Reading Notes Chapter 4

1.  How abstraction can change a simple object or shape in an image into something beautiful.

2. How the image mode is influenced by the medium of an image as well as the images simplicity.

3. Seismology: the study of relationships between signs and what they represent.

4. How the choice of using an illustration over photography removes the limitation of using real-world objects.

5. The distinct differences between drawing and painting. Also the characteristics that each bring to the designer.

6. The importance of realism in an image and how it can improve an image’s overall atmosphere.

7. How the medium of an illustration or photo communicates a message to the viewer.

8. How the type of image can change the perceptual filter the viewer associated with the image.

9. Mixing image styles can change the size, shape, color, and spatial arrangements of objects in an image.

10. The artistic power that semantic content plays when making an image.


Reading Notes Chapter 3

1. The Nuts and Bolts:

The western alphabet is made up of an intricate system of lines that are nearly invisible. By learning about this system, I can gain a deeper meaning of the importance of text in my work.

2. Form and Counter form:

The spacing of letters into words, sentences, and paragraphs  is vital. Every kind of typeface has different spaces and strokes. Learning the different spaces and strokes of typefaces will help me to put more emphasis on wording.

3. Visual Variations:

Every typeface contains six different aspects that make it unique. These aspects are case, weight, contrast, width, posture, and style. By learning the subtle changes in these aspects from every typeface, I can choose which one(s) will best suit my projects.

4. Style Classifications:

Each typeface can be classified by the subtle differences between them such as smaller brackets or a more defined serif. Learning these subtle differences can help me grasp the importance of choosing a typeface carefully.

5. Know What and Why:

It can be difficult to select a typeface based on its feeling or mood. Choosing a typeface often boils down to the designer’s gut reaction or the shapes inherent to that style. By learning the mood that corresponds to each typeface, I can control how the viewer will react.

6. Combining Type Styles:

Combining typefaces is conventionally used in the work space. The dispenser must choose typefaces with a clear notion of hierarchy. By establishing hierarchy, I can combine typefaces without losing each typefaces meaning.

7. Alignment Logic:

Types can be set to different positions that are called alignments. They can be made to start from the left, right , or center. By learning the logic required when using alignments, I can choose the best alignment for a particular work.

8. Type is Visual, Too:

People often ignore the abstract and visual nature of type. Type itself is visual just like any object that occupies space. By realizing that type is visual, I can use it in a similar manner to the shapes that occupy my images.

9. Typographic Color:

A type’s rhythmic, spatial, and textural qualities are known as the term typographic color. Changing the typographic color of text will not only change the size but also perception of its spatial depth. Learning the value of typographic colors can help my images to have text that draws the viewer in.

10. The Texture of Language:

Typographic texture-changes in boldness, size, linearity, texture, and rhythm- are a source for typographic color. By approaching the typographical material carefully, I can make the viewer feel the emotional impact of my own words.

Reading Notes Chapter 2

1. Hue

Identifies how we observe light being reflected from objects at particular frequencies. My design process can be changed by altering my perception of colors.

2. Saturation

Saturation is the intensity of brilliance that a color displays. I can change my design process by adding saturation to intensify the colors.

3. Temperature

The temperature is the subjective quality of colors (ex: red and orange being warm colors). Learning the temperatures of colors can give my images deeper meaning.

4. Hue Relationships

How different hues interact with each other is called hue relationships. My images can gain a deeper feeling of unity through hue relationships.

5. Saturation Relationships

Saturation relationships may occur independently from other relationships. Saturation relationships can increase the pop of my works.

6. Temperature Relationships

Colors that are grouped together that have similar temperatures can generate massive possibilities for color combinations. I can increase the mood of colors through temperature relationships.

7. Color: Form and Space

Applying color to a composition will have an immediate effect on hierarchy, the relative order of importance of the forms in space. By learning this relative importance I can gain a deeper awareness of my projects I create.

8. Color Stories: Coding with Color

Color can help us create relationships among components or editions of a publication. By learning about these components I have reached a new level of awareness in the importance of color in images.

9. Color Proportioning

When coloring, a person needs to establish flexibility in their system. By learning to correctly proportion colors I can give my images a sense of balance.

10. Color Psychology]

Each color comes with a variety of psychological messages that are given to the viewer. By learning the messages that each color creates I can reach out the intended meaning of my work to the viewer.

Reading Notes Chapter 1

1. The Shape of Space

  • The size and shape of space in a picture changes how we perceive form. By changing the size of a format, I can learn to change the apparent size of elements in my design processes.

2. Positive and Negative

  • The form of a picture is considered a positive element while the space of the picture is considered negative. By learning the relationships between positive form and negative space, I can convey the appropriate message desired from my designs.

3. Clarity and Decisiveness

  • An image must be readily understandable (clarity). It must be obvious that it is one thing and not another (decisiveness). This can change my design process by encouraging me to make sure my works are obvious in what they are and understandable.

4. The Dot

  • A dot is a point of attention that anchors itself to any space it resides. No matter what the space is, it is still a dot. By learning about the nature of the dot, I can gain a better feeling for what my work will be.

5. The Line

  • The line unites areas together in a composition. They are inherently dynamic and perform functions like separating space and enclosing objects. By learning about the functions of lines, I can gain a greater understanding of how they control space.

6. Plane and Mass

  • A plane is a dot with its outer contour containing an important attribute (ex: angular instead of round). All form have a perceived mass that changes based on the size and simplicity of a shape. By learning about the important of mass and the attributes of planes, I can give my works a true sense of texture and weight.

7. Geometric Form

  • A form with a regularized contour is geometric. These forms are often angular and perceived as artificial. By adding geometric forms to my works, I can create a feeling of ambiguity of unease.

8. Organic Form

  • A form that irregular or textured is organic in nature. These forms are often seen as soft and naturally occurring as opposed to geometric forms being artificial. By using organic forms in my works, I can help create a sense of familiarity.

9. Surface Activity

  • Surface activity helps viewers differentiate forms from each other. By grouping dots together, we create the illusion of activity through texture and pattern. By learning the importance of texture and pattern in surface activity, I can make my images come alive.

10. Static and Dynamic

  • A image that has little movement might be considered static. On the other hand, an image that contains perceived movement might be considered dynamic. Learning the importance of rest and movement can help me to really bring out the purpose in my images.

Changing My Design Process

1. Use restraint when choosing typefaces for your work.

  • I tend to let my creativity get the better of me when I work. Showing restraint can helped keep my work grounded on a specific form.

2. Picking a color out of convention isn’t always the right choice.

  • Colors carry a large amount of emotional weight. They can challenge me to stop and think about which colors I want to choose for a project.

3. Deal with negative space in a healthy way.

  • Negative space can be used to draw attention to the actual content. I can learn to leave space in my designs instead of jamming things into it.

4. Type needs to relate to everything else in the design.

  • Type is just as much a part of an image as all of the other factors. This can change how I use typography in my design process.

5. Don’t add things to an image that only you like.

  • One of the hardest things in design is trying to appeal to oneself and the audience. By thinking beyond myself and trying to be more universal, I can make my images more appealing to a wider audience.

6. Use darkness and light in concentrated areas.

  • Distinctions between light and dark must be clear in order to make the image more appealing. I can concentrate areas of light and dark to change the tonal value of my design process.

7. Be confident with the visual material you are placing.

  • Placing material in an image without confidence can portray a message of weakness or insecurity. I should be confident in my designs and what my plans are for them.

8. Measure elements with your eyes.

  • This can challenge me to use my eyes when making an image instead of relying on a ruler.

9. Create illusions of three-dimensional movement.

  • The idea that static images are boring and dull can help my design process to become more visually interesting and mysterious.

10. Symmetry isn’t necessary.

  • Symmetry is often static which in turn, makes it less visually interesting. By using more asymmetrical elements in my design process, I can give my images more dynamism.