Visual design fundamentals
Design project 1:
ABSTRACTION
"Because abstraction reduces the amount of visual information that a viewer must take in and decode, this frequently allows for faster and more memorable visual communication." - symbols, logos, trademarks, posters, illustration.
Abstraction thorough simplification | repetition | line and shape | object and type
all in 4 x 4 inch squares
Simplification - "eliminating visual information to focus attention on the essential qualities of the object or to emphasise some particular aspect of the object."
1 - Black and white marker drawings of the object.
Keep accurate proportions and relations within the object
Not silhouette - "The drawings should explore how the eye distinguishes various parts of the object and how light falling on the object helps a viewer understand the shapes within the object.
2 - Studies within a specific frame - what visual cues are necessary in order to recognise the shape
Shape is the most important part at this stage - positive and negative
how the shape creates - unity, variety and recognition
creating unity - use similarity.
creating variety - change position and scale
recognition - harder to define, the more important parts of the object, depends on experience
black and white marker drawings 4/5 times
frame specific parts that would look like interesting compositions - draw them 25 times
select the strongest overall compositions (balance - unity through similar shapes - variety for interest - recognition) 2/3
refinement - 10 further studies based on the selected drawings.
select 3 to be scanned and converted to illustrator.
pg 82 onwards for production process.
Repetition
Use the same process as above / the same examples and experiment with repeating them at least once to fin what new shapes can be created
patterns are not generally engaging - but adding a small variation can create interest. we look for a way of understanding things by identifying a pattern then seek out the things that depart from it.
with designs that include too many differing elements that do not form a pattern the result can be chaotic and uncomfortable to look at / read / understand.
35 studies of this type - pg 125 onwards for production process
Line and Shape
"Using line to imply but not fully enclose shapes also allows for bette integration of positive and negative shapes"
also adds variety
Conduct studies using the same objects in which line is used to imply part of an object
it should not enclose an object
should harmonise with shapes
it should give you an understanding of the integrated relationship between positive and negative shapes.
pg 140 for production process
type combination
combine all parts of the object in the form of a letter / number - several times
integrate the object and letterform - object can form part of the letter / letter can form part of the object / the two can combine through each others negative space.
The viewer should have a sense he is looking at one unified object not two distinct shapes.
pg 155 for production process
design project 2:
FIGURE ABSTRACTION AND NONOBJECTIVE SHAPE
abstraction | sequence and continuity | relationship between abstract and nonobjective | open / closed form
"abstraction is the process of reducing natural shapes down to their simplest form."
sequence and continuity required in understanding motion graphics
closed form - everything is inside the frame. formal / classical design
open form - things outside the scene, feeling of expanse, less formal, usually asymmetric.
stage 1 - Figure Abstraction
divide a human figure into 3 to 5 simple symmetrical shapes
develop …
179 for production process
"The fierce competition for audience attention is accelerating every day. The huge amount of visual and textual material being thrown at the viewing public is being delivered through a never-ending supply of new media and formats for electronic communications. Everyones attention span and tolerance for viewing images and deciphering messages is getting shorter."
Open form or closed form - "Most artists and designers have chosen one or the other to create their masterpieces."
design project 3:
VALUE
(light and dark)
simple shapes describing high, mid and dark tones. Illustrated portrait with 3 - 5 tones.
asymmetric balancing - large shape, heavy. small shape, light. shift the smaller to the edge and the lager to the centre to balance.
higher contrast between shape and surrounding, heavier weight.
visual hierarchy must apply. if there are three shapes, one must weight more than the other two.
the composition should be balanced
value (lightness / weight) can create depth - think of a foggy photo, further = lighter.
Take a photo and use it to create an asymmetrically balanced piece using the techniques from the earlier projects in this series.
209 for production process
design project 4:
COLOUR THEORY
2 systems - additive | subtractive
additive - direct light source. coloured light. mixing all three primary colours creates white
subtractive - reflected light. paint, 'physical' colours' mixing primaries creates a dark muddy grey
LIGHT - day light is warm in contrast to night light
colour perception changes depending n surrounding colours and tones.
most common organisation of colour is the 12-hue wheel
primary colours - make up all other colours
Red
Yellow
Blue
secondary colours made from two primary
(yellow + red) = orange
(red + blue) = purple
(blue + yellow) = green
Tertiary colours - made from mixing a primary with the adjacent secondary colour
blue-green
yellow-green
yellow-orange
orange-red
red-purple
blue-purple
each colour / hue has a value (lightness / darkness) adding black / white
Lightening = tinting
Darkening = shading
Surrounding a colour with black or a very dark line will make it seem richer, clearer. gives the shape a crisp well defined feeling.
surrounding a colour with white will do the opposite - it will seem to spread and be less crisp.
intensity - the closer a colour is to being pure the more intense. intensity is lowered by mixing black / white or the complementary colour.
if a colour is placed on a background of its complementary colour the intensity will appear to increase (an illusion)
complementary colours are opposite in hue
Colour Scheme
a system of colours that creates a visual relationship to add harmony or interest to a design or work of art.
traditional colour wheel - 4 basic colour schemes.
Monochromatic - Analogous - Complementary - Triadic
Monochromatic - one hue, all tones. high anne of tones = contrast and activity. Low range = calm
Analogous - adjacent hues. similar colours. = harmonious tranquility.
Complementary - opposite colours = lively, active, excitement. increaced when used at full intensity.
Triadic - three hues at equal distance on the wheel. = dynamic activity
Colour unity through tonality: tonality is the presence of a dominant hue - this can be within a wide range of colours
Add smaller areas of complementary colours for variety - use hierarchy to arrange areas so that the focal points will be observed in the desired order.
warm vs cool colours - common technique for contrast
warm colours - associated with past experiences.
Discordant colours - no identifiable relationship with each other. usually far apart on the colour wheel.
design project: practical part of colour:
select a thème / central idea that includes at least three of: human figure, animal, object, environment, shape, shapes relating to a place
research reference material
select at least three references to be combined
combine into a composition using any of the previous techniques from this book
thumbnail sketches combining all the elements
concentrate on shape and value
trace an outline of shapes that can be discerned
add lines to help harmonise and add variety
simplify and organise shapes into something interesting ( similar to the value project)
is the design going to be stylisation or abstraction?
experiment with frame proportions
experiment with colour schemes - should reflect the mood of the theme / idea
247 for production process
design project:
TYPEFACE DESIGN
research of a typeface that will be used as the driving source behind a poster.
type developed with technology and culture
5 main classifications (most familiar - not all)
Old style, Transitional, Modern, Slab serif, Sans serif
Stress - the diagonal slant of a letter.
Stroke - the difference between the thick and thin parts of a letter
Old style typefaces - more human, less machined
Transitional - not as much contrast in stroke, between old and modern, a bit more machined but retain some humanity
Modern - end of the 18th century, exact and mechanical, big change, large contrast in stroke, no noticeable stress
Slab Serif - blocky serifs, consistent stroke, clear shape, late 19th, early 20th. later introduced Clarendons - stroke contrast, minimal brackets.
Sans serf - early 19th, made popular by bauhaus + art deco, more space between shorter lines makes them more readable - tendency to read vertically (lack of serif) sleek, clean, no flourished extras.
Type styes - variety of weights and widths
Medium - (regular / book / normal) standard weight, can sometimes be slightly heavier
Light - thin, lighter version of medium
Bold - heavier (other terms - demi-bold, semi-bold, heavy, extra bold, ultra, black)
Condensed - compressed / narrow, vertical feeling
Extended - expanded typeface, horizontal feeling
- Letters should be designed as shapes
- A word is a pattern of these shapes
- Paragraphs are shapes made from these patterns, change the type face and spacing, change the shape
- shapes in patterns are not necessarily seen as shapes - more as implications of texture
- Designing using pattern is much like designing with value or colour. It should be created as part of a composition, not restricted to one part. It should incorporate hierarchy, accents, variety, unity
structured / unstructured and spontaneous
emphasis can be put one one element over another - variety over harmony or vice versa
the project:
research a typeface - collect some letters, words and some info on it
the composition will demonstrate use of the design principles:
unity, variety, focal point, balance, abstraction, distortion, rhythm, repetition, visual hierarchy (harmony)
using
nonobjective positive / negative shapes, line, colour, pattern
find interesting characteristics of the typeface
research the origin and find contemporary and classic examples
how does it differ from other typefaces
make composition - one letter / word / paragraph - that details some part of the type
you can use visuals, but they must not be more dominant than the type
must reflect the aesthetics of the font
use the same procedure as in previous projects
Cool colours recede, warm colours advance
higher contrast advances, less recedes
279 for production process
Design project:
DIGITAL MONTAGE
Montage - "a collection of separate images that are designed into one related composition but retain their original identity."
Collage - "a work of art that uses visual materials that were not originally created by the artist for that particular purpose."
"Both of these types of design are good examples of gestalt theory. They are similar in that they combine elements from different sources into one composition, and these elements retain their own integrity while becoming recognisable parts of a whole design."
- select a theme
- research the theme
- collect resources
- visualise an appropriate style
- select and / or create images for use (high resolution, 300dpi)
- thumbnail sketches of material together (composition)
- experiment with frame propotions
- experiment with values and colour schemes
312 for production process
REEL 2011 from Jacob Plumridge on Vimeo.