John Bonadies Design Media and Principles

Semester Review: Spring 2010

2010-05-14T08:51:00.000-07:00

Here are the assignments and examples of the more successful outcomes from my students. Each project was preceded by several exercises and readings covering principles of visual organization, color, and meaning.

Project 1: Book Cover

Description: Create three (3) distinctly different designs of a book cover. Your design must show an understanding of the visual organization principles you have studied in class: unity, emphasis, balance, rhythm, and depth. See full project description here.

Student Research

Student Designs

Grid Exercise: Lincoln Poster
Instructions: Using the grids created on these pages, create 4 different layout designs with the supplied visual elements. Use the grid to help you organize and align the elements in your design. You must use all of the supplied text in each composition and you must use at least one image. You are free to duplicate, scale, rotate, and crop the images. You can also change the background color. Incorporate the principles of visual organization (grouping, balance, hierarchy, depth, contrast, etc.) into your compositions. Make sure the elements stay within the border. You can show and hide the grid from the LAYERS pallet. Export your designs in both JPEG and PDF files with the grids showing.

Project 2: Creative Inspiration Poster

Description: You will design a 11" X 17" informational poster that features a person or entity within the creative industry who's work your admire. This can be a designer, artist, illustrator, animator, studio, company, etc. Your poster must include a title or name, bio (at least one paragraph), and examples of their work. You can also include portraits, photos, quotes, or anything that ads to the understanding of their personality and/or work. See full project description here.

Your design must show an understanding of the visual organization principles you have studied in class up to this point: modular grid system, unity, emphasis, balance, rhythm, and depth.

Project 3: iPad Welcome Screen

Description: You will design five (5) welcome pages for an online commerce company that are specially formatted for display on the new Apple iPad. Your design must show an understanding of the visual organization principles you have studied in class for the whole semester: modular grid system, unity, emphasis, balance, rhythm, depth, and color theory. Each of the pages must convey a different emotion or concept with color. Each of the pages must have a grid system that helps you organize at least 6-9 products that the company is promoting. Each of the pages must show your understanding of the principles of visual organization. See full project description here.

Color and Communication

2010-04-28T15:22:00.000-07:00

This site by Joe Hallock shows the results to extensive studies on color associations: Marketers and designers use these studies in helping develop products and messages that create associations with a variety of emotions.

Introduction to Color

2010-04-11T18:53:00.000-07:00

In this last section of the semester, we will be exploring how graphic designers use of color in both technical and communicative ways.

In the time we have, we are only going to focus on how color is specified and used in both print and electronic mediums, and how we can use color to help our designs captivate interest, and convey both the intent and emotion of the message.

Color and Communication
Most (if not all) of you are aware of the role color plays in our lives—from primal distinctions as the color of skin,

to designating one sports team from another,

to the colors we choose for our surroundings.

All colors that we are exposed to make some impact on us—emotionally, intellectually, physically, and subliminally. Visit the Emotions Color Wheel.

One of the more important roles of the designer is to understand, and utilize the various pallets of color available to help convey the message, identity, emotion, etc. of their design solution.

To take advantage of the power that color can provide in a design, the designer must understand both the technical aspects of color—and how they are applied in both electronic and print form, and the emotional, or messaging aspects of color—and how it can be used to create an emotional response from the viewer.

Part 1. Technical Aspects of Color
There have been hundreds of books published on color theory that discuss the various color models, wavelengths, and the scientific and psychological impact on the viewer. Below is a very brief overview. You can learn more at this site.

Electromagnetic radiation from the Sun.

CIEXYZ model, with several color gamuts mapped—millions of colors

The Color Wheel
A color wheel (also referred to as a color circle) is a visual representation of colors arranged according to their chromatic relationship. Begin a color wheel by positioning primary hues equidistant from one another, then create a bridge between primaries using secondary and tertiary colors.

Here is a link to a color wheel that shows the layout of various color schemes. We'll look at this to get an idea of what color schemes are and how they work.

Two Forms of Color
Additive System—electronic: Red (R) Green (G) Blue (B) represented by pixels.
Today's monitors can display about 16 million colors.

Subtractive System—print: Cyan (C) Magenta (M) Yellow (Y) and Black (K)
Can only create thousands of colors

Let's check out this site worqx to get a better idea on how these systems work.

Color Specification within a Software Application

RGB

CMYK

HSB (hue, saturation, brightness)

Flat (mixed inks—Pantone is a commercial color matching system)

Results from Grid Exercise

2010-03-15T17:00:00.000-07:00

Here are some student examples from our grid exercise.

Patrick East

Adam Ennis

Jonathan Pearce

Becky Scudder

Deborah McIntyre

Aaron Winkle

Jairus Williams

Molly Westhoff

Ryan Brannon

The Grid

2010-03-01T15:46:00.000-08:00

A typographic grid is a two-dimensional structure made up of a series of intersecting vertical and horizontal axes used to assist the designer in structuring content.

The grid gives the designer a visual framework for placing text and images in a systematic manner, making it easier for the viewer to absorb and better understand the content.

Grids can be created mathematically, allowing equations and ratios to determine proportion.

Grids can also be a combination of simple division of the overall page dimensions that the designer customizes for the content he or she is composing.

Grids are heavily used in the design of brochures, magazines, and newspapers where consistency and readability are extremely important from page to page.

Grids provide a framework for the designer to create consistency for repetitive elements.

Grids give the designer “visual cues” for grouping and aligning common elements, and creating a focal point within the composition.

As well, grids help the designer in determining opportunities to create "breaks" in the system to add variety and interest into the design.

Some content requires a strict adherence to following the grid...

...while other content is permits the designer to be less restrictive.

Useful links:

Mark Boulton's Tutorial on Designing the Grid

thegridsystem

Value and Illusion of Space

2010-02-03T15:35:00.000-08:00

Value
Value refers to the relative lightness or darkness of a surface.

Relative is an important qualification here because the lightness or darkness of a shape is largely determined by its surroundings.

Contrast
The amount of difference in value from one shape to another.

High contrast tends to increase clarity and improve readability.
Low contrast tends to put objects in secondary or sub-dominant levels of importance, or used when the message is subtle.

Value Distribution - the proportional arrangement of lights and darks within a composition can affect the emotional impact.

Value and Volume - Using a full range of values within a shape can make a two-dimensional shape object to be three-dimensional.

Value and Space - Dark, crisp shapes tend to advance spatially within a composition from lighter, softer shapes. This is also called atmospheric perspective.

Value and Lighting - Designers can influence the emotional reaction to objects by manipulating the value of an object from different lighting techniques.

Illusion of Space
Linear Perspective
A mathematical system for projecting the apparent dimensions of a three-dimensional object onto a two-dimensional surface called the picture plane.

Objects appear to diminish in size as they recede
The point at which the objects disappear is called the vanishing point
in basic one- and two-point perspective, the vanishing point is at the eye level or horizon line.

One-Point Perspective
When lines recede into space and converge at a single point on the horizon line.

Two-Point Perspective
When lines recede into space and converge at two points on the horizon line.

Three-Point Perspective
When lines recede into space and converge at two points on the horizon line, and vertical lines converge above or below eye level.

Other ways to Create Illusion of Space

Overlap - objects that cover other objects

Size Variation - larger objects appear closer.

Definition - Darker, sharper objects appear closer when combined with softer lighter objects (atmospheric perspective).

Line and Rhythm

2010-02-01T15:36:00.000-08:00

Line
Lines add structure, movement, and cohesion to all forms of two-dimensional designs.

Used to define, enclose, connect or dissect.
show direction
add emphasis
convey emotion (gestural)

Line Quality

Actual Lines

Contour lines - define inner and outer edges of an object
Calligraphic lines - highly expressive, calligraphy
Organizational lines - structural, informational

Implied Lines

Repetition of visual elements that suggest connection--works because we natually seek unity.

Linear Networks

Multiple lines create value and texture and illusion of space.

Rhythm

Rhythm is a pattern created by repeating elements that are varied. Rhythm allows your designs to develop an internal consistency that makes it easier for the viewer to understand.

Once the brain recognizes the pattern in the rhythm it can understand the whole design.

Repetition (repeating similar elements in a consistent manner) and variation (a change in the form, size, or position of the elements) are the keys to visual rhythm.

Repetition of visual imagery, headline, specific placement on the page, color, imparts a sense of organization that brings a composition together and helps the viewer comprehend the information.

Effective application of rhythm.

Spacing
Location
Size
Value/Color

Effective design has visual elements paced and patterned, combined with variety at non-specific intervals to create emphasis and hierarchy within the composition.

Balance, Symmetry and Asymmetry

2010-01-27T15:32:00.000-08:00

BalanceThe distribution of weight or force within a composition.

The examples that demonstrate these principles were designed by Paul Rand, considered to be the father of modern design. Check out his work at www.paul-rand.com.

Weight and Gravity
Visual Weight
The inclination of shapes or forms to float or sink within a composition. Also refers to the relative importance of a visual element in a design.

Compositional forces that have the most influence on a design:

Size - larger = heavier
Value - darker = heavier
Type of Shape - simple = heavier, complex =lighter
Texture - more coarse = heavier
Location - lower = heavier
Orientation - straight = stable, angled = unstable or moving

Visual Center
Just above the mathematical center of a page. Objects tend to be more comfortably stable to the viewer in this area.

Symmetrical Balance
Approximate Symmetry
Also known as Bilateral Symmetry, is when similar imagery appears on both sides of a central axis.

Other forms of Symmetry
Radial or Rotational Symmetry
Lines and images are mirrored both vertically and horizontally with the center of the composition acting as the focal point.

Dilational Symmetry
Similar to radial symmetry but the elements increase or decrease in spiraling line. Dilational symmetry can be used to emphasize depth or distance.

Translational Symmetry
Continuous, invariant repetition of a visual element.

Asymmetrical Balance

Creation of equilibrium among elements with different visual characteristics that do not mirror each other on a central axis.

Depending on the degree of asymmetry, the composition can be stable, dynamic, or chaotic.

Shape, Emphasis and Heirarchy

2010-01-25T14:54:00.000-08:00

Shape
A flat enclosed area that is created by:

Enclosing an area with a continuous line
Surrounding an area with other shapes
Filling an area with solid color or texture
Filling an area with broken color or texture

Types of Shape

Positive and negative space figure-ground (see last lecturer from last week)

Rectilinear (straight lines and angles) and Curvilinear (curves, flowing edges)

Geometric (hard, precise edges, mathematical in their structure) and Organic (commonly found in nature--leaf, plant, water, etc.)

Degrees of Representation

Non-objective Shapes - circles, rectangles, squares "Pure forms"

Representational Shapes - Derived from specific subject matter and strongly based on direct observation

Abstract Shapes - Derived from visual reality, but are distilled and transformed from the resemblance of their original source.

Degrees of Definition
Definition is the degree to which a shape is distinguished from both the background and the positive shapes within the design.

High Definition - Creates a strong contrast between shape and background. Increased clarity and immediacy of communication

Low Definition - Soft-edged shapes, gradations, transparencies, etc. Increase complexity and encourages multiple interpretations

Emphasis
Emphasis gives prominence to a specific area or part of a design. A focal point is a compositional devise that is used to create emphasis.

Emphasis by Isolation
An anomaly is a break from the norm. Since we tend to connect verbal and visual information to make meaning, an object that breaks from the group tends to attract our attention.

Emphasis by Placement
Since every part of a composition has a distinctive power, placement alone can increase the emphasis of an object.

Emphasis Through Contrast
Contrast is created when two or more forces operate in opposition. When using the 80/20 rule, contrast can be very effective. The larger force sets the standard and the smaller force creates the exception. Depending on how a composition is structured, the smaller force can have the emphasis.
When creating a composition, consider the following to create emphasis:

Contrast in Scale
Contrast in Shape
Contrast in Color

Hierarchy
A hierarchy is an organization of items into different levels of relative importance. Through basic design principles you emphasize one element over another so more important content looks more important.

Visual hierarchy makes clear the primary, secondary, and supporting elements on the page.
These levels are also called Dominant, Sub-dominant, and Subordinate.

Unity

2010-01-20T15:34:00.000-08:00

Unity: Similarity, oneness, togetherness, cohesion
Variety: Difference

In their extremes:
Unity = Sameness/Boring/Predictable/Stable
Variety = Chaos/Confusion/Instability/Noise

Both Unity and Variety are needed to create interesting compositions.

Gestalt Psychology: ("essence or shape of an entity's complete form")

"form-forming capability of our senses, particularly with respect to the visual recognition of figures and whole forms instead of just a collection of simple lines and curves."

"The whole is greater than the sum of the parts"

Gestalt Psychology defined principles in how we organize and understand our world

These principles are used in creating effective design.

"When presented with a collection of separate visual units, we immediately try to create order and make connections." This process is called Grouping.

Principles of Grouping

Proximity

Proximity occurs when elements are placed close together. They tend to be perceived as a group.

Similarity

Similarity occurs when objects look similar to one another. People often perceive them as a group or pattern.

Containment

A shape or area that surrounds other visual elements will make them appear as a group.

Repetition

Repetition occurs when the same visual element is repeated multiple time, making them appear as a group.

Continuity

Continuation occurs when the eye is compelled to move through one object and continue to another object.

Closure

Closure occurs when an object is incomplete or a space is not completely enclosed. If enough of the shape is indicated, people perceive the whole by filling in the missing information.

Pattern

Similar visual objects that are placed in a consistent manner will appear as a group.

Grid

A Grid is created through intersecting lines. A grid can also be implied by the alignment of objects within a composition. Designers can use grids to organize visual elements.

Ground Relationship

The eye differentiates an object form its surrounding area. a form, silhouette, or shape is naturrally perceived as figure (object), while the surrounding area is perceived as ground (background).

Balancing figure and ground can make the perceived image more clear.

Using unusual figure/ground relationships can add interest and sublety to an image.

Project 4: CD Package

2009-11-30T10:27:00.000-08:00

The last project will require you to design a CD package that includes the disk, insert booklet, and jewel case cover.

Below are some CD projects that I have designed. They use color, image, and typography to convey the emotion of the music, or a message that the artists wanted to communicate.

Here are some designs for jazz CDs.

This shows how the insert folds out.

Here is the cover comp, disc, and back cover for a compilation of saxophone compositions.

I will try to look at several alternatives of type and image combinations.

This design was for a collection of experimental music that spans 50 years.

This shows how the final artwork is constructed and delivered to the printer.

Web Design

2009-11-17T20:28:00.000-08:00

In starting a web design project I discuss with the client what function the site is to perform and what overall message or impression is to be conveyed. I also need to find out:

How much information is to be presented on the home page
How many levels are required
How many unique pages

From this I can work up an estimate and proposal.

Organizing the information helps determine the layout of the home page and the navigation. I usually make an organization chart with link lines and other notes.

Before I begin designing, I look at similar sites to see what has been done:

What images and motifs are used (or overused)
What each site tries to emphasize
How much information is presented

From this, I can approach my initial designs as to what I can do to make the site stand out as well as what good ideas I might incorporate from my research.

Other things that influence the direction of the design may be:

new identity
advertising campaign

I use the same visual organization principles that are used for print.

Emphasis
Hierarchy: Dominant, Sub-dominant, Subordinate
Symmetry or Asymmetry
Grouping
Contrast
Repetition

I also work with figure-ground relationships, typography, and image manipulation to help create a unique look or give the layout variety and and playful quality where appropriate.

Depending on the budget, I try to provide 2-3 unique designs of home pages and second-level pages.

If I'm proposing something that may require advanced programming, I will show it to a programmer beforehand.

From these designs, the client makes comments and requests changes.

After the designs have been approved, layered Photoshop files are provided to the programming team.

Current design project that is to work within WordPress that shows three alternative approaches.

Event Promotion Assignment

2009-10-18T22:26:00.000-07:00

For this project you will be designing a poster and other promotional items for a lecture series.

As a professional designer, I do quite a bit of this kind of work and I always relay on the fundamentals of visual organization to help me conceptualize, organize, and create alternative designs.

The following are some posters and other pieces I have designed. See if you can pick out what principle(s) I'm using.

You can double-click on each image to see a larger view.

Poster and postcard (front and back)

Flyer and newspaper ad

Three design alternatives for client to choose

Two design alternatives for the client to choose.

Two designs from different years.

Which of the posters below were created by a professional designer? How can you tell?

Project 2: Title Sequence

2009-09-28T09:18:00.000-07:00

Here are some links to title sequence examples:

artofthetitle.com

watchthetitles.com

bigfilmdesign.com

Balance

2009-09-21T09:32:00.000-07:00

In Homework 4 and Exercise 4 we will be learning and working with Balance.

I will be putting up examples of the principles we are studying including:

Visual Weight—floating or sinking, as well as relative importance of an object within a composition

Symmetrical Balance—Different types of symmetry including bilateral, translational, dilational, rotational. And the use of Asymmetry in creating balance in a composition.

A great source to show the principles of balance at work is by the designer Herb Lubalin.

Emphasis

2009-09-13T21:38:00.000-07:00

Here are some examples that show how designers use the principles of emphasis in their composition.

I'll label one principle used in the example, but see if you can pick out other principles employed by the designer.

The content of these examples relate to the Bauhaus, a school in Germany from 1919-1933 that has had a profound influence on modern design, art, architecture, and photography.

Contrast in Size

Designer: Muriel Cooper, 196

Contrast in placement

Contrast in color

Isolation

Contrast in color
Designer: Herbert Bayer

Contrast in size
Designer: Herbert Bayer

Contrast in size

Moholy-Nagy 1929

Unity

2009-09-13T20:43:00.000-07:00

Here are some examples of "unity" from our first reading and in-class exercise. These are designs by Paul Rand—considered the father of American graphic design. Here is a great site that has a collection of his work and writings: http://www.paul-rand.com/

proximity

continuation

Repetition

repetition

proximity

repetition

proximity and repetition