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LANGUAGE OF DESIGN (Intro to GD, Wk 2)

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Shawn Calvert
Shawn Calvert

Week 2, Language Of Design Presentation from Introduction to Graphic Design, Columbia College Chicago. Much of the content taken from readings, including the textbooks: Timothy Samara's "Design Elements" and "Design Evolution." Other references cited in presentation. Please note: many slides are intended for class discussion and might not make sense out of context.

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LANGUAGE OF DESIGN
F O R M + S PA C E
Form Form is considered a positive element, a solid thing or object.
Space Form is considered negative—not in a bad way, but as the absence, or opposite, of form. Space is the “ground” in which form becomes a “figure.”
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
All form has meaning.
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
The space between and around forms is often called whitespace (although it is not always white).
Where is the space?
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
Contrast/Difference How we distinguish between form and space. The human brain innately simplifies and groups similar elements. If it cannot easily make these connections, it perceives confusion.
We are hardwired to find differences in our environment
Form is Space, Space is Form The relationship between form and space, or figure and ground, is complementary and mutually dependent: it’s impossible to alter one and not the other.
The relationship of form and space creates meaning.
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
Form + Space = Visual Logic Visual logic, all by itself, can also carry meaning. The figure/ground relationship composed in such a way that the feeling this compositional, or visual logic, generates is perceived as appropriate to the message.
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
LANGUAGE OF DESIGN (Intro to GD, Wk 2)
THE ELEMENTS THE PRINCIPLES OF DESIGN OF DESIGN Line Balance Shape Emphasis Texture Rhythm Space Unity Size Contrast Value
THE ELEMENTS OF DESIGN from Design for Communication, Elizabeth Resnick
Line Shape Texture Space Size Value
LINE Lines can organize, direct, separate, be expressive, suggest emotion, or create rhythm. They can join elements or divide them using a rule, which is a line that separates one element in a design from another. Saul Bass Emil Steinberger, 1965 Susanna Dulkinys, 2003
SHAPE The external outline of a form or anything that has height and width. An example would be the three basic shapes: the circle, the square, and the triangle, considered to be the fundamental shapes found in all design. Saul Bass Paul Rand, 1985 Max Bill, 1944
TEXTURE The look and feel of a surface. In two-dimensional form, texture is essentially visual and adds richness and dimension to work. Texture can also refer to pattern, which is visual texture. Sony Music, 2001 Donald Brun, 1946 William Golden, 1951
S PA C E Refers to the distance between shapes and forms, but it is best understood in design as white space or negative space—terms used to refer to the empty but often active areas that are void of visual elements. The Pushpin Group, 2004 Bruno Munari, 1982
SIZE How big or small something is in scale to other objects. Scale refers to the process of making size relationships. unless there is a scale of reference within a design, it is impossible to discern the relative scale of objects and the meaning they represent. Herbert Matter, 1935 Helmut Krone, 1959
VA L U E ( & C O L O R ) The relative lightness or darkness of an area or object. Value adds dimension by creating the illusion of depth in a design. With the addition of a color, you can create and convey a mood to enhance a strong concept. Metropolis Magazine, 2005 Paula Scher
THE PRINCIPLES OF DESIGN
Balance Emphasis Rhythm Unity Contrast
BALANCE —occurs when all the design elements are equally distributed through the design. There are essentially two types of balance: symmetrical and asymetrical. Symmetrical elements are arranged equally on both sides of a composition to suggest a stable or static motion. Asymetrical elements create a deliberate imbalance to suggest variety or dynamic movement. Tibor Kalman, 1980 FT Marienetti, 1914 1937
EMPHASIS —indicates the most important element on the page based on the message. It’s the element that stands out and gets noticed first. The most emphasized visual element in a design is called a focal point because it attracts the viewer’s attention first. How can you create emphasis in design? By taking an element and making it bigger, bolder, or brighter, by putting it in a contrasting color, or by surrounding it with white space. Aleksandr Rodchenko, 1923 Ellen Lupton, 2006
RHYTHM —is a pattern created by repeating elements. Rhythm denotes the movement in the way that elements direct our gaze to scan the message for understanding or information. The term sequence is used to refer to the viewing order of the elements and to determine the flow of a multipage publication such as a magazine or book. 1927 Josef Müller-Brockmann
UNITY —is achieved when all the design elements relate to one another and project a sense of completeness. Gestalt theory is the psychological process by which a viewer unites disparate design elements into a whole form that is greater than the sum of its parts. Two such ideas are grouping and figure/ground. Grouping happens when elements are close together and visually appear as part of a group. Figure/ground occurs when a viewer can identify an object (figure) as a shape distinct from its background (ground). Paula Scher
CONTRAST —stresses the visual differences in size, shape, and color between the elements to enhance the perception of a message intended. Contrast also draws and directs the viewer’s attention to specific areas of information. Saul Bass Barbara Kruger, 1987
THE ELEMENTS THE PRINCIPLES OF DESIGN OF DESIGN Line Balance Shape Emphasis Texture Rhythm Space Unity Size Contrast Value

More Related Content

LANGUAGE OF DESIGN (Intro to GD, Wk 2)

  • 2. F O R M + S PA C E
  • 3. Form Form is considered a positive element, a solid thing or object.
  • 4. Space Form is considered negative—not in a bad way, but as the absence, or opposite, of form. Space is the “ground” in which form becomes a “figure.”
  • 7. All form has meaning.
  • 11. The space between and around forms is often called whitespace (although it is not always white).
  • 12. Where is the space?
  • 14. Contrast/Difference How we distinguish between form and space. The human brain innately simplifies and groups similar elements. If it cannot easily make these connections, it perceives confusion.
  • 15. We are hardwired to find differences in our environment
  • 16. Form is Space, Space is Form The relationship between form and space, or figure and ground, is complementary and mutually dependent: it’s impossible to alter one and not the other.
  • 17. The relationship of form and space creates meaning.
  • 19. Form + Space = Visual Logic Visual logic, all by itself, can also carry meaning. The figure/ground relationship composed in such a way that the feeling this compositional, or visual logic, generates is perceived as appropriate to the message.
  • 23. THE ELEMENTS THE PRINCIPLES OF DESIGN OF DESIGN Line Balance Shape Emphasis Texture Rhythm Space Unity Size Contrast Value
  • 24. THE ELEMENTS OF DESIGN from Design for Communication, Elizabeth Resnick
  • 26. LINE Lines can organize, direct, separate, be expressive, suggest emotion, or create rhythm. They can join elements or divide them using a rule, which is a line that separates one element in a design from another. Saul Bass Emil Steinberger, 1965 Susanna Dulkinys, 2003
  • 27. SHAPE The external outline of a form or anything that has height and width. An example would be the three basic shapes: the circle, the square, and the triangle, considered to be the fundamental shapes found in all design. Saul Bass Paul Rand, 1985 Max Bill, 1944
  • 28. TEXTURE The look and feel of a surface. In two-dimensional form, texture is essentially visual and adds richness and dimension to work. Texture can also refer to pattern, which is visual texture. Sony Music, 2001 Donald Brun, 1946 William Golden, 1951
  • 29. S PA C E Refers to the distance between shapes and forms, but it is best understood in design as white space or negative space—terms used to refer to the empty but often active areas that are void of visual elements. The Pushpin Group, 2004 Bruno Munari, 1982
  • 30. SIZE How big or small something is in scale to other objects. Scale refers to the process of making size relationships. unless there is a scale of reference within a design, it is impossible to discern the relative scale of objects and the meaning they represent. Herbert Matter, 1935 Helmut Krone, 1959
  • 31. VA L U E ( & C O L O R ) The relative lightness or darkness of an area or object. Value adds dimension by creating the illusion of depth in a design. With the addition of a color, you can create and convey a mood to enhance a strong concept. Metropolis Magazine, 2005 Paula Scher
  • 34. BALANCE —occurs when all the design elements are equally distributed through the design. There are essentially two types of balance: symmetrical and asymetrical. Symmetrical elements are arranged equally on both sides of a composition to suggest a stable or static motion. Asymetrical elements create a deliberate imbalance to suggest variety or dynamic movement. Tibor Kalman, 1980 FT Marienetti, 1914 1937
  • 35. EMPHASIS —indicates the most important element on the page based on the message. It’s the element that stands out and gets noticed first. The most emphasized visual element in a design is called a focal point because it attracts the viewer’s attention first. How can you create emphasis in design? By taking an element and making it bigger, bolder, or brighter, by putting it in a contrasting color, or by surrounding it with white space. Aleksandr Rodchenko, 1923 Ellen Lupton, 2006
  • 36. RHYTHM —is a pattern created by repeating elements. Rhythm denotes the movement in the way that elements direct our gaze to scan the message for understanding or information. The term sequence is used to refer to the viewing order of the elements and to determine the flow of a multipage publication such as a magazine or book. 1927 Josef Müller-Brockmann
  • 37. UNITY —is achieved when all the design elements relate to one another and project a sense of completeness. Gestalt theory is the psychological process by which a viewer unites disparate design elements into a whole form that is greater than the sum of its parts. Two such ideas are grouping and figure/ground. Grouping happens when elements are close together and visually appear as part of a group. Figure/ground occurs when a viewer can identify an object (figure) as a shape distinct from its background (ground). Paula Scher
  • 38. CONTRAST —stresses the visual differences in size, shape, and color between the elements to enhance the perception of a message intended. Contrast also draws and directs the viewer’s attention to specific areas of information. Saul Bass Barbara Kruger, 1987
  • 39. THE ELEMENTS THE PRINCIPLES OF DESIGN OF DESIGN Line Balance Shape Emphasis Texture Rhythm Space Unity Size Contrast Value