design elements a graphic style manual phần 2 pdf

‘THE HORIZONTAL SHAPE mat,” the poportional dimensions of the where form is going to do its thing vithin it, will change the perceived pre of the form, A smaller form within 1 larger

By positioning the letters at

staggered intervals around the

format and then rotating the

formation in the background,

the designer creates not only

a dynamic set of positive and

negative intervals but also

optical motion and a perception

of shifting between background

DECORATION FOR DECORATION’S SAKE

HARD TO IMAGINE IT WAS FROWNED UPON UNTIL RECENTLY, NOW PURITY IS OUT AND

PATTERN IS VERY MUCH IN, HENCE THE VENEER OF ORNAMENT THAT ENVELOPS

SO MUCH OF CONTEMPORARY DESIGN

SOMETHING SIMILAR IS SWEEPING THE WORLD OF INTERIORS, MUCH OF THE WORK ON THE FOLLOWING PAGES DERIVES ITS POWER FROM THE APPLICATION OF SURFACE DECORATION AND WHO BETTER

TO APPLY IT THAN THE REAL SURFACE SPECIALISTS? ENTER THE ILLUSTRATOR, THE GRAFFITI SPRAYER, THE STREET ARTIST,

WELCOME TO tie GRAPHIC SONE texture in the background appear

rei eter tach © to pull to the left against the

edge of the page while the white

block appears to move to the

right The left alignment of

8 the text block creates a vertical

movement never mind

028

By appropriating the coarse, slightly washed-out imagery

of Communist propaganda posters, but adjusting the cropping and adding other

kinds of elements, this book

cover creates something new while drawing on the power

of history to help communicate

text represents the energy and

irreverence of the period and

its style without mimicking it;

instead of repetition and over- lap, hallmarks of the style, this type is distorted and deformed

Every letter has its own shape,

and, at such a tremendous size

in this poster, those shapes are

all exaggerated; as a result, the

repeated three-letter structure

becomes intricate and asym:

metrical as the viewer is able to

appreciate the varied contours

of black space around the forms

A dynamically irregular spatter

of red dots introduces random

movement and a sense of unex:

Although the black figure essen

tially is centered in the format,

it participates in an asymmetrical

arrangement of forms—both positive and negative-that moves compositional elements in a diagonal breaking of space from upper left to lower right The line of type at the lower left enhanees the asymmetrical quality of the arrangement

et

Iam convinced that abstract form, imagery, color, texture,

and material convey meaning

Chapter 1

There 1s no longer agreement

anywhere about art itself, and under

these circumstances we must go back to the beginning, to concern ourselves with dots and lines and

First Things First

is a continuous line, and its ure, and is static, A square is

roundness is a very specific therefore analytical, mathe

endless, organic, rotational,

Forms stuff-including all kinds of imagery and type

The idea of formal beauty is

highly subjective, Both these

beautiful, despite the fact that

one is sensuous and “clean”

and that the other is aggressive

and “dirty,”

First Things First

Form is stuff-including all

kinds of imagery and type

"

Every form, no matter how cellular, and a totality A square,

abstract it appears, is mean conversely, has angles and ingful, A circle, for example, sides that are equal in meas

is a continuous line, and its ure, and is static A square is

trait A circle is therefore matical, unnatural, and finite, endless, organic, rotational,

The idea of formal beauty is

highly subjective Both these images can be considered

beautiful, despite the fact that

‘one is sensuous and “clean”

and that the other is aggressive and “dirty,”

‘THE HORIZONTAL SHAPE

mat,” the poportional dimensions of the

where form is going to do its thing

vithin it, will change the perceived pre

of the form, A smaller form within

1 larger spatial format—which will have a

atively restrained presence—will be pe ceived differently from a large form in the

ime format—which will be perceived

confrontational The perception of thi

ze to be controlled The shape of the

format is also an important consideration

\ square format is neutral; because all i

format, however, is highly confrontational

1in, a vertical abje

potentially being another person~its ver

imply lateral motion, deriving from at equally ancient perception that they ar related to the horizon If you ne

vincing, note the root he we

THE SQUARE CD-ROM CASE

negative (white) ground, and how the white form on the black

the reverse, retains its identity background appears larger than

as positive if there is no other its same-sized black counter- form or spatial break to define part on the white field

Asa black (positive) form and, eventually, might appear becomes larger withinanega- to be positive (white forms) in tive (white) field, the leftover the context of a black field

negative spaces become sinaller

VARIED CONTRASTS IN

Positive and Negative orm is considered

a positive clement, a solid thing or object

Space is considered negative—not in a

between form and space, or figure and

ground, is complementary and mutually

dependent; it’s impossible to alter one and not the other The confrontation between

three-dimensionality perceived by the

viewer All these qualities are inherently

communicative-resolving the relation

ships between figure and ground is the

or negative—is therefore one of the most important visual aspects of design because

it affects so many other aspects, from

that the feelin ompositional, or

visual, logic generates is perceived as

DARKER AND LIGHTER FLELDS

rie shine Uiree-dimensional sp:

LSD Spar

distinction between whal

Clemens Théobert Schedler

appropriate to the message the designer is

trying to convey The logic of composition

but depends greatly on how the brain

interprets the information that the viewe

tionship between figure and ground might

be appropriate for one kind of communi

cation, conveying energy, growth, and aggression; a static relationship, commu

nicating messages such as quietne

Laminar

4

Comparison of an active figure/

ground relationship (left)

with an inactive figure/ground

relationship (right) hints at

the potential for meaning to

be perceived even in such a

fundamentally simple, abstract

environment Compare these

pairs of simple, opposing ideas

‘THE NEGATIVE ARROWS

The General Store Kathleen Kranack Michael Thomas Paper Rad Tr]

Co

AN nee and

Teg

between the two examples:

loud/quiet; aggressive/passive;

nervous/sedate; complex/simple;

energetic/weak; and living/dead,

forms within a smaller space

may generate the perception of

new forms that become positive,

a simple example of figure/

ground reversal

The intrusion of asmallshape overall This complex figure/

of exterior negative space, ground reversal presents rich

relative to the positive form,

causes the negative space

to take on the quality of a posi tive white form while still

allowing the eye to perceive

the black form as positive

optical possibilities in composi:

tion, even among relatively

simple, or relatively few, form

elements

mm anergy Peete 3

POSITIVE AND NEGATIVE

It is what it appears to be

Make decisions about forms

based on their appearance rather than on intended effect

of, Worse, Measurements

Forms optically deceptive and so must be judged accord:

ing to what it looks like; this

is all the viewer will have to

go onas well In this example, the three shapes—circle,

shown being mathematically the same height (top) You'll

notice that the square appears

larger than both the circle and

the triangle So, for all intents and purposes, itis, This optical

illusion is a function of how our

brains interpret rounded, angu:

lar, and square images relative

to each other (see Geometric

Form, page 54) If the goal here

is to make all three shapes

appear to be the same size, the circle and the triangle must

be adjusted in size until they

do (bottom) Only when all

three shapes appear to be the same size are they really the

same size—as far as the viewer

is concerned

An image’s degree of refinement

refers to how much it is like

itself, how clear and undisturbed

by distracting or conflicting

elements—rather than how

clean” or “finished” it might

Clarity and Decisiveness

appear Shown here, first, is

a form that is not yet refined;

its internal relationships are unclear, somewhat awkward or unresolved Slight adjustments

pronounced An overlay of the

original (gray) and refined forms provides a detailed com parison of these alterations

Van Lanschot he Bankiers

'Van I.atlsehot Investmentffunde cmt crt

Silty “Chu,

© S2, Can © Melty Cy Wit, ing,

a Each of These Things Is Unlike the Other

r 1 KLEINE UND GROSSE

outward A dot anchors itself in any space square, a trapezoid, a triangle, a blob standing it

dots, and its proximity to the edges of ¢ ‘comes bigger, but the shape is still

format's space As seemingly simple a ssentially a dot, Even replacing a “fl

form as it might appear, however, adotisa graphic shape with a photographic object

in size to cover a larger area, and its outer is a dot Recognizing this essential qual

When adot enters a space,

it establishes an immediate

relationship with the space;

the proportion of the dot to

its surrounding area is the

most important consideration;

second is its relative position

to the edges of the space

Introducing a second dot

shifts attention away from the

relationship of the space to

the interaction of the two dots

They refer to each other and

imply a structure—an invisible,

connecting path that splits

space apart

The dot breaks the space ina

neutral way, being weightless and internally balanced, but it might already create noticeable

differences in spatial areas if

itis placed off center, The cen-

trally located dot is settled,

comfortable, and static, but it

As dots approach each other, the tension between them

increases If the space between

dots is just about zero, its pres- ence assumes more importance

than the dots themselves, and

even more importance relative

The closer the dots are to each

other, the more powerful the

sense of their unique identity

as objects; the further apart,

the more pronounced the sense

of structure, induced by the

invisible path between them

dominates the space around it;

as it moves from the center,

there is a shift in dominance—

the background asserts itself

and tension arises

@

to any other spatial interval

If the dots overlap, especially

if they are different sizes, the

tension created by their close-

ness is somewhat relieved

However, anew tension arises~

the dichotomy of flat, graphic

° e

of ®

Additional dots In close proxiim-

ity to the pair, however, reduce

the focus on identity and increase

attention to their reciprocal relationship and thus, a sense

of structure or meaning How far are the dots from each other?

one dot seemingly inhabits

a foreground, and the other,

a background position,

Ts each dot the same distance

from its counterparts? What is

their configuration, and what

outer shape does it make?

What does this shape signify?

You don't need - : more sources of

financial information fe

Working together, dots create an _ progressions in interval, ordered

endless variety of arrangements _rowsina grid structure, angles

asingle vertical orhorizontal andsoon

row, rotated rows, an isolated

dot in contrast to a group,

NOT ALL DOTS ARE €IRCULARI

‘THE CLUSTER OF DOTS

The negative dot is created in reverse from the convergence

of other forms

The perception of spatial depth

occurs among dots that are

different sizes; a larger dot advances in front of a smaller one, Changing the relative

Atremendous number of small

dots create (A) a regularized

pattern or (B) a randomized texture The darkness or light

Clustering dots of different

sizes creates a more varied contour, but overall the cluster

retains its identity as a dot

tonal values of the dots, how: ever, can create an ambiguous spatial tension among the dots, even though their relative sizes remain the same

ness of these dots depends

on density-how close the dots are to each other.

TOTAL COLLECTION OF 10 INTERNATIONAL PROJECTS DESIGNED BY GAL NAUER ARCHITECTS DURING

Aline traveling around a fixed,

invisible point at an unchang-

ing distance becomes a circle,

not a dot, If the line’s weight

isincreased dramatically, a

dot appears in the center of

the circle, and eventually the

form is perceived as a white

(negative) dot on top of a larger,

positive dot

A spiraling line appears to

move simultaneously inward

and outward, re-creating

the visual forces inherent in

asingle dot

Athin, single line has no center

and no mass, expressing only direction and an effect on the

space surrounding it

Achange in weight among a

group of lines, as wellas a change in the intervals between

them, creates the illusion of spatial depth Lines that are

closer together exert tension

on each other and advance

bossa:nova

global music future tech clubbing ñowW at oilr new home Ín øAnlã monloa

zanzibar hursday nights tron 10 o2

- jason bentley

jun

Breaking the line increases

its surface activity without dis-

tracting from its movement

and direction

in space, while those further

apart recede, If any of the lines are rotated to cross their

counterparts, the perception

of spatial depth is enhanced—

and even more so if their weights

also are differentiated

|

Several thin lines together

create a texture, similar to that

created by a dense grouping of similar-sized dots

Although a thin line generally

will appear to recede against a

thicker line, the mind is capable

of being convinced that the thin line is crossing in front of the thick line,

THREE STATIC LINES

l

Separating the lines increases

attention to their individual identities It also calls attention

to the intervals between them

and what, if any, variation there

might be,

Two heavy lines that are very

close together create a third

negative—line between them

The optical effect of the

negative white line is that of

a positive element on top

of a single black element, even

if the negative tine joins open

spaces at either end,