What is Graphic Design?

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1 GRAPHIC DESIGN

2 What is Graphic Design? The combination of typography and images in the design of a communications composition to deliver a particular message to target audiences Any form of visual artistic representation. The process and art of combining text and graphics and communicating an effective message in the design of logos, graphics, brochures, newsletters, posters, signs, and any other type of visual communication.

3 Paul Rand Conversations with Paul Rand

4 Paul Rand DESIGN THE SYNTHESIS OF FORM AND CONTENT Without content there s no form without form there s no content when form predominates, meaning is blunted when content predominates, interest lags

5 Paul Rand Language of Art - Aesthetics Order Variety Contrast Symmetry Tension Balance Scale Texture Space Shape Light Shade Color

6 Saul Bass Considered one of the most influential individuals in the world of graphic design Inspired by the book Language of Vision which stressed art should focus on the essentials He became an expert in the art of reductionism His fame allowed him to experiment at many levels from posters for film to full production of films The opening film sequence to The Man with the Golden Arm, 1955, revolutionize movie posters and opening scenes to movies

7 Saul Bass Exhibit - "Anatomy of a Master"

8 Catch Me if You Can Opening Title Sequence

9 Saul Bass designed the 6th AT&T Bell System logo, that at one point achieved a 93 percent recognition rate in the United States. The use of white space to define the shape of human body parts are typical of Saul Bass s

10 Milton Glasser A SHORT DOCUMENTARY ON THE DESIGNER MILTON GLASER MADE FOR ADOBE SYSTEMS, INC. BY HILLMAN CURTIS

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12 alexey brodovitch

13 neville brody

14 David Carson

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17 Impact of the Six Perspectives on Graphic Design Technical perspective: - - the four visual cues: color/light, form, depth, movement combined with the elements of good designs: contrast balance rhythm Unity/variety

18 Contrast Contrast is making reference to the differences in color, size, symbolism, time, movement A lot of contrast among elements signifies a busy and youthful design Little contrast among elements usually indicates a no-nonsense and conservative approach Pattern contrast: intricate pattern vs. no pattern Edge contrast: hard edge vs. soft edges Value contrast: dark, middle and light values Intensity contrast: pure colors vs. muted colors Temperature contrast: cool colors vs. warm colors Texture contrast: textured vs. smooth Shape contrast: organic shapes vs. geometric shapes Size contrast: large shapes vs. small shapes

19 Color usually the use of colors that complement each other slightly rather than contrast each other greatly Designs using colors that compliment each other, or have slight contrast are pleasing to see and grasp Designs using greatly contrasting colors will create tension in the viewer

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21 Shock images and Shock advertising take advantage of the tension created by images that are not pleasing or are not aligned with would be considered normal content Barnardo s a London based charity using a photo that showed a baby about to inject itself with heroin

22 Benetton Clothing United Colors Campaign

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24 Size the size of the graphic elements should vary but be proportional to the overall frame of the design Proportion, or scale, refers to the spatial relationship between design elements and the size of the page or frame

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26 Every design should have a center of visual impact White-space is also very effective in creating contrast in writing and images

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28 Balance Placements of elements Weight: an image is considered balanced if the objects within are equalized between the horizontal and vertical axis of each item Weight can be influenced by the size, shape or color intensity of the objects A balanced, symmetrical design is appropriate for formal presentations Asymmetrical designs are less formal and are used when you want to create tension with the image

29 Symmetry & Asymmetry

30 Rhythm Rhythm is a reference to how the design is supposed to control the movement of your eyes through the visual image Sequencing: positioning the images so that the viewer can easily follow along Simplicity: a design with few elements can be read and interpreted easier and quicker than a complex design with multiple elements

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32 Unity Unity makes reference to the fact that elements within a design should be aligned in content, color, and movement to avoid tension in the reader

33 Stylistic Perspective Free Form known for having free-flow of text and images in the design Grid Art carefully placed text and images so that they are aligned within the frame of the image

34 FREE FORM MOVEMENTS

35 Art Nouveau Art Nouveau was a movement that swept through the decorative arts and architecture in the late 19th and early 20th centuries. Artists drew inspiration from both organic and geometric forms, evolving elegant designs that united flowing, natural forms with more angular contours. The Peacock Skirt (1894) Artist: Aubrey Beardsley

36 Art Nouveau Highly influenced by Japanese art Stylized, plantlike vines, and typography mimicked the flowing curves of graphic elements

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38 Art Deco The last of the total styles also called art moderne in Europe Streamlined shapes and curved sans serif typography Critics viewed art deco as antiutilitarian

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40 Art Nouveau vs. Art Deco

41 Dada Dada emerged in the early twentieth century as a literary and artistic movement that celebrated random chance, readymade artworks, and outrageous performances. Its practitioners, including Hugo Ball, Tristan Tzara, and Marcel Duchamp, scorned bourgeois conventions of high culture, especially the appreciation for artistic intention and skill. Hannah Hoch- Cut with the Kitchen Knife Through the First Epoch of the Weimar Beer- Belly Culture 1919

42 Dada Dada emerged as a critical examination of social structures Writing and graphics were intended to confuse, educate and gain attention

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44 Pop Art Pop art was a movement that developed in 1950s America in response to Abstract Expressionism's emphasis on formal qualities and inner expression. Artists like Jasper Johns, Robert Rauschenberg, Andy Warhol, and Roy Lichtenstein tried to subvert the artist's hand through techniques like serial printing, everyday materials, and pop culture imagery.

45 Pop Art The style connected with alternative lifestyles roots in the 60 s Andy Warhol s possibly the best example

46 Pop Art

47 Pop Art

48 Postmodern Initially called neodada in the 70 s Designers placed typography and other visual elements in angry, rebellious, and random manner Influential on New Wave and later Hiphop styles

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50 GRID ART MOVEMENTS

51 De Stijl Founded in the Netherlands in 1917, De Stijl was an avantgarde movement dedicated to isolating a single visual style that would be appropriate to all aspects of modern life, from art to design to architecture Counter Composition V (1924) Artist: Theo van Doesburg

52 De Stijl Grid approach composed of thick black horizontal and vertical lines basic shapes organized and efficient presentations

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54 "We speak of concrete and not abstract painting because nothing is more concrete, more real than a line, a color, a surface."

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56 Bauhaus The Bauhaus, a German word meaning "house of building", was a school founded in 1919 The Bauhaus was the most influential modernist art school of the 20th century, one whose approach to teaching, and understanding art's relationship to society and technology had a major impact both in Europe and the United States

57 Bauhaus A stress on uniting art and industrial design, and it was this which ultimately proved to be its most original and important achievement. Purposely anti-academic emphasis on useful, clearly defined shapes - industrial

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59 "Designing is not a profession but an attitude. Design has many connotations. It is the organization of materials and processes in the most productive way, in a harmonious balance of all elements necessary for a certain function

60 Study of Bauhaus

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62 Grid System Scaling smaller images to larger works To break down the observed world into smaller, more manageable sections Grids are useful for defining key alignments and intersecting points within a composition To help achieve organization

63 Arithmetic Grids Subdividing grids identifies dominant and subordinate intersecting points to use for the placement of elements

64 Combining grid systems can suggest scale changes, movement, and emphasis

65 A grid provides system or format for organizing elements in a composition. It can be a simple division, like the invisible line that serves as a means of aligning visuals in this poster

66 Grid Systems in Web Design

67 Visual Organization Manage the surface elements that are seen Lines, shapes, and color. Manage the hidden structures that are transparent to the composition. Format, orientation, grids, eye movement and theme

68 Format Format is used in two ways: The surface area that contains the design composition The general format that is determined by the venue or kind of design

69 Orientation The point of view determined by the designer, and it is the way the viewer is meant to relate visually to a design or an image Humans generally perceive the world standing or sitting perpendicular to the ground A person s (natural) field of vision is an oval shape with the width roughly double the height

70 Eye Movement The eye tends to gravitate to areas of most complexity first In pictures of people, the eye is always attracted to the face and particularly the eyes

71 Theme & Motif Theme: Visual theme determines the elements to use and ways to use them in relation to a subject/topic Presented as the premise of a story, symbolic association, or the use of a visual metaphor Motif: Concept(s) related to a theme Often culturally related Example Arabesque, seasonal, urban, etc.

72 Nonobjective or Nonrepresentational Image have no resemblance to anything recognizable Non-objective motif conveying a quality or a feeling that is interpreted rather than described

73 Realistic or Representational Replicates the real world in a descriptive manner Represented objects have defined and namable referents to the real world

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