and human, the harmony and balance of yin and yang and other
connotative meaning) as the origin of the traditional Chinese aesthetic thought (Diao, 2006).
Similarly, another scholar Qianyuan Zhang in The Embodiment of Zhou Yi in Chinese Aesthetics
in Painting and Calligraphy (周易与中国书画美学) discussed how the concepts, like yin, yang
and harmony effect on the Chinese paintings and calligraphy. He is also attempting to interpret
some ancient painting books and classics by analysing those important concepts in the Book of
Changes (Zhang, 2008).

Kan

Gen

Figure 4
The Hexagram Meng

Heaven
Human
Earth
Figure 5
The Hexagram Meng

After reviewing those documents, it is not difficult to see that the Book of Changes is integral to
the study of the Chinese aesthetics. More interestingly, Xu Fan (范旭) during the research for his
master’s dissertation in 2007, discovered the ratio of 3:7 which matches the Chinese aesthetics
in the I Ching and believes it “could be the theory basis and practice instruction for modern
visual design” (p. 3). For example, the initial eight trigrams are made up of three lines (yao or
爻). Fan explained that the creation of the later six lines are formed depending on those initial
three lines (周易经卦是由三画爻组成，别卦的六爻也是在“三”的基础上构成) (p.9). Just
as Shenghu Diao said in Zhouyi: the source of traditional Chinese esthetic thought (2006), (六爻
之动，三极之道也) the movement of the six lines is the Tao of sanji (三极 or three aspects),
which means the way of balance and harmony- a key concept that related to Chinese art.
Fan pointed out that number three is the basic number of the structure which helps to form the
sixty-four hexagrams. Taking the fourth hexagram, Meng (蒙卦) as an example (figure 4), it was
constituted of two trigrams, Kan (坎卦) and Gen (艮卦), in which Kan (坎) is below, Gen (艮) is
above. According to Shenghu Diao’s (刁生虎) explanation, (周易其从本质上共同反应了一个
由天地人三才所建构的 “中和” 结构) Zhouyi essentially reflects a “harmony” composition
which is built by heaven, earth, and human beings (2006, p.62). As shown in Meng (蒙), the first
two lines (from the bottom to the top) represent earth; the third and the fourth lines represent
human; the fifth and the sixth lines mean heaven (figure 5).
Each set of two lines refers to a position in the trigrams (figure 6). Namely, the first two lines
(yao or 爻) in hexagrams are referring to the first line in trigrams (which is called start); the
middle two lines are referring to the second line in trigrams (which is called middle), and the
top two lines are referring to the top line in trigrams. That is why the number three is the most
fundamental number in Yijing.

Hexagram
Qian

Trigram
Qian

Figure 6
The Hexagram and Trigram Qian

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9

 Figure 12
Chinese Character King, Three and Seven

Figure 8
Hexagram Fu

Figure 9
Hexagram Zhen

Figure 10
Hexagram Jiji

Figure 11
Hexagram Kun

Moreover, the number seven also shows its importance in terms of Yijing from the perspectives
of numerology and mathematics. The eight trigrams experienced seven changes from Qian (乾)
to Kun (坤), then it goes back to Qian (乾) as a cycle (figure 7)(从乾到坤经历了7次变化，之
后又从坤返回到乾，二者的转换以“7”为变化周期) (2007, p.10). It emphasizes the number
seven which represents the regular changes for each hexagram.
More importantly, in Yijing, the number seven is mentioned three times, the 24th hexagram
Fu (figure 8), the 51st hexagram Zhen (figure 9), and the 63rd hexagram Jiji (figure 10). Each
time it implies the cycle that includes seven changes. For instance, in the Jiji (既济), the 63rd
hexagram, the description for the second line (yao or also known as second Yin, counting lines
from the bottom to the top) is that “this wife loses her headdress, but she should not pursue it,
for in seven days she will obtain it, as indicated in The Classic of Changes” (1994, p. 540). This
shows the importance of seven as a cycle. Nevertheless, in the 64 hexagrams, each hexagram
ends at the sixth line and each new one is created in the seventh line (yao).
Also, in Yijing, the hexagram Qian represents heaven and the horse, the hexagram Kun (figure
11) represents ground and the cow. In ancient China, the fifth day in the lunar calendar was
called “cow day,” the sixth day was called “horse day,” and the seventh day was called “human
day.” Human is one of the most significant elements forming the Chinese concept of harmony
(the other two elements being earth and heaven). On the other hand, people would take part
in a ceremony to release souls from purgatory on the seventh day after death (called Zuoqi in
Chinese), which shows seven as a regenerated number in China. This kind of worship ceremony
continues to be used today.

Change 1

Figure 7
Seven Changes

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Change 2

Change 3

Change 4

Change 5

Change 6

王
Figure 14
Earth’s Axis and 3:7 Rectangle

三

十

In the hexagram Shi (师), which is the seventh hexagram in Yijing, the second line (yang yao)
states that “his sovereign confers a threefold commendation on him” (Lynn, 1994, p.179). “His
sovereign” in Chinese symbolizes king, and the character king (王) in Chinese is a combination
of the characters 3 (三) and 7 (七) (figure 12). According to Vividict (n.d.), seven was written as
the character ten (十)(figure 13) in the oracle bones which “are pieces of shell or bone, typically
from ox scapulae or turtle shells due to their flat surfaces. They were used in as a form of
divination in ancient China, mainly during the late Shang dynasty (Rise of Civilization, 2013).”
So, king (王) contains the two Chinese characters three (三) and seven (十), which is the center
of the throne and the rule.
Excepted for these, Fan also found the ratio 3:7 in the natural phenomena. More specifically,
taking earth as an example, “the crossing angle of the earth’s axis and the earth orbit is
approximate at 66.30°, it deviates the vertical axis around 23.30°;” then drawing a diagonal of
a 3:7 rectangle, “the angle A is 66.8° while the angle B is 23.2° (figure 14), which is extremely
close to the crossing angle of the earth’s axis and the earth orbit (Fan, 2007, p. 13).” Moreover,
according to Fan’s research, if people do a hand gun gesture with the index finger and thumb,
then they will get a rectangle with the ratio close to 3:7 for its length and width (figure 15).
Another interesting phenomenon is that the Big Dipper (figure 16) is supposed to fit the 3:7
rectangle as well as showed by Fan (2007, p. 22).

Change 7

Oracle Bone Script

Bronze Script

Small Seal Script

Qing Script

Regular Script

Figure 13
Different Scripts for Character Seven in different
time.

11

 Figure 15
Gun Gesture

Figure 16
The Big Dipper

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13

 02

LITERATURE
Review
Details about the Ratio 3:7 in Chinese Culture
Several findings on the ratio 3 to 7 will be discussed in this section in terms of Chinese culture.
The first finding concerns the ratio 3 to 7 (or, in shortened form, 3:7) commonly seen in Chinese
paintings. For example, in Shrimp (a general designation, all shrimp Baishi Qi painted are called
Shrimp) (figure 17), which was painted by the well-known Chinese painter, Baishi Qi, we can
find clear evidence of 3:7. If we draw a 3:7 rectangle for each shrimp, the shrimp fits perfectly
within the diagonal lines of the 3:7 rectangle. The ratio of the length of the shrimp’s head to the
whole length of the shrimp is approximately 3:7. It might be the reason why Baishi Qi’s Shrimp
is extremely lifelike.

Figure 17
Shrimp

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15

 02

LITERATURE
Review
Details about the Ratio 3:7 in Chinese Culture
In addition, there is a vital principle in Chinese painting called Liubai (negative space, white
space, or留白in Chinese). According to the principle of Liubai, if thirty percent of white space
is left in the painting, vitality will automatically appear in the work (in Chinese “画留三分空，
生气随之发”) as illustrated by 留白的意境：中国画构图之“求其空灵，虚中求实”的理解
和运用 (Ning Liu, 2014). Furthermore, as discussed in The Liubai Comparison of Ink and Wash
Painting and Watercolour Painting (水墨画与水彩画的“留白”比较), “Liubai gives viewers
space to imagine; it makes the painting have a sense of space and a sense of layering; it makes
the painting show a more ethereal artistic conception” (Xu, S., & Zeng, H, n.d.). For example, in
the contemporary Chinese painting A Pair of Swallows (figure 18), by Guanzhong Wu, we can see
the contrast of the ‘true’ part which is usually the object itself, like the building in the painting
(around 70%) and the ‘false’ part which means the circumstances for the object, like the water
reflection in the painting (around 30%). It is worth noting here that ‘true’ and ‘false’ are two
essential elements in Chinese painting, and that the percentages are measured in a linear way
rather than considering the image’s bulk.
Figure 18
A Pair of Swallows

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17

 More precisely, the second glazed tile on the top overlaps seven-tenths of the first tile on the
bottom, while exposing three-tenths. The third glazed tile is moved upwards by three-tenths
and covers seven-tenths of the second glazed tile, and so on. Hence, compared to the Song
dynasty tiling style, the Qing tiling style is safer is because when the second tile cracks, then
the third tile still covers 2/5 the first tile instead of exposing 1/5 like the Song style. More
importantly, 3:7 is also seen in the different roof tile specifications. As listed by Interpretation
of Yingzao Fashi: A Chinese Treatise on Architecture (营造法式解读), both a type of round tile
(figure 21) and a type of flat tile (figure 22) used 3:7. For instance, the length and the caliber for
those tiles are respectively 1.4 chi and 0.6 chi (a Chinese unit of measurement, 1 chi=33.3333333
cm), 0.6:1.4=3:7 (p. 156).

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3/10 3/10

4/10
2/5

Figure 19
Qing Dynasty Tiling Style

0.6 chi
Side View

The First Tile

6/10
3/5

0.6 chi
Side View

0.6 chi
Top View
4/10 2/10
2/5 1/5

4/10
2/5

Figure 21
Round Tile

1.4 chi

The First Tile

1.4 chi

The second finding concerns the application of 3 and 7 as important numbers in Chinese
historical buildings. In the Qing dynasty (1644-1912), the standard way of tiling a roof was
called “Ya Qi Lou San (压七露三),” Ya means overlapping or covering. Qi means the number 7,
Lou means exposing or revealing, and San means the number 3. According to Interpretation
of Yingzao Fashi: A Chinese Treatise on Architecture (营造法式解读), by Guxi Pan (潘谷西) and
Jianzhong He (何建中), [three] plate tiles are overlapped seven-tenths in the Qing dynasty tiling
style (figure 19). Thus, even if one plate tile cracks, no rain would leak into the building. The
safety factor is higher than for the Song dynasty (960-1279) style (figure 20) because in Song
dynasty, people do not use “Ya Qi Lou San” to tile the roof ( “压七” 都有三瓦相叠，所以即
使一瓦破裂，雨水还不会渗漏，安全系数较大) (2005, p. 173).

0.6 chi
Top View

Figure 22
Flat Tile

Figure 20
Song Dynasty Tiling Style

19

 Chiwei

Also, in ancient Chinese buildings if a palace has five rooms and 9-purlin beam the height of
the Chiwei (figure 23), which is one of nine sons of the dragon in Chinese culture and commonly
used for imperial roof decorations, must be 7 chi, and Shoutou (figure 23), which is another roof
decoration, must be 3 chi, according to Interpretation of Yingzao Fashi: A Chinese Treatise on
Architecture (营造法式解读), (2005, p. 164).
Shoutou

Furthermore, if architects want to restore a historical building to its original form, they must use
a Luban Chi, which is a traditional Chinese ruler. If they use a Luban Chi to build “a door with
0.81m width and 1.98m height (0.81:1.98≈3:7), the door is able to absorb the energies of Yin and
Yang” (Fan, 2007). In The Study of “Luban Chi,” a Chinese Traditional Ruler (鲁班尺探究) (2006),
the authors state that the theoretical system of Luban Chi combined …Yin and Yang…and the
eight trigrams (鲁班尺其理论体系容纳了…“阴阳五行”…“后天八卦”) (Niu, Wang, & Zhu,
2006). This shows that Yijing has a far-reaching influence on Chinese tradition.

Figure 23
Chiwei and Shoutou

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21

 Additionally, it is common to see the ratio 3:7 in traditional Chinese patterns. One of the most
representative patterns is the dragon design. For example, in the Bronze Trunk-Dragon Pattern
(Xiangbi Qingtong Longwen or象鼻青铜龙纹) (figure 24) from the Western Zhou dynasty
(1046-771 B.C.E.), the ratio of its length and width fit the 3:7 ratio. As well, the dragon pattern
in the bell in the Spring and Autumn Period (770 B.C.E.-476 B.C.E.) is called Qin Gong Zhong
Longwen (秦公钟龙纹) (figure 25). The length and width of this pattern also reflect the 3:7
ratio. Similarly, in the Ming dynasty (1368-1644), the Man Cao Long (蔓草龙) (figure 26) reflects
the ratio 3:7 as well. The dragon is a ubiquitous symbol in Chinese culture, symbolizing for
many Chinese cultural traditions as well as Chinese national spirit. In general, the foundations
of these examples are not only closely related to the ratio 3:7, but also to a number of visual
phenomena. These commonalities inspired me to explore whether the ratio could be applied to
Western graphic design as a canon of design and creative thinking as the western golden ratio.
It is assumed that in China, people are using the ratio 3:7 somehow but they do not exactly
realize it, just like the 3:7 hairstyle (figure 27), which is a common fringe hairstyle in China
for both men and women. They separate their bangs to two sides according to the ratio 3:7.
Besides this, there are some other hairstyles for the fringes, such as 5:5 (figure 28) and 4:6 (figure
29) . So, it is no exaggeration to say that the harmonious ratio 3:7 in Chinese Culture is like the
golden ratio Phi in western culture as well as it is worth exploring how the golden ratio Phi
impacted Western graphic design, which could provide valuable references about how can I
combine the ratio 3:7 in Western graphic design.

Figure 24
Bronze Trunk-Dragon Pattern

Figure 25
Qin Gong Zhong Longwen

Figure 26
Man Cao Long

22

| Thesis Document

Figure 29
4:6 Hairstyle

Figure 28
5:5 Hairstyle

Figure 27
3:7 Hairstyle

23

 02

LITERATURE
Review
The Golden Ratio in Western Culture and Graphic Design
When you walk through the Sistine Chapel, you cannot help staring at Michelangelo’s “The
Creation of Adam (figure 30)” because it is beautiful and fascinating. The finger of Adam just
barely grazes the finger of God and does so precisely at the point of the golden proportion or
ratio (Meisner, 2014). As explained by Elaine J. Hom (2013):
The Golden ratio is a special number found by dividing a line into two parts so that the longer
part divided by the smaller part is also equal to the whole length divided by the longer part. It
is often symbolized using phi, after the 21st letter of the Greek alphabet. In an equation form, it
looks like this: a/b = (a+b)/a = 1.6180339887498948420….
Another good example that used the golden ratio - 1.618 is Da Vinci’s Vitruvian Man. According
to Gary Meisner’s analysis (2014), some dimensions on the Vitruvian Man aligned with golden
ratios. Specifically, if a guide line is drawn from the hairline to the foot, the distance from
hairline to navel divided by the distance from hairline to pectoral nipples is equal to 1.618
(figure 31), which means that the pectoral nipples are at a golden ratio point between the
hairline and navel. Also, the collarbone is at a golden ratio point between the hairline and
pectoral nipples (figure 31). Apart from the painting, in architecture and photography, the
golden ratio has also been used. Several of the most brilliant examples, like the Parthenon (an
ancient temple in Greece) (figure 32) and the photo The Tetons and the Snake River (figure 33),
which was taken by Ansel Adams (a famous American environmentalist and photographer) in
2009, all used the golden proportion to make the works more pleasing and appealing.

24

| Thesis Document

Figure 30
The Creation of Adam

Figure 33
The Tetons and the Snake River

Figure 32
Parthenon

Figure 31
Vitruvian Man

25

 More importantly, in terms of the Western graphic design, golden ratio is used in many specific
areas, such as typography, the logo design and the grid design. First of all, for typography,
designers can use golden ratio to decide the best size for the body copy and the headlines
(Gendelman, 2015). In other words, if the designers use 10pt font for the body text, then
they could use 16.18pt font for the headline, while if they take 80.9pt font as headline, they
are suggested to use 50pt font as the body text. Secondly, for the logo design, it is worth
mentioning that Apple, one of the greatest technology company all over the world, has
infused the golden ratio in the iCloud logo (figure 34) according to the illustration from Jordan
Golson (2011). In addition, the Golden Grid System (figure 35) is another useful and flexible
exploration for the application of the golden ratio in the graphic design field. It was created by
Adobe Systems which produces software products for multimedia, including Acrobat Reader,
Illustrator and Photoshop. The Golden Grid System is “a grid system for an 8.5”x11” page that
is divided into 12 columns and rows using the Rule of Thirds (Golden Ratio)” as illustrated by
The Grid System (a website focusing on the grid design) in 2008. It can be used to create flyers,
posters, books and so on.

Figure 35
Golden Grid System for Letter Paper

To sum up, the ratio 3:7 in Chinese culture can be seen as a harmonious ratio which caters
to the philosophical notion of the Book of Changes and the essence of Chinese culture.
Recently, amid the rapid advancement of the globalization, people around the world are
becoming increasingly more aware and tolerant of other cultures. Therefore, it is significant and
meaningful to show whether the ratio 3:7 can be successfully used in Western graphic design
and whether it could make the Wester graphic design more pleasing and absorbing as the
western golden ratio Phi 1.618.

Figure 34
Apple iCloud Logo

26

| Thesis Document

03

RESEARCH
Design
In order to design to move forward in a balanced and harmonious way, designers around the
world should read the Book of Changes. In 1988, the Canberra Times reported that “Nobel
prizewinners have suggested that if mankind is to survive, it must go back 25 centuries in time
to tap the wisdom of Confucius” (Marnham, 1988). Confucius is one of the most respected
sages in Chinese history, but only a minority of people know that Confucius learned from the
Book of Changes because some of the commentaries (also called Ten Wings or Shiyi) were
written by Confucius. According to The Classic of Changes (Lynn, 1994, p. 2), all traditional
commentaries were commented on by Confucius from 551 to 479 B.C. So, even though this
present study is mainly focusing on the Book of Changes, it still relates to many other traditional
classics, like The Analects of Confucius, one of the most famous Confucian classics and the most
representative Taoistic classic - Tao Te Ching.
The purpose of the study is to examine whether or not Western graphic design could become
more appealing by designers applying the Chinese canon-ratio 3:7 from the Book of Changes to
their work. Another objective of the research is to see whether the ratio could create or provide
more possibilities in Western graphic design, such as in colour application, layout arrangement,
font design, and so on. For example, in considering the typography in font design, if designers
could make the X-height as 3, the ascender height, the cap height, or the descender height as 7,
what will those fonts look like? It is going to be a very fascinating design practice.

27

 This study will also attempt to address the following research questions: What is the difference
between the Western and Chinese concepts of harmony? How can these two concepts be
brought together? How can Western graphic designers apply the golden ratio 1.618 to their
design pieces (In what specific area? In what specific way?)? They could use golden ratio in
logo design, grid design and font design, for example. How do Western-trained designers view
harmony in Chinese culture? Would they like to apply the Chinese ratio 3:7 in their design? If so,
in what kinds of ways would they use it such as in layout, photoshopping a photo, or changing
the percentage of the colour brightness?
As in all research projects that focus on a specific theme, there are some limitations in this
present study. The greatest of these is geographical limitation, with the researcher being
confined to the Canadian city of Halifax. It is difficult to find a master in Halifax who has studied
the Book of Changes in depth. Despite there being numerous translations of the Changes, there
are always issues with them (e.g., some terms, like the name of the hexagram, are not correct).
So, for instance, in the book entitled The I Ching: A Biography, written by Richard J. Smith (2012),
the 57th hexagram, Xun, has been translated to Sun, which either belongs to the Wade-Giles
system (a Romanization system for Chinese mandarin) or the Pinyin system which is an official
Romanization system for standard Chinese. Therefore, it appears there are difficulties in terms
of reading the different versions of the Book of Changes. I used Pinyin rather than translating the
terms according to meaning. I adopted this approach hoping that it would make the text more
readable and understandable.

28

| Thesis Document

04 METHODOLOGY
This study will use both quantitative and qualitative research methods regarding how to form
and obtain the canon ratio 3:7 and how to apply it to Western graphic design. For example,
the study will apply qualitative research to analyze the aesthetics of Chinese ink painting and
to check whether Chinese painters and artists followed the 3:7 rule in their artwork. Using
quantitative research provides a suitable benchmark for calculating the area or length in order
to determine whether or not the ratio 3:7 was used in conventional Chinese painting and
architecture design.
I will use the action research to do the local study and design practice in Halifax and hope
to deal with local designers and senior students who are majoring in graphic design. For
example, after I finished my design pieces, I would like to ask their opinions and to see whether
the design with this ratio is better than without it. Also, I will create a questionnaire to give
to people with the design project based on the 3:7 theory and the one without it in order to
explore the final outcome.

29

 05

DESIGN
Explorations

HELVETICA
HELVETICA

HELVETICA
HELVETICA

According to the design research and explorations, there are many ways to design with the
Chinese harmonious ratio 3:7 for Western designers, which involves typography, margin design,
paper design, layout design, colour combination, font design, grid system design and logo
design. First of all, designers can use the ratio 3:7 for the headlines and body text. For example,
if they choose 9pt font as body text, then for the headline, they can use 21pt font to see if it
gives a clearer hierarchy (figure 5.1).
In addition, 3:7 shows its function in margin design. Designers can mark that a paper’s right,
left, top and bottom margins are A, B, C, and D respectively and assume that A = 2X, B = 4X, C =
3X, and D = 7X. Then we get C:D (top margin: bottom margin) = 3:7 (figure 5.2) . Similarly, if we
assume A=B=C=3X, while D=7X, then A (left margin), B (right margin) or C (top margin):D (bottom
margin)=3:7 (figure 5.3). Another example is that we assume A (left margin)=B (right margin)=3X,
while C (top margin)=D (bottom margin) = 7X. Thus, A or B: C or D = 3:7 (figure 5.4). By applying
the ratio 3:7 for different papers with various sizes, wers and western designers.

Figure 5.4
Margin Design

HELVETICA
HELVETICA

HELVETICA
HELVETICA

Figure 5.2
Margin Design

HELVETICA
HELVETICA

HELVETICA
HELVETICA
Figure 5.1
Font Comparisons

Figure 5.3
Margin Design

30

| Thesis Document

31

 Balanced Complementarory Colour
54°

126°

Figure 5.5
Layout Design

180°

100%

70%

30%

0%

Balanced Complementarory Colour
54°

126°

180°

Pictures

Bodycopy

Headline

Width:
3: 7can arrange their texts, titles, and pictures within
In layout application
andLength=
design, designers
different 3:7 rectangles according to different paper sizes (figure 5.5). For colour combinations,
two interesting methods that related to 3:7 can be used to Western graphic design. The first
usage that I found is that we pick one colour and change its brightness separately 100%, 70%,
30%, and 0% (figure 5.6). Designers can use these four colours as a colour scheme to see if it
could help designers have a unified and integral design theme and style.

Balanced Complementarory Colour

180°

Figure 5.6
Colour Combination 1

The other way is that the designer draws a line on a chromatic circle as a 180° guide line. We
assume 180°=3/10+7/10=54°+126°(3:7=54°:126°). Afterwards, the designer respectively draws
a 54° and 126° lines with the basis of 180° guide line (figure 5.7). Designers can use all colours
across these two lines to examine whether it could avoid the disharmonious contrast between
the two pure complementary colours.

126°

54°

Figure 5.7
Colour Combination 2

32

| Thesis Document

33

 Furthermore, 3:7 can also be used in font design (figure 5.8). For example, if we assume that the
width of the stroke is X for the regular font; we can make the stroke’s width for the bold font as
X+ X×3/7; the width of the stroke for the light font as X-X×3/7; for the Italic font, we can make
the angle of inclination equal 10°+10°×3/7 with the same stroke’s width as the regular font X.
Also, the width, height and x-height for the font you want to design can vary. For instance, the
designer can draw a 3:7 rectangle, the width of the font can be 3 units, connecting the two
diagonals of the rectangle, the intersection of the two diagonals can be marked as the x-height.
Similarly, if we draw a 7x10 units rectangle, mark the x-height as 7 units, then the x-height of the
font / the ascender height or descender height of the font is going to be 3:7. It can be a theory
for font designers to try.

Figure 5.8
Font Design

34

| Thesis Document

35

 C
C

D

D

E

E

A

B

A

Another way for font designers is to draw a 7x7 units square first. Then we draw two 3x7
rectangles, aligning the longer side to the square’s bottom while aligning another rectangle on
the middle (the short sides should be against along with the top and the bottom). We connect
the point A and point D, also the point B and point C. Finally, we get a point E and take E as the
x-height. So, the width of the font and the whole height of the font is still 3:7. The third idea is
that we draw a 7x7 square and we align a 3x7 rectangle on the top of the square. Then we draw
another 3x7 rectangle on the middle and connect point A and point D, point B and point C.
Point E can be the x-height for the font (figure 5.9). Overall, there are still many other options to
build up the x-height according to the ratio 3:7.

C

B

D
E
A

A
B

B
E

C

D

Figure 5.9
Font Design

36

| Thesis Document

37

 P= Picture Area
A

B

C

P3

P3

P3

P2

P2

P2

P1

P1

P1

06

FINAL OUTCOMES
Font Design
Font Templates

Figure 5.10
Grid Design

In the grid system, 3:7 can also play an important role. Designers can build numerous grid
systems with different size’s 3:7 rectangles depending on different paper sizes (figure 5.10). With
the varieties of grids, graphic designers can change and adjust their picture areas and text areas
to make an interesting and fascinating typography.

38

| Thesis Document

39

 40

| Thesis Document

41

 I created a questionnaire with the purpose of knowing audiences’ opinions and reflections
about the 3:7 font design (figure 6.1). There are 122 total participants, 61.5% of participants
were from Canada and almost one third of participants were from China while only a few
people came from other areas (figure 6.2). When I asked how familiar they were graphic design;
almost 80% of participants said that they were quite familiar with graphic design. Only 21.3%
of the people said that they did not know much (figure 6.3). Next, a majority of people said that
the third font was good for the body copy (figure 6.4). A similar percentage was occupied by the
second and the fourth fonts around 30% (figure 6.4). The first font was selected the least as the
body copy (figure 6.4).
Interestingly, when I asked them which font was good for headlines, the second font was
supported by 87.7% of people (figure 6.5), followed by more than a half of participants who
thought the second font was good for the subtitles, whereas they thought the first font did not
suit the subtitles (figure 6.6). A half (50%) of the people consider that the second font is the best
one among these four fonts (figure 6.7). Meanwhile, the third and the fourth fonts share the
same percentage at 36.1% (figure 6.7), which is the least popular. In fact, in the questionnaire,
the first three fonts are designed by myself with the ratio 3:7 from the Book of Changes while the
last one I picked is Helvetica. Thus, it shows that the 3:7 rule can be a design guide for western
font designers.

42

| Thesis Document

43

 Figure 6.2
Qestion 1

Figure 6.3
Qestion 2

Figure 6.4
Question 3

Figure 6.1
Font Design in Qestionnaire

44

| Thesis Document

45

 Figure 6.5
Question 4
Figure 6.7
Question 6

Figure 6.8
Question 7

Figure 6.6
Question 5

46

| Thesis Document

47

 07

FINAL OUTCOMES
Grid Design
3:7 Grid Template in A4 Paper

In the grid design, I created one grid system based on the ratio 3:7 on A4 paper (figure 7.1). I
spread out 9mm x 21mm (3:7) rectangles on the A4 paper with 16 columns and 13 rows while
the golden grid system was made by 12 columns and 12 rows with 11.806mm x 16.933mm
rectangles on A4 paper. Then, according to the grid system, I made magazine templates for
both grid systems called 3:7 magazine template with the same elements. I designed the layout
based on the Golden Grid System and the 3:7 grid system. In order to figure out which grid
system is better I created another questionnaire.

Figure 7.1
3:7 Grid Design

48

| Thesis Document

49

 Figure 7.2
3:7 Grid Magazine Template

50

Figure 7.3
3:7 Grid Magazine Template

| Thesis Document

51

 Figure 7.5
3:7 Grid Magazine Template

Figure 7.4
3:7 Grid Magazine Template

52

| Thesis Document

53

 FINAL OUTCOMES
Grid Design

07

1.618 Grid Template in A4 Paper

Figure 7.6
1.618 Grid Magazine Template

54

| Thesis Document

55

 Figure 7.7
1.618 Grid Magazine Template

56

Figure 7.8
1.618 Grid Magazine Template

| Thesis Document

57

 22

MAGAZINE TEMPLATE / ISSUE NO. 1 / 2018 MARCH

ore, stiquam, terem dius pris cotiemus
furniu mentem omnis ad factum diis aris
ne con voltum periam in vo, niquam qui
in diem. Sata esterfe sseniquid fortimporum. Satiam tumeAbis opoenatium menem tem scem Rommorum iae con viri ses
ips, viceps, optionox nor utemquo ntuus,
nos consid condit, stam. At esimuri pulos
potimum ne ium dem renares, Catus, P.
Serobsed popteriben issenterurei publium qua nit interum nonvest ratia? Licae
num acitil hos hicaesilla incenatus
M. Eri, pat, qui pore caes At proxime
restrion acci senatus hac tuus et; huctoria reniquod condela Sp. Coneque nos
publina, ductus vit publicavo, condictatil
consumus inultu efat vit, num rem terfecrem, egiling ulicae egeri, que quos et;
nosulicis con dem ut vat, vid C.Mor ut iam
fitam ine pubisque atil ut vis con ta que
norectu rimaio, que enem, quamdiura,
cae audam voludaciam et di prat graelis culosti, caelibu ssilini hilinte tatiam
cuterniqui consus oc, dem ina catifecon
aurs huita, sim inclari tabit, sulabef ecerit
in duceper uresiliurem hiliam coret, sullario, condis aude cae terenimus?
Hilis se is, atum re, nonsi ium rentimi llarior tebus, diemodi is inc opultum
norus redees inpravolto vitrae noruntre
menirma, ernum oporacchus inprei ia
caed issic tam pro, ne es publiss olius,
vidinatuitil cauderc eridit. Aperitr icatra que in ductu quam nimilintro inprae nossent ifervid invere esce caedea
tercem anterem iam.Serunter esilicia
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consulium popoAbem utuium me prati,
C. alahai meutuwah teuh popoAbem
utuium me prati.

MAGAZINE TEMPLATE / ISSUE NO. 1 / 2018 MARCH

Itaerum suntores in et ad quidem dolestota plabo.
Magname prore con nullam dolupta dan temolup icius,
comnis dolupta spersperovit doloris et onsendit latem
ium ide por aditatempore sitature odis minum fugitatquis nit apicimi, sequisoloEdiem omanum fatBent.
Ipserit iactumei se publici iae probute rnihict uamdiem
habunt fur quam, que et L. C. Atquiti ssupica quam
fendam auctus, sediost erumus estraede

Ique canenatque
conscio, que numae
utestente kai

Ate ka publicaestem tatur audam,
quasticae perbi scio, et? Serius? Quam
los caedium ommo horae facchuitem,
que accis. Fuis; est videm publis, con perferibusse nintim ad siconi publica quos
hostiam, sentra dium nesse, Patiliquis
habis la dius o corbem remninatquam
fui fuita nonstra public revirmis maio,
seni satodis. Hicatiquam tur, octus estam vir int. C. Ignovehem abus estiline
nihilicit audaciam vidii senatil inescid
ma, tissu ego untiaecons nonum quam
hena remorit, consupima, porem dena
stique is, mo intilii intemquid aucipim
aceps, factuus orum liciam esim etordit
fue pristam tes Cata rem rente remque
acerfecris, nora vivis pris. Vivas perricto
tenatro rtero, num perobus aurbiste entemovirici sinatiestid mus audamen
trudemusquam adhuid rec te, ublisSes?

Ique canenatque
conscio, que numae
utestente kai

Figure 7.9
3:7 Grid Magazine Template for Page 22-23

58

| Thesis Document

22

MAGAZINE TEMPLATE / ISSUE NO. 2 / 2018 MARCH

ore, stiquam, terem dius pris cotiemus
furniu mentem omnis ad factum diis aris
ne con voltum periam in vo, niquam qui
in diem. Sata esterfe sseniquid fortimporum. Satiam tumeAbis opoenatium menem tem scem Rommorum iae con viri ses
ips, viceps, optionox nor utemquo ntuus,
nos consid condit, stam. At esimuri pulos
potimum ne ium dem renares, Catus, P.
Serobsed popteriben issenterurei publium qua nit interum nonvest ratia? Licae
num acitil hos hicaesilla incenatus
M. Eri, pat, qui pore caes At proxime
restrion acci senatus hac tuus et; huctoria reniquod condela Sp. Coneque nos
publina, ductus vit publicavo, condictatil
consumus inultu efat vit, num rem terfecrem, egiling ulicae egeri, que quos et;
nosulicis con dem ut vat, vid C.Mor ut iam
fitam ine pubisque atil ut vis con ta que
norectu rimaio, que enem, quamdiura,
cae audam voludaciam et di prat graelis culosti, caelibu ssilini hilinte tatiam
cuterniqui consus oc, dem ina catifecon
aurs huita, sim inclari tabit, sulabef ecerit
in duceper uresiliurem hiliam coret, sullario, condis aude cae terenimus? Hilis
se is, atum re, nonsi ium rentimi llarior
tebus, diemodi is inc opultum norus redees inpravolto vitrae noruntre menirma,
ernum oporacchus inprei ia caed issic
tam pro, ne es publiss olius, vidinatuitil
cauderc eridit. Aperitr icatra que in ductu
quam nimilintro inprae nossent ifervid
invere esce caedea tercem anterem iam.
Serunter esilicia moreisum derehemente,
morissi licatum omnemnequo perumus?
Imisserei consulium popoAbem utuium
me prati, C. alahai meutuwah teuh
Ate ka publicaestem tatur audam,
quasticae perbi scio, et? Serius? Quam

MAGAZINE TEMPLATE / ISSUE NO. 2 / 2018 MARCH

23

Ique canenatque
conscio, que numae
utestente kai

Itaerum suntores in et ad quidem dolestota plabo. Magname prore con nullam dolupta dan temolup icius, comnis
dolupta spersperovit doloris et onsendit latem ium ide por
aditatempore sitature odis minum fugitatquis nit apicimi,
sequisoloEdiem omanum fatBent. Ipserit iactumei se publici iae probute rnihict uamdiem habunt fur quam, que et L.
C. Atquiti ssupica quam fendam auctus, sediost erumus
estraede

los caedium ommo horae facchuitem,
que accis. Fuis; est videm publis, con perferibusse nintim ad siconi publica quos
hostiam, sentra dium nesse, Patiliquis
habis la dius o corbem remninatquam
fui fuita nonstra public revirmis maio,
seni satodis. Hicatiquam tur, octus estam vir int. C. Ignovehem abus estiline
nihilicit audaciam vidii senatil inescid
ma, tissu ego untiaecons nonum quam
hena remorit, consupima, porem dena
stique is, mo intilii intemquid aucipim
aceps, factuus orum liciam esim etordit
fue pristam tes Cata rem rente remque
acerfecris, nora vivis pris. Vivas perricto
tenatro rtero, num perobus aurbiste entemovirici sinatiestid mus audamen
trudemusquam adhuid rec te, ublisSes?
Moltus faciam firtus ficierbis et L. Cupios
inpris, quiu et re, con practuam hin hordi-

Ique canenatque
conscio, que numae
utestente kai

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inpris, quiu et re, con practuam hin hordiis scemusque pris. Sero, nonfere ssidete
acest?
P. Castrus, fauctum moverri, supion
non rei sim dese publin tum fauretis
Catantrum ponfitiam nestiora videm
audemur patuam sernum iam se, num
tus, dic re caectaAd condeesus, nonum
is. O trionsu ntrehemors orteatiae dum
teressi demedo, consum dem opterec
onsimula ves siciora voccientis, que
cum sesi perentius fit iaes et vid nostatiorum tus, comnos fuerudam ocut in ia
opostem porum, conis, compriu ssatert
estandam is bonsultur lius obses re ficae renit, omniqui dendiusces! Efac rem
Romnonfex nonoc ficertum, stilnequon
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Ique canenatque
conscio, que numae
utestente kai

23

Ique canenatque
conscio, que numae
utestente kai

Ique canenatque
conscio, que numae
utestente kai

iactus, cum ma, spicem ad mantre facies
cri pos es aribuntus hus consili senatemusa sata renatum, mus niam di, comnius et; essenatiur inti, peridit; nonercesena, moribuspere nes pre in vid mus
caste publicat. esimus ina, no. Onsita crei
iame quium ignoves et omniu incul hocus
intis ium ocrunt vis, nis ca re pra iam iam
iamed sedessupimum comnenatquiu
erit. Habesultus haet vit. Acciena tiliem
fac mori por audacis. Habem ac in aciam
publicaet probus
Habesultus haet vit. Acciena tiliem
fac mori por audacis. Habem ac in aciam
publicaet probusessi demedo, consum
dem opterec onsimula ves siciora voccientis, que cum sesi perentius fit iaes et
vid nostatiorum tus, comnos fuerudam
nostatiorum tus, comnos fuerudam nostatiorum tus, comnos fuerudam

Ique canenatque
conscio, que numae
utestente kai

is scemusque pris. Sero, nonfere ssidete
acest?
P. Castrus, fauctum moverri, supion
non rei sim dese publin tum fauretis
Catantrum ponfitiam nestiora videm
audemur patuam sernum iam se, num
tus, dic re caectaAd condeesus, nonum
is. O trionsu ntrehemors orteatiae dum
teressi demedo, consum dem opterec
onsimula ves siciora voccientis, que
cum sesi perentius fit iaes et vid nostatiorum tus, comnos fuerudam ocut in ia
opostem porum, conis, compriu ssatert
estandam is bonsultur lius obses re ficae renit, omniqui dendiusces! Efac rem
Romnonfex nonoc ficertum, stilnequon
iam, faciderivat apero hos, tridem, esilicaelin ta num furevirtes st re faci sedictus cri, virmissed intris? Icauctuus aperfic
iactus, cum ma, spicem ad mantre facies
cri pos es aribuntus hus consili senate-

musa sata renatum, mus niam di, comnius et; essenatiur inti, peridit; nonercesena, moribuspere nes pre in vid mus
caste publicat. esimus ina, no. Onsita crei
iame quium ignoves et omniu incul hocus
intis ium ocrunt vis, nis ca re pra iam iam
iamed sedessupimum comnenatquiu
erit.
Habesultus haet vit. Acciena tiliem
fac mori por audacis. Habem ac in aciam
publicaet probus P. Castrus, fauctum
moverri, supion non rei sim dese publin
tum fauretis Catantrum ponfitiam nestiora videm audemur patuam sernum iam
se, num tus, dic re caectaAd condeesus,
nonum is. O trionsu ntrehemors orteatiae dumstrus, fauctum moverri, supion
non rei sim dese publin tum fauretis Catantrum ponfitiam nestiora.

Figure 7.10
1.618 Grid Magazine Template for Page 22-23

59

 07

FINAL OUTCOMES
Grid Design
Questionnaire

The second questionnaire is quite simple and brief only included three questions: 1. what is
your nationality? 2. how much do you know about graphic design from 1(a little) - 9(expert); 3.
which template do you think it is more attractive? There were 250 total participants, most of
whom (81.2%) were from Canada (figure 7.12). By contrast, less than 20% of participants are
from other areas. A huge number of people (65.6% + 29.2%) said that they had knowledge in
graphic design, and almost one third of participants (29.2%) were in the professional level for
graphic design (figure 7.13). In terms of the more attractive template, more than two thirds of
participants (78.8%) would prefer 3:7 magazine template (figure 7.14). Therefore, in this case, it
is clear to see that 3:7 grid system achieved its success in Western graphic design.

Figure 7.11
1.618 Grid Magazine Template

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61

 Figure 7.12
Question 1

08

THESIS
Conclusion

Figure 7.13
Question 2

With the influences of the Book of Changes on Chinese traditions, more and more people have
started exploring the profound mystery in Changes. 3:7 as a harmonious ratio from the Book
of Changes has been examined in some Western graphic design, like font design and the grid
system. The results are exciting and provide examples and direction on the use of the ratio 3:7
in Western graphic design. Further, I hope and encourage Western graphic designers who are
interested in Chinese culture and looking for new design possibilities to use 3:7 theory in their
design projects in a creative way. Hopefully, the ratio 3:7 as a Chinese design canon can also be
widely used not just in graphic design but also in other domains, like photography, painting,
and UI or UX design in the future.

Figure 7.14
Question 3

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THESIS
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