My Graphic Design 1 Process Book
All kinds of type | I love typography, the typography and fonts blog
My Cover for my Process Book :D
In this section of the book it speaks about meaningful order, or what graphic designers would call it, hierarchy. Hierarchical order e4exist everywhere, not just in design but, politics, workplace, and religion and without it graphic communication is difficult to find or express. In graphic design the hierarchy role is to convey visually in value, scale, placement, spacing, color, and other signals. This helps a graphic designer in so many ways and having and expressing order is a huge central task. A basic typographic hierarchy is shown within the table of contents. It allows viewers/ readers to locate the relevant information and provides an image of how the book is organized. The hierarchy of it is when the designers use alignment, leading, indents, and type sizes and styles. This is shown in a neatly done table of contents in the book Manners for the Millions. I also love the example done by Nicholas Blechman. The hierarchy 101 section helped me a lot to really understand its meaning. I knew that hierarchy dealt with order, but I didn’t know how to express it. The 101 shows a picture without hierarchy goes on to picture with weight contrast then one with color contrast, next was the alignment, then spatial intervals and shows pictures all the way to a pic with italic, scale, color, and alignment. Hierarchy through contrast, starting with the Russian constructivists, was shown through contrast in size, angle, and value of elements to create hierarchical separation. Shown in a creative hand with a list of facts image by Viviana Cordova. Dimensional Hierarchy the type, color fields, and graphic elements must carry the viewers eye around the dimensional form. This shown in an packages image by Jennifer Cole Phillips. Hierarchy is also shown through web and many other things. This is why I completely insist on others learning about it and how to use. To me, without it there is no order.
In this section of the book its speaks about Modularity. Within that it explains how to work with constraints and symbol systems. In the beginning of the section it gives us this quote from The Ultimate LEGO Book, and one part says, ” Six eight- stud LEGO bricks can be combined in 102,981,500 ways.” That quote clearly explains the meaning of the word module. A module is a fixed element used within a largerstructure. A modular helps a designer in so many ways, because once the modular structure is made, the design become more fun. When accepting the module you are able to mix and match images while creating a feeling of constancy or continuity across a book. The book I’mgiving a response to now relies on a square module, but not always is it in the square the “rules” are broken sometimes, which makes it even morefun. When working with constraints you just have to make it your own, and be as creative as you can be. The book gives us an example of dull office paper use for design; with creative thinking an ordinary piece of paper can be used for dramatic effect. This section also talks about cleanand dirty systems, which remind me of two projects I’ve done, one in Typography 1 (creating my own alphabet) and the other in Graphic Design (Snippets), combined together. Another image in this section that caught my eye was one the Ready-made Alphabets done by Oliver Munday, that is something I would do one day. “Symbol systems are mainly based on geometric modules that come together to create myriad forms and functions”, says the book. This is system I’ve been using since I was a little child. They used this system in many children games when I was growing up, which I thought were very fun. I have yet to use this system in college, but now that it has been brought back in my life,lol, I’m thinking about using it again for more professional reasons.
This section here speaks about texture. It starts of with this great quote by Rick Valicenti. It reads, ” If you touch something (it is likely) someone will feel it. If you feel something (it is likely) someone will be touched”. That there had my eye zoned into the section from the start. It introduces the section perfectly. The picture, also done by Rick Valicenti, as do the quote, does a good deed by explaining what texture is. Done by hand or sight, texture help us understand the nature of things or to establish a mood. Like the book says, smooth and elegant areas can be shown as something feminine or safe. Pointy and rough can be shown as dangerous or masculine. Texture in design, is both virtual and physical. Placing an element on a different surface can pull off a different mood of the element or the entire piece. Texture and/ or textured text can also give detail to an image. When using texture , whether its the opposite texture being used together or the same, in design it produce beautiful and understandable work.
This section also explains different (ways or use) of texture. Concrete texture is when we repeat crazy markings on a surface, shown in a Surface Manipulation done by Jonnie Hallman. This book also shows us images created by Grey Haas, Hayley Griffin, Tim Mason, and Jeansoo Chang, to explain physical and virtual texture. It reminds me of a piece I did in Typography 1, when I did an image of a lady crying, using text. It then explains what Textural Harmony and Contrast can do to an image. When putting a condom on a banana it is textural harmony. When making alphabets out of ripped paper that is textural contrast. Textural logotype can convey ideas of movement and change, shown in an image done by Kristen Splilman. Texture can also be used to create emphasis to an image, but when doing it wrong it distract the eye and display a bad image.
Texture is everything to me in everyday life. If I dont know how it feels or looks , Im not doing anything else with it. In this chapter, event though I know what texture is, it help me know else texture can do in design. It makes me want to show more of it
Where there is no grid, there is chaos. I say this because after the critique from my teacher, Mrs. K, I saw what she had pointed out within my Table of Contents page for my Process Book. What she said was that I had no grid, which was true, but I thought itwas good enough to present. Once I looked at it again there was chaos. I had words and numbers everywhere. Once I placed a grid to it, it showed complete order. A grid is a network of horizontal and vertical lines that are in evenly paced increments.The grid can work in the background, or it can be shown through the elements and act as an element itself. Alot of designers feel as if there will alwaysbe a need for a grid and use grids in a strict way and some designers find it useless through the design, they just use it for a starting point. This chapter explains how the grid works, its generating form, how it arranges images and organize information. It start off with the form and content, then the design of a calendar grid, and ends it with grids for pages. Grids organize content, the nine- square grid (a grid that this book I am responding to uses) divides the page into spaces for images and text, shown in one of the figures by John P. Corrigan. a strict grid is shown in photographs done by Jeremy Botts, the grid emphasizes the head-pn view point of the photographs. There is also a broken grid shown in an image also done by John P. Corrigan. The photographs are overlapping eachother and misaligned to create a sense of movement. The standard grid design for a calendar use columns and rows to structure the days and weeks within a month shown in a figure image by Kim Bost. When developing alternate ways to structure a calendar is challenging, because any calendar design must use two- dimensional space to represent a sequence in time. The grid can be circular shown nicely in a figure by Chris Ridgeway, diagonal, or freeform like the image shown by April Osmanof. The standard grid for a textbook is designed with a one-column, a single block of body copy surrounded by margins that functions as a simple frame. Books, like the bible, textbook, dictionaries, and manuals, use two columns. When there is the large body of text the two- column grid is better touse because it breaks up space and make the pages less overwhelming for readers. Three and four column grids (Multicolumn Grids)are mainly used by magazines. Mulitcolumn grids are use for the placement for text (headlines, captions, and body), images, and other elements, shown beautifully in a book design by Charles Calixto. Grids are well needed when I’m designing as I said before. I suggesta grid to be used in all graphic designers work, especially beginners.
In the Rhythm and Balance section it shows and explains Rhythm and Repetition, Symmetry and Asymmetry, Rhythm and Time, ending it with Rhythm and Pacing. Some of which we have already went over in class. The quote, said by Sergi Fovostovskii, made me smile after reading it, because I love it when the rhythm of a design directs me straight to the focal point or what the designer is trying to get across.
Balance anchors and activates images in space, it occurs when the weight of thing is distributed evenly in space. When balance and rhythm work together it displays and create stability and surprises, shown in the photograph by Tad Takano, which I think is beautiful.
Symmetry is when an image mirrors each side of the middle area or axis, from left to right and/or top to bottom. Asymmetry is when an image is placed organically; not centered. When an element is coming from either corner of a page, relying on negative space, it is asymmetry. This is shown in a photo done by Jeremy Botts.
Repetition is shown everywhere in the human environment. Two areas, which are photographed in the book, are parking lots and farmers fields. When repetition and change is put together it can produce beautiful material.
Rhythm and time acts the same way in graphic design as it does in the music industry. Rhythm is created by the repetition of elements creating great work, shown in pieces done by Jason Okutake. While rhythm and time does that, rhythm and pacing, with the help of grids, work is done across pages. That keeps the viewers eyes going, until it reaches the focal point. This reminds me of a piece done a classmate, Terri, in my Typography 1 class, when we did the project of Grey Readings (a project which in fact I enjoyed).
In this section of the book its talk about Figure and the ground it is placed on. It breaks it down in different relationships stable, reversible, ambiguous figure/ ground. This section basically explains what to do with the positive and negative areas of an image or when placing an image. Letters to page, a building to its site both are forms (figures) that are always seen in relation to what surrounds it meaning the ground or background. When putting the same color or blending the figure with the background it has no contrast and form disappears. When having this ability to create an image with perfect negative and positive or figure/ ground tension is a great skill and working with it gives a designer the power to either create or destroy form. Stable figure/ ground is when something is in the center or future within its setting of and image. Reversible is when the negative and positive area re show equally on an image. It can be seen in ceramics, weaving, and crafts. Ambiguous figure/ ground gives viewers a hard time to find the main element or focal point. This is show in the Picasso Cubist paintings. All of what I have talked are beautifully show in images by Malcolm Grear, Jennifer Cole Phillips, and Yong Seuk Lee.
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