BASIC GRAPHIC DESIGN
TASK 1: intro to principles of design
Principles of Design
The elements and principles of design are the building blocks used to create a work of art. The elements of design can be thought of as the things that make up a painting, drawing, design etc. Good or bad - all paintings will contain most of if not all, the seven elements of design.The Principles of design can be thought of as what we do to the elements of design. How we apply the Principles of design determines how successful we are in creating a work of art.
MOVEMENT
Movement is the path the viewer’s eye takes through the work of art, often to focal areas. Such movement can be directed along lines, edges, shape, and color within the work of art.
Using art elements to direct a viewer's eye along a path through the artwork, and/or to show movement, action and direction. Also, giving some elements the ability to be moved or move on their own, via internal or external power.
In a still picture such as a painting or photograph, where nothing is actually moving, various strategies can be used to give the viewer a sense of movement and speed, or to move the viewer's eye through the work. These include lines, diagonals and unbalanced elements; blurring; placement; direction; and motion lines and after images.
REPETITION/RHYTHM AND PATTERN
Repetition works with pattern to make the work of art seem active. The repetition of elements of design creates unity within the work of art.
Rhythm is created when one or more elements of design are used repeatedly to create a feeling of organized movement. Rhythm creates a mood like music or dancing. To keep rhythm exciting and active, variety is essential.
Pattern is the repeating of an object or symbol all over the work of art.
TASK 1: intro to principles of design
Principles of Design
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BALANCE
Balance
is the concept of visual equilibrium, and relates to our physical sense of
balance. It is a reconciliation of opposing forces in a composition that
results in visual stability. Most successful compositions achieve balance in
one of two ways: symmetrically or asymmetrically. Balance in a three dimensional object
is easy to understand; if balance isn't achieved, the object tips over. To
understand balance in a two dimensional composition, we must use our
imaginations to carry this three dimensional analogy forward to the flat
surface.
Symmetrical balance can be described as having equal "weight" on equal
sides of a centrally placed fulcrum. It may also be referred to as formal balance.
When the elements are arranged equally on either side of a central axis, the
result is Bilateral symmetry. This axis may be horizontal
or vertical. It is also possible to build formal balance by arranging elements
equally around a central point , resulting in radial symmetry.
There is a variant of symmetrical balance
called approximate symmetry in which equivalent but not
identical forms are arranged around the fulcrum line
Asymmetrical balance, also called informal balance, is more
complex and difficult to envisage. It involves placement of objects in a way
that will allow objects of varying visual weight to balance one another around
a fulcrum point. This can be best imagined by envisioning a literal balance
scale that can represent the visual "weights" that can be imagined in
a two dimensional composition. For example, it is possible to balance a heavy
weight with a cluster of lighter weights on equal sides of a fulcrum; in a
picture, this might be a cluster of small objects balanced by a large object.
It is also possible to imagine objects of equal weight but different mass (such
as a large mass of feathers versus a small mass of stones) on equal sides of a
fulcrum. Unequal weights can even be balanced by shifting the fulcrum point on
our imaginary scale
Whether
the solution is simple or complex, some form of balance can be identified in
most successful compositions. For a further discussion of balance in design see
these sites:
Symmetrical balance
Asymmetrical balance
Symmetrical balance
Asymmetrical balance
CONTRAST
Contrast is the juxtaposition of opposing elements eg. opposite colors
on the color wheel - red / green, blue / orange etc.
Contrast in tone or value
- light / dark. Contrast in direction - horizontal / vertical.
The major contrast in a painting should be located at the center of interest.
Too much contrast scattered throughout a painting can destroy unity and make a
work difficult to look at. Unless a feeling of chaos and confusion are what you
are seeking, it is a good idea to carefully consider where to place your areas
of maximum contrast.
EMPHASIS/ DOMINANCE AND FOCAL POINT
Emphasis is the part of the design that catches the viewer’s attention. Usually the
artist will make one area stand out by contrasting it with other areas. The area could
be different in size, color, texture, shape, etc.
Dominance gives a painting interest, counteracting confusion and
monotony. Dominance can be applied to one or more of the elements to give
emphasis.
Focal points are areas of
interest the viewer's eyes skip to. The strongest focal point with the greatest
visual weight is the dominant element of the work. Elements of secondary
importance could be termed sub-dominant, and elements with the least visual
weight subordinate
HARMONY AND UNITY
Harmony in painting is the visually satisfying effect of combining
similar, related elements. eg. adjacent colors on the color wheel, similar
shapes etc.
Relating the design elements
to the the idea being expressed in a
painting reinforces the principal of
unity .eg. a painting with an active aggressive subject would work better with a
dominant oblique direction, course, rough texture, angular lines etc. whereas a
quiet passive subject would benefit from horizontal lines, soft texture and
less tonal contrast.
Unity in a painting also
refers to the visual linking of various elements of the work.
MOVEMENT
Movement is the path the viewer’s eye takes through the work of art, often to focal areas. Such movement can be directed along lines, edges, shape, and color within the work of art.
Using art elements to direct a viewer's eye along a path through the artwork, and/or to show movement, action and direction. Also, giving some elements the ability to be moved or move on their own, via internal or external power.
In a still picture such as a painting or photograph, where nothing is actually moving, various strategies can be used to give the viewer a sense of movement and speed, or to move the viewer's eye through the work. These include lines, diagonals and unbalanced elements; blurring; placement; direction; and motion lines and after images.
REPETITION/RHYTHM AND PATTERN
Repetition works with pattern to make the work of art seem active. The repetition of elements of design creates unity within the work of art.
Rhythm is created when one or more elements of design are used repeatedly to create a feeling of organized movement. Rhythm creates a mood like music or dancing. To keep rhythm exciting and active, variety is essential.
Pattern is the repeating of an object or symbol all over the work of art.
PROPORTION AND SCALE
Proportion is the feeling of unity created when all parts (sizes, amounts, or number)
relate well with each other. When drawing the human figure, proportion can refer
to the size of the head compared to the rest of the body
Proportion is the relationship of sizes between different parts of a work. For example, how wide it is compared to how tall it is. Some proportions, such as the golden ratio and the rule of thirds, are thought to be more naturally pleasing. Scale is the size of something compared to the world in general - an artwork might be termed miniature, small scale, full scale or life-size, large scale or larger than life, or monumental.
VARIETY AND VARIATION
Variety is the use of several elements of design to hold the viewer’s attention and
to guide the viewer’s eye through and around the work of art.
TASK 2: LOGOS
FOR THE WEEK 3 THIS TASK WE MAKE TO CREATE A 5 NEW LOGO WITH THE ADOBE ILLUSTRATOR.
THE EXAMPLE RESEARCH FOR A SYMBOL,LOGO AND PICTOGRAM
FIRST LOGO
SECOND LOGO
THIRD LOGO
FOURTH LOGO
FIFTHLY LOGO
TASK 3
LAYOUT
PROGRESS
LAYOUT FINAL
TASK 4
LABEL PRODUCT
