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10 Things you need to know about Graphic Design
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G r a p h i c D e s i g n10 thingsy o u n e e d t o k n o w a b o u t
T h e r e i s n o d e s i g n w i t h o u t d i s c i p l i n e - M a s s i m o V i g n e l l i
T h e r e i s n o d i s c i p l i n e w i t h o u t
i n t e l l i g e n c e
P a n t o n eC o l o u r m a t c h i n g s y s t em
Pantone 68-16 U
Pantone is an accurate system of every colour that has been made. The purpose of this is so designers, manufacturers etc. can refer to it and be assured that they get the right colour
when work is printed - even if the colour may not look right on the screen.
Each Pantone colour system uses a unique coding scheme. This key helps you to find which system a particular pantone number of name is assosiated with. The letter suffix within the codes referes to the paper stock on which it is
printed -C for Coated or Gloss, U for Uncoated and M for Matt.
Pantone Black 7 CP
L o o k H e r eThe level of attention a specific element can demand from a user is often refered to as ‘Visual wieght’. Hevier stokes, bright colours, and more exaggerated fonts all carry hiegher levels of visual wieght.
F i n a l l y h e r e . . .T h e n h e r e
T h e n h e r e
V i s u a l H i e r c h y i s t h e a r r a n g e m e n t o f e l e m e n t s i n a g r a d u a l s e r i e s i n o r d e r o f i m p o r ta n c e . C h a r a c t e r i s t i c s s u c h a s s i z e , w i e g h t , s t y l e , c o l o u r a n d l o c a t i o n h e l p t h e a u d i e n c e r e a d t h r o u g h e m p h a s i s .
Typographical emphasis comes into play when designing a higher priority to one element over another. This emphasis is giving type a treatment that contrasts with that of type around it, in order to call more attention to it.
M a y b e o v e r h e r e ?
V i s u a l H i e r a c h y
Metaphor Synecdoche Metonymy
V i s u a lA visual metaphor is used to transfer certain meaning from one image to another. Although the images may have no close relationship, a metaphor conveys an impression about something relatively unfamil iar by drawing a comparison between it and something famil iar.
The term visual
synecdoche is applied
when a part is used to
represent the whole,
or visa versa. In more
simple terms, the main
subject is substituted
for something that is
inherently connected to it
in some way.
A visual metonymy is a
symbolic image that is
used to make reference
to something with more
of a literal meaning.
By way of assosiation
the viewer makes a
connection between the
image and the content.
Metaphor Synecdoche Metonymy
L I T E R A C Y
se
mio
tic
s
Sem i o t i cs , o r Sem i o l o gy , i s t h e s tud y o f s i gns , symbo ls and s i gn i f i ca t i o n . I t s i s t h e s tud y o f h ow mean i ng i s c re a ted .
S i gn - t h e sma l l es t un i t o f mean i ng ( any th i n g th a t can be used to commun i ca te . )
S i gn i f i e r - t h e fo rm the s i gn takes .
S i gn i f i ed - t h e con cep t t h e th e s i gn i f i e r r e f e rs to .
Symbo l - s i gns where th e re l a t i o nsh i p be tween the s i gn i f i e r and th e s i gn i f i ed i s p u re l y conven t i o na l and cu l t u ra l l y sp e c i f i c .
semiotics
As consumers of v isua l a r t , we have become h i gh l y soph is t i ca ted
readers of s i gns and symbo ls .
We decode mean ing f rom images w i th
subcons i ous ease .
- Dav id C row
a n a t o m yo f t y p e
Within Typography and design, it is very important to be able to understand and know the components
that make up all the typographical characters.
Typography StemLoop DescenderCounterSerifTerminal
Bar Bowl Shoulder Ascender Body
Baseline
Ascender line
Descender line
X-hieght
negative
s p a c e
The use of negat ive space is important as i t can def ine the content that exisi ts in the posi tve space - i t is a major structura l p layer wi th in layout design. To summarise i t , negat ive space is the wh i te spacing between e lements; whether i t is between the actual sect ions of the page, or r igh t down to the space between the lettters .
Negative space works best when there is a balance between that and the positve, Focusing on the negative can give you a more accurate, aesthetically pleasing design, with balanced composit ion, drawing the viewers eye to the subject.
CM
YK
P r i n t i n g o n s t o c k c r e a t e s c o l o u r s b y m i x i n g i n k s w h i c h a b s o r b l i g h t - C y a n , M a g e n ta , Y e l l o w , a n d K e y ( B l a c k )W h e n y o u m i x a l l 4 c o l o u r s t o g e t h e r a n d y o u g e t b l a c k . T h e m o r e i n k a p p l i e d , t h e l e s s l i g h t i s r e f l e c t e d , d a r k e n i n g t h e c o l o u r . T h e r e f o r e C M Y K i s a s u b t r a c t i v e m o d e l .
Subtractive colour
RG
BC o m p u t e r m o n i t e r s p r o d u c e a n i m a g e b y
m i x i n g l i g h t u s i n g t h e 3 p r i m a r y c o l o u r s -
R e d , G r e e n a n d B l u e .
I f y o u m i x a l l 3 c o l o u r s t o g e t h e r y o u w i l l g e t
w h i t e , t h e r e f o r e R G B i s a n a d d i t i v e m o d e l .
Additive colour
u s i n g g r i d sThe use of Grids as an ordering system is the
expression of a certain mental att i tude in as
much as it shows that the designer concieves
his work in terms that are constrcutive and
orientated to the future.
- Josef Muller Brockman
Gr ids are in important mean of posi t i on ing and conta in ing the e lements of a design in order to fac i l i tate and ease dec is ion making . They he lp to resul t in a more considered approach to the layout of a design . They a l low greater accuracy in the p lacement of e lements , in terms of physica l measurements or proport iona l space .
Gutter
Margin
Column
Margin
Flowline
t h e
c o l o u r
w h e e l
t h e
c o l o u r
w h e e l Prim
ary
Colo
urs
- Re
d Ye
llow
Blu
e
In t
radi
tiona
l col
our
theo
ry, p
rimar
y co
lour
s ar
e th
e 3
pigm
ent
colo
urs
that
can
not
be m
ixed
or f
orm
ed b
y an
y co
mbi
natio
n of
oth
er c
olou
rs. A
ll ot
her
colo
urs
are
deriv
ed f
rom
the
se 3
hue
s.
Seco
nda
ry C
olou
rs
-
Gree
n O
ran
ge P
urpl
e
The
seco
ndar
y co
lour
s ar
e fo
rmed
by
the
mixi
ng o
f pr
imar
y co
lour
s.
Tert
iary
Col
ours
-
Yell
ow o
ran
ge,
Red
oran
ge,
Red
purp
le,
Blue
pur
ple
, Bl
ue p
urpl
e,
Blue
gre
en a
nd
Yell
ow g
reen
Thes
e co
lour
s ar
e fo
rmed
by
mixi
ng t
he p
rimar
y an
d se
cond
ary
colo
urs,
hen
ce t
he t
wo
wor
d na
mes
.
l e g i b i l i t yL e g i b i l i t y i s co n c e r n e d w i t h h ow e asy i t i s to d i s t i n g u i s h
i n d i v i d u a l c h a ra c te r s . T h e s imp l e r a t y p e d es i g n i s , t h e
mo r e l e g i b l e i t i s . Wh i l e i t i s g e n e ra l l y b e t t e r to u se a
l e g i b l e t y p e fa c e , t h e r e a r e t imes wh e n d i s t i n c t i v n es s
may b e mo r e imp o r tan t t h an l e g i b i l i t y .
Legibility is concerned with how easy it is to distinguish individual characters. The simpler a type design is, the more legible it is. While it is generally better to use a legible typeface, there are times when distinctivness may be more important than legibility.
r e a d a b i l i t y
Readability refers to the ease with which a reader
can scan over text - in other words how easy it is to
read. While legibility is basically dependant on typeface
design, readability is dependant on the manipulation
or handling of the type. A highly legible type can be
made unreadable by poor typographuc design. Factors
which will affect readability include line lenght, point size,
leading, typeface selection, spacing, type alignment and
background.
Re ad ab i l i t y r e f e r s to t h e e ase w i t h wh i c h a r e ad e r can s can ove r
t ex t - i n o t h e r wo rd s h ow e asy i t i s to r e ad . Wh i l e l e g i b i l i t y i s
b as i ca l l y d e p e n d an t o n t y p e fa c e d es i g n , r e ad ab i l i t y i s d e p e n d an t o n
t h e man i p u l a t i o n o r h an d l i n g o f t h e t y p e . A h i g h l y l e g i b l e t y p e can
b e made u n r e ad ab l e b y p o o r t y p o g ra p h u c d es i g n . F a c to r s wh i c h w i l l
a f f e c t r e ad ab i l i t y i n c l u d e l i n e l e n g h t , p o i n t s i z e , l e ad i n g , t y p e fa c e
s e l e c t i o n , s p a c i n g , t y p e a l i g nmen t an d b a c kg ro u n d .