Graphic Design Clinic: The Power of 3
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Transcript of Graphic Design Clinic: The Power of 3
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Presented by Eileen MacAvery Kane Rockland Community College, Art DepartmentJanuary 7, 2016
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Agenda
• Design Principles• Design Elements• Layout• Fonts• Color Palette• Images
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Design Principles
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Focal PointRhythmUnity
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An area of interest that attracts the viewer
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May be the smallest area or only area of color
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May be created with proportion = relative size of an object as measured in comparison to another
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Focal PointRhythmUnity
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Engaging the senses: the rhythm of artwork creates a sensation, evoking sight, sound, touch, motion
Charles Burchfield. The Insect Chorus. 1917. Opaque and transparent watercolor with ink and crayon on paper, 1’ 7 7/8”x 1’ 3 7/8” (50 x 40 cm). Munson-Williams-Proctor Institute. Museum of Art, Utica, New York (Edward W. Root Bequest), 58.104.
Albert Renger-Patzsch. Buchenwald in Herbst (Beech Forest in Autumn). 1936. Silver gelatin print, 8 3/4”x 6 3/8” (22.2 x 16.2 cm). The Metropolitan Museum of Art, Warner Communications, Inc., purchase fund, 1980; 1980.1063.1.
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Philip Guston. Transitions. 1975. Oil on Canvas, 5’6” x 6’81/2” (167.6 x 204.5cm). Smithsonian Amercian Art Museum, Washington, DC. Bequest of Musa Guston.
Hiroshi Sugimoto. U.A. Play House. 1978.
Used to different type of feelings:
• Symmetrical: classicism, stability, formal
• Asymmetrical: dynamism, movement, casual
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Focal PointRhythmUnity
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Unity = visual harmony is achieved with whatever elements are used
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Design Elements
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Line
Shape
Pattern
Texture
Value
Color
Space
Motion
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Biomorphic shapes –Abstract shapes that allude to natural, organic forms such as plants or the human form, convey emotion or reference. Over the Circle (Frankenthaler)
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Texture makes the object feel like it has a surface quality.
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Add color and you can change the tone and message completely
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Create interest by interrupting the repetition (image by San Mung, Prism)
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Figure / Ground relationships
(Ascending and Descending by M.C. Escher)
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Sue Hettmansperger. Untitled Drawing. 1975. Watercolorand pencil, 1' 11" x 2' 1" (58 x 64 cm). Collection of North Carolina National Bank.
Use value to create form
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James Turrell. Meeting. 1986. Warm and cool colors for simultaneous contrast
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The use of space supports color as a focal point
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Motion dominates this image
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Layout
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Careful control of visual hierarchy is a key aspect of the design decisions we have to consider.
1. Most Important
2. Least Important
3. Everything else in between
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Poster by Rebecca Foster
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Fonts
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Limit your font choices to 3and use fancy fonts for headlines only
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Color Palette
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Limit your color palette to 3
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You’ll tend to get a more pleasing final result if you stick to three colors in your color scheme.
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Many of the masters’ paintings use very limited palettes
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If more colors are needed, try using tints or shades of a color
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Choose colors that are appropriateand be aware of cultural differences
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In some countries, yellow has very different connotations. In Egypt, for example, yellow is for mourning. In Japan, it represents courage, and in India it’s a color for merchants.
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Images
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Use the rule of thirds
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Horizontal horizontals
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Framing
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Fill the frame
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Try different angles
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Avoid harsh sunlight and zoom in
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Uncluttered background
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Use visual metaphorsand Puns
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Clean up your messClean Designs Reduce the
Effort Needed to Find Information
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Consider Alignment, Size, Contrast, and Extras
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Best Practices
• Create a layout with strong visual hierarchy
• Use the power of 3:
- Layout
- Fonts
- Color Palette
• Image cropping and positioning
• Unity is the ultimate goal