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Reading Notes / Appendices
- speak with one visual voice. – to draw attention make it different from everything else surrounding it. If I am going to work on a brand I should be consistent with the colors, typography and forms.
- use typefaces maximum. – when working with typefaces I won’t combine two similar fonts. I will use fewer fonts as well. I would use the same font but different style.
- Pick colors on purpose – I will choose colors that make sense. Certain colors bring out certain emotions. There are colors that look better next to each other.
- negative space is magical- when you add negative space it gives the object in the design more importance. The focus is on the main object.
- Be decisive – If you are indecisive your project will always be changing, and you are never going to finish the design. I have to make clear decisions about things like size and color.
- look to history but don’t repeat it – I think this is something that stuck out to me because we like certain art and we try to copy it. This is never good to do. You should be inspired by the art but never copy exactly the design of someone else’s.
- Symmetry is the ultimate evil – When creating art, it does not matter if your symmetry is equal. When designs are symmetrical it seems repetitive and does not give the design a new perspective.
- be universal; it’s not about you – It is important to realize that the art is not about you. Don’t just make things you like. Do what others would like and enjoy. When creating art people should do all kinds of things. You have to create foe everyone else.
- Ignore fashion – This can be hard because people want to jump on the latest or popular thing. Try to be steer away from the latest design trends just to relate to an audience. It shows you are not being original. The work will stand out more and people will notice it. Trends come and go and people will not be interested as much in it I think it is important to be a trendsetter and not do what it is the current market.
- Squish and separate – When doing this it makes the design livelier and not dull. A designer should be giving art more life. Even if it means moving things around and squishing and separating them. It gets the audience’s attention that the design has density.
Reading Notes: Chapter 5
1)organizational strategies: structure & intuition: By figuring out what goes where, in what order, and how it should be arranged from a compositional standpoint demands a lot from a designer. A designer might have to reorder it when it is necessary to improve its clarity or enhance its conceptual concepts.
2. structure: the gird system: All the pieces have to come together to communicate. The grids in the image can be organic or loose. A grid helps show a systematic order and helps the user navigate and distinguish items.
3) exploring other options: nonstructural design approaches: It has become the status quo when designing. There are other options of ways to organize images and information. Sometimes there does not need to be structure.
4) grid deconstruction: It is about splitting apart grids and structures. A designer can do this by making putting words and images vertically or horizontally. Even overlapping and putting things in different proportions. It would be put in places where it does not usually go.
5) conceptual or pictorial allusion: This is an interesting way of imposing a visual idea into a page format. It can be an illusory representation of a certain subject or a concept. The word and images that are floating are an example.
6) visual relationship between words and pictures: There are usually two categories when it comes the relationships. The first category is when there is nothing in common with the images. The second category is when the typography has been integrated with the image that it becomes obscured. It is good to know where the objects will go depending on the lights and darks in the image.
7) positioning strategies: This is where you have to consider where to position an image and its words. Words are usually placed in a rectangle are part of the image. Its relationship depends on its positioning and elements. It can be placed on, in, or next to a cropped image.
8)integrating silhouettes: They share a visual and opposing relationship with their alignments. The designer should position the silhouetted images with respect to the grid. It should look like it flows smoothly.
9) finding flexibility: There are two variables when it comes to fundamental variables. The first one includes the way the design is presented like its colors and form. The second variable is the frequency of different page components within the palette.
10) pacing & sequencing: This is where the reader will capture what part goes where and what it means. This would be like figuring out the subpage from the homepage within a website. Another example would be a magazine or brochure. Organization is an important element when it comes to structuring the design.
1. Structure and Intuition
- Figuring out what goes where, in what order, and how it should be arranged from a compositional standpoint.
2. The Grid System
- A grid is one approach to achieve solving the problem of organizational placements of pictures, text, headlines, and data.
3. Column Grid
- Information that is discontinuous from being organized into an arrangement of vertical columns. Allows the designer to accommodate unusual breaks in text or images on the page.
4. Modular Grid
- A column grid with a large number of horizontal flow lines that subdivide the columns in rows, creating a matrix of cells.
5. Grid Development
- Building an appropriate grid for a publication involves assessing the shape and volume of the content rather than trying to assign grid spaces arbitrarily.
6. Grid by Image
- A grid might be defined by image content through comparison of its proportions.
7. Grid by Text
- The designer might approach the grid from perspective of the text shape and volume.
8. Column Logic and Rhythm on a Grid
- The way in which columns of text interact with negative space is an important aspect of how a grid is articulated. The spaces above and below columns play an active part giving the columns a rhythm as they relate to each other across pages and spreads.
9. Variation and Violation
- The greatest danger in using grid is to succumb to its regularity, the grid is an invisible guide existing on the bottommost level of the layout.
10. Spontaneous Optical Composition
- The compositional method is purposeful intuitive placement of material based on its formal aspects seeing the inherent visual relationships and contrasts within the material and making connections for the viewer based on those relationships.