GRAPHIC DESIGN. Professor: Jonathan Olshefski

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1 GRAPHIC DESIGN Professor: Jonathan Olshefski

2 Non-Designers Design Book Basic Issues to Consider when creating a layout. We know what looks good and what does not. Understanding principals creates awareness. Does the above image incorporate good or bad design? Why?

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4 Non-Designers Design Book Does this layout look better? Why?

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6 Contrast If the elements (type, color, size, line thickness, shape, space) are not the same make them very different not just similar. Contrast is the most important visual attraction.

7 Repetition Repeat visual elements (colors, shapes, textures, spatial relationships, line thickness, fonts, sizes, graphic concepts) throughout the piece. This develops organization and strengthens unity.

8 Alignment Nothing should be arbitrary. Every element should have some visual connection to some other elements in the design.

9 Proximity Items relating to each other should be grouped close together. When items are close they become a visual unit. This helps organize information and reduces clutter.

10 DESIGN COMMUNICATES

11 DESIGN COMMUNICATES

12 DESIGN COMMUNICATES

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14 Principles of Design CRAP CONTRAST / EMPHASIS REPITITION / UNITY / RHYTHM ALIGNMENT /BALANCE PROXIMITY

15 Principles of Design CONTRAST MOST IMPORTANT GRABS ATTENTION What do you notice first?

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18 Point, Line & Plane Jason Okutake Ryan Gladhill Ryan Gladhill A line is the track made by the moving point It is created by movement - specifically through the destruction of the intense, self-contained repose of the point. ~Wassily Kandinsky Lauretta Dolch Lauretta Dolch Summer Underwood Robert Ferrell

19 Point Point, line and plane are the building blocks of design. From these elements, designers create images, icons, textures, patterns, diagrams & typographic systems. Textures and patterns are constructed from large groups of points & lines that repeat, rotate, & otherwise interact to form distinctive and engaging surfaces. C.E.B. Reas

20 Point Ascender

21 Line A line is an infinite series of points. A line has length but no breadth. A line is the connection between two points, or it is the path of a moving point. A line can be a positive mark or a negative gap. Lines appear at the edges of objects & where two planes meet. Josh Sims Alex Ebright Bryan McDonoughs Justin Lloyd

22 Line Geoff McFetridge

23 Plane Lines turn and multiply to define planes.

24 Plane A field of text is a plane built from points and lines of type. A typographic plane can be dense or open, hard or soft. Designers experiment with line spacing, font size, and alignment to create different typographic shapes. Kelly Horigan

25 Point, Line, Plane onetwentysix.com

26 Rhythm Rhythm is a strong, regular, repeated pattern. Most forms of graphic design seek rhythms that are punctuated with change and variation. Balance and rhythm work together to create designs that are vital, achieving both stability and surprise. Cameron Davidson

27 Balance This design is balancing two different elements type and shape. The illustration on the left side is basically built of shapes, while the right side of the design is primarily type. The two are placed in the format in such a way as to create a sense of near-perfect balance. The dark vignetted border and the tail of the cat coming up to the right edge of the cover stabilize the design. Patricia Telesco

28 Symmetry Symmetry can be left to right, top to bottom, or both. These images demonstrate basic symmetrical balance. Elements are oriented along a common axis; the image mirrors from side to side along that axis. The configurations here are symmetrical from left to right and/or from top to bottom.

29 Symmetry tanakawho

30 Asymmetry Asymmetrical designs are generally more active than symmetrical ones, and designers achieve balance by placing contrasting elements in counterpoint to each other, yielding compositions that allow the eye to wander while achieving an overall stability. These examples rely on the interaction of form and negative space and the proximity of elements to each other and to the edges of the field, yielding both tension and balance.

31 Asymmetry tanakawho

32 Scale No matter what size your work will be, it must have its own sense of scale. In objective terms, scale refers to the literal dimensions of an object or the literal correlation between a representation and the real thing it depicts. Subjectively, scale refers to one s impression of an object s size. Robert Lewis

33 Scale is Relative Gregory May We expect some objects to be a particular scale in relation to each other. Playing with that scale can create spatial illusions and conceptual relationships.

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35 Scale Kim Bentley

36 Scale & Type

37 Scale & Type Paul Sahre

38 Texture Texture is the tac-le grain of surfaces and substances. In design, texture is both physical and virtual. Textures include the literal surface as well as the op-cal appearance of that surface. Physical textures affect how a piece feels, but they also affect how it looks. A smooth or glossy surface, for example, reflects light differently than a sob or pebbly one. Rick Valicen-

39 Texture Concrete textural surfaces have a physical quality that is only achieved by submigng the surface to a process such as: Slicing Burning Marking CuGng Rubbing Folding Washing

40 Color Color is integral to the design process. The percep-on of color depends on op-cs, surrounding light, rela-onships with other colors and cultural connota-ons. A precise vocabulary has been established for designers to communicate with other people in the industry in order to achieve precision.

41 The Color Wheel 1665 Sir Isaac Newton discovered that a prism separates light into the spectrum of colors: red, orange, yellow, green, blue, indigo and violet. He organized the colors around a wheel very much like the one ar-sts use today to describe the rela-onships among colors.

42 Primary Colors Red, yellow and blue are pure. They can t be mixed from other colors. All of the other colors on the wheel are created by mixing primary colors.

43 Secondary Colors Orange, purple and green each consist of two primaries mixed together.

44 Tertiary Colors Colors such as red- orange, yellow- green are mixed from one primary and one secondary color.

45 Complements & Analogous Red/Green, Blue/Orange and Yellow/Purple sit opposite each other. For more subtle combina-ons choose near opposites. Color schemes built from hues that sit near each other have minimal chroma-c differences.

46 Complements & Analogous Robert Lewis

47 Interaction of Color Color + White Josef Albers, a painter and designer experimented with how the percep-on of color changes in rela-on to how any given color is juxtaposed with others. Colors are mixed in the eye as well as directly on the painter s pale\e or the prin-ng press. Designers juxtapose colors to create specific climates and quali-es, using one color to diminish or intensify another. Color + Black Color + Grey Complements Near Complements Analogous Colors

48 Color Palettes Experiments with hue, value, and satura-on, as well as with analogous, complementary and near complementary color juxtaposi-ons affect the way the pa\erns feel and behave. Through selec-ve emphasis, some elements pull forward and others recede. h\p://

49 Figure/Ground The form of an object Is not more important Than the form of the Space surrounding it. ~Malcolm Grear These photographs use urban buildings to frame le\erforms. The empty sky becomes the dominant figure, and the buildings become the background that makes them visible.

50 Figure/Figure This poster reveals its subject at a second glance. One head takes form as the void inside the other. The tension between figure and ground acquires an ominous energy. Joanna Gorska and Jerzy Skakun

51 Figure/Ground ~Malcolm Grear

52 Layers Layers are simultaneous, over- lapping components of an image or sequence.

53 Layers Layers allow the designer to treat the image as a collec-on of assets, a database of possibili-es. Working with a layered file, the designer quickly creates varia-ons by turning layers on and off.

54 Layers Layers are used to generate Unique interac-ons between two different images that otherwise wouldn t be possible.

55 Transparency Any surface in the physical world is more or less transparent or opaque. Photoshop lets designers adjust the opacity of any image. SoBware lets you see through wood, or make air into a solid wall.

56 Transparency Transparency is used not only to mix two visual elements, but also to make one image fade out against its background. The effect can be used to change the rela-onship between an image and its background.

57 Layers and Transparency These two images were each made from the same set of digital images, layered together to create different designs. Various rela-onships are built by changing the scale, posi-on, color, or transparency of elements.

58 Layers and Transparency