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Download Full PDF Package. Published byPrinceton Architectural Press37 East Seventh StreetNew York, New York Visit our website at www. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Library of Congress Cataloging-in-Publication DataLupton, Ellen, author. pages cmIncludes bibliographical references and index. ISBN hardcover : alk. paper ISBN paperback : alk. paper ISBN epub, mobi 1. Graphic arts. Phillips, Jennifer C. L87 ReasPaul SahreJan van ToornRick Valicenti For Princeton Architectural Press EditorsClare Jacobson and Nicola Brower Special thanks toJanet Behning, Erin Cain, Megan Carey, Carina Cha, Andrea Chlad, Tom Cho, Barbara Darko, Benjamin English, Russell Fernandez, Jan Cigliano Hartman, Jan Haux, Mia Johnson, Diane Levinson, Jennifer Lippert, Katharine Myers, Jaime Nelson, Rob Shaeffer, Sara Stemen, Marielle Suba, Kaymar Thomas, Paul Wagner, Joseph Weston, and Janet Wong of Princeton Architectural Press—Kevin C.
Lippert, publisher Contents 6 Foreword 8 Back to the Bauhaus Ellen Lupton 10 Beyond the Basics Jennifer Cole Phillips 12 Formstorming 32 Point, Line, Plane 48 Rhythm and Balance 60 Scale 68 Texture 80 Color 98 Gestalt Principles Framing Hierarchy Layers Transparency Modularity Grid Pattern Diagram Time and Motion Rules and Randomness Bibliography Index Foreword Ellen Lupton and Jennifer Cole Phillips This book is a guide to visual form-making, showing designers how to build richness and complexity around simple relationships. Since its release, Graphic Design: The New Basics has reached an enthusiastic audience around the world. Everywhere we go, we meet educators and young designers who have used the book and learned something from it.
You will find updated and expanded content throughout the book, reflecting new ideas emerging in our classrooms at Maryland Institute College of Art MICA. Formstorming is a set of structured techniques for generating visual solutions to graphic design challenges. We open the book with this chapter in order to plunge our readers directly into the act of visual invention. As educators with decades of combined experience in graduate and undergraduate teaching, we have witnessed the design world change and change again in response to new technologies. Postmodernism was on the rise, and abstract design exercises seemed out of step with the interest at that time in appropriation and historicism. During the s, design educators became caught in the pressure to teach and learn software, and many of us struggled to balance technical skills with visual and critical thinking. Form sometimes got lost along the way, as design methodologies moved away from universal visual concepts toward a more anthropological understanding of design as a constantly changing flow of cultural sensibilities.
This book addresses the gap between software and visual thinking. By focusing on form, we have re-embraced the pioneering work of modernist design educators, from Josef Albers and László Moholy-Nagy at the Bauhaus to Armin Hofmann and some of our own great teachers, including Malcolm Grear. We initiated this project when we noticed that our students were not at ease building concepts abstractly. They were adept at working and reworking pop-culture vocabularies, but they were less comfortable manipulating scale, rhythm, color, hierarchy, grids, and diagrammatic relationships. This is a book for students and emerging designers, and it is illustrated primarily with student work, produced within graduate and undergraduate design studios.
Our school, MICA, has been our laboratory. Numerous faculty and scores of students participated in our brave experiment. The work shown on these pages is varied and diverse, reflecting an organic range of skill levels and sensibilities. Our student contributors come from China, India, Japan, Korea, Puerto Rico, Trinidad, Zimbabwe, a wide range of US states, and many other places. The book was manufactured in China and published with Princeton Architectural Press in New York City. It was thus created in a global context. The work presented within its pages is energized by the diverse backgrounds of its producers, whose creativity is shaped by their cultural identities as well as by their unique life experiences. A common thread that draws all these people together in one place is design.
The majority of student work featured here comes from the course we teach together at MICA, the Graphic Design MFA Studio. We have published a series of other titles since then, including Indie Publishing , Graphic Design Thinking , and Type on Screen Complementing the student work included in this book are examples from contemporary professional practice that demonstrate visually rich design approaches. Many of the designers featured, including Marian Bantjes, Alicia Cheng, Peter Cho, Malcolm Grear, David Plunkert, C. Reas, Paul Sahre, Rick Valicenti, and Jan van Toorn, have worked with our students as visiting artists at MICA.
Some conducted special workshops, whose results are included in this volume. Graphic Design: The New Basics lays out the elements of a visual language whose forms are employed by individuals, institutions, and communities that are increasingly connected in a global society. We hope the book will inspire more thought and creativity in the years ahead. Acknowledgments The first edition of this book constituted my degree project in the Doctorate in Communication Design program at the University of Baltimore. I thank my advisors, Stuart Moulthrop, Sean Carton, and Amy Pointer.
I also thank my colleagues at MICA, including Samuel Hoi, president; Ray Allen, provost; Gwynne Keathley, vice provost for research and graduate studies; Brockett Horne, chair, Graphic Design BFA; and my longtime friend and collaborator, Jennifer Cole Phillips. Special thanks go to the dozens of students who contributed work. Editors Clare Jacobson, Nicola Brower, and the team at Princeton Architectural Press made the book real. My family is an inspiration, especially my parents Bill, Lauren, Mary Jane, and Ken; my children Jay and Ruby; my sisters Julia and Michelle; and my husband Abbott. Ellen Lupton My contribution to this book is dedicated to Malcolm Grear, mentor and friend, who taught me to approach design from the inside out, and instilled an appetite for invention and formal rigor. The culture at MICA is a joy in which to work, thanks in large part to the vision and support of our past president, Fred Lazarus; our new president, Samuel Hoi; provost Ray Allen; vice provost for research and graduate studies Gwynne Keathley; and our talented faculty colleagues.
Deep respect and thanks to our students for their commitment and contributions. Heartfelt gratitude goes to my friend and close collaborator, Ellen Lupton, for raising the bar with grace and generosity. I am thankful for the support of my family and close friends, especially my parents Ann and Jack; and my sisters Lanie and Jodie. Jennifer Cole Phillips Back to the Bauhaus Ellen Lupton The idea of searching out a shared framework in which to invent and organize visual content dates back to the origins of modern graphic design. This book reflects on that vital tradition in light of profound shifts in technology and global social life. Whereas the Bauhaus promoted rational solutions through planning and standardization, designers and artists today are drawn to idiosyncrasy, customization, and sublime accidents as well as to standards and norms. The modernist preference for reduced, simplified forms now coexists with a desire to build systems that yield unexpected results.
Today, the impure, the contaminated, and the hybrid hold as much allure as forms that are sleek and perfected. Visual thinkers often seek to spin out intricate results from simple rules or concepts rather than reduce an image or idea to its simplest parts. The Bauhaus Legacy In the s, faculty at the Bauhaus and other schools analyzed form in terms of basic geometric elements. They believed this language would be understandable to everyone, grounded in the universal instrument of the eye. Bauhaus faculty pursued this idea from different points of view. His colleague László Moholy-Nagy sought to uncover a rational vocabulary ratified by a shared society and a common humanity. Courses taught by Josef Albers emphasized systematic thinking over personal intuition, objectivity over emotion. Albers and Moholy-Nagy forged the use of new media and new materials.
They saw that art and design were being transformed by technology—photography, film, and mass production. And yet their ideas remained profoundly humanistic, always asserting the role of the individual over the absolute authority of any system or method. Design, they argued, is never reducible to its function or to a technical description. Each of these revolutionary educators articulated structural approaches to design from distinct and original perspectives. Some of them also engaged in the postmodern rejection of universal communication. According to postmodernism, which emerged in the s, it is futile to look for inherent meaning in an image or object because people will bring their own cultural biases and personal experiences to the process of interpretation.
The New Basics Designers at the Bauhaus believed not only in a universal way of describing visual form, but also in its universal significance. Reacting against that belief, postmodernism discredited formal experiment as a primary component of thinking and making in the visual arts. Formal study was considered to be tainted by its link to universalistic ideologies. This book recognizes a difference between description and interpretation, between a potentially universal language of making and the universality of meaning. Today, software designers have realized the Bauhaus goal of describing but not interpreting the language of vision in a universal way.
Software organizes visual material into menus of properties, parameters, filters, and so on, creating tools that are universal in their social ubiquity, cross-disciplinarity, and descriptive power. Photoshop, for example, is a systematic study of the features of an image its contrast, size, color model, and so on. InDesign and QuarkXpress are structural explorations of typography: they are software machines for controlling leading, alignment, spacing, and column structures as well as image placement and page layout. In the aftermath of the Bauhaus, textbooks of basic design have returned again and again to elements such as point, line, plane, texture, and color, organized by principles of scale, contrast, movement, rhythm, and balance. This book revisits those concepts as well as looking at some of the new universals emerging today. What are these emerging universals?
What is new in basic design? Consider, for example, transparency — a concept explored in this book. Transparency is a condition in which two or more surfaces or substances are visible through each other. We constantly experience transparency in the physical environment: from water, glass, and smoke to venetian blinds, slatted fences, and perforated screens. Graphic designers across the modern period have worked with transparency, but never more so than today, when transparency can be instantly manipulated with commonly used tools. Transparency and Layers The Google Earth interface allows users to manipulate the transparency of overlays placed over satellite photographs of Earth.
Here, Hurricane Katrina hovers over the Gulf Coast of the US. Storm: University of Wisconsin, Madison Cooperative Institute for Meteorogical Satellite Studies, Composite: Jack Gondela. What does transparency mean? Transparency can be used to construct thematic relationships. Designers also employ transparency as a compositional rather than thematic device, using it to soften edges, establish emphasis, separate competing elements, and so on. Transparency is crucial to the vocabulary of film and motion-based media. In place of a straight cut, an animator or editor diminishes the opacity of an image over time fade to black or mixes two semitransparent images cross dissolve. They also modulate, in subtle ways, the message or content of the work. Although viewers rarely stop to interpret these transitions, a video editor or animator understands them as part of the basic language of moving images.
Layering is another universal concept with rising importance. Physical printing processes use layers ink on paper , and so do software interfaces from layered Photoshop files to sound or motion timelines. Transparency and layering have always been at play in the graphic arts. Powerful digital tools are commonly available to professional artists and designers but also to children, amateurs, and tinkerers of every stripe. Their language has become universal. Beyond the Basics Jennifer Cole Phillips Even the most robust visual language is useless without the ability to engage it in a living context.
While this book centers around formal structure and experiment, some opening thoughts on process and problem solving are appropriate here, as we hope readers will reach not only for more accomplished form, but for form that resonates with fresh meaning. Before the Macintosh, solving graphic design problems meant outsourcing at nearly every stage of the way: manuscripts were sent to a typesetter; photographs— selected from contact sheets—were printed at a lab and corrected by a retoucher; and finished artwork was the job of a paste-up artist, who sliced and cemented type and images onto boards.
This protocol slowed down the work process and required designers to plan each step methodically. By contrast, easily accessed software, cloud storage, ubiquitous wi-fi, and powerful laptops now allow designers and users to control and create complex work flows from almost anywhere. Yet, as these digital technologies afford greater freedom and convenience, they also require ongoing education and upkeep. This recurring learning curve, added to already overloaded schedules, often cuts short the creative window for concept development and formal experimentation. In the college context, students arrive ever more digitally adept.
Acculturated by social media, smart phones, iPads, and apps, design students command the technical savvy that used to take years to build. This network know-how, though, does not necessarily translate into creative thinking. Too often, the temptation to turn directly to the computer precludes deeper levels of research and ideation—the distillation zone that unfolds beyond the average appetite for testing the waters and exploring alternatives. People, places, thoughts, and things become familiar through repeated exposure. It stands to reason, then, that initial ideas and, typically, the top tiers of a Google search turn up only cursory results that are often tired and trite. Getting to more interesting territory requires the perseverance to sift, sort, and assimilate subjects and solutions until a fresh spark emerges and takes hold.
Visual Thinking Ubiquitous access to image editing and design software, together with zealous media inculcation on all things design, has created a tidal wave of design makers outside the profession. Indeed, in our previous book, D. This volume shifts the climate of the conversation. Instead of skimming the surface, we dig deeper. Rather than issuing instructions, we frame problems and suggest possibilities. Inside, you will find many examples, by students and professionals, that balance and blend idiosyncrasy with formal discipline. Rather than focus on practical problems such as how to design a book, brochure, app, or website, this book encourages readers to experiment with the visual language of design. To experiment is to isolate elements of an operation, limiting some variables in order to better study others.
An experiment asks a question or tests a hypothesis whose answer is not known in advance. Choose your corner, pick away at it carefully, intensely and to the best of your ability and that way you might change the world. Charles Eames The book is organized around some of the formal elements and phenomena of design. In practice, those components mix and overlap, as they do in the examples shown throughout the book. By focusing attention on particular aspects of visual form, we encourage readers to recognize the forces at play behind strong graphic solutions.
Likewise, while a dictionary presents specific words in isolation, those words come alive in the active context of writing and speaking. Filtered through formal and conceptual experimentation, design thinking fuses a shared discipline with organic interpretation. Diagramming Process Charles Eames drew this diagram to explain the design process as achieving a point where the needs and interests of the client, the designer, and society as a whole overlap. Charles Eames, , for the exhibition What is Design at the Musée des Arts décoratifs, Paris, France. Photo Constructions Designer Martin Venezky made this image of reconstructed details from a large collage wall he generated in a three-day formstorming exercise for All Possible Futures, an exhibition by Jon Sueda. Martin Venezky, Appetite Engineers. Formstorming I like a lot the adage that for every problem there is a solution that is simple, obvious, and wrong. A problem worthy of the name is seldom accessible to sudden and simple solution.
Malcolm Grear In a world where almost every designer has instant access to vast image databases and online search sites, there is little wonder why the landscape of contemporary graphic design is mired in mediocre solutions that capitalize on convenience. Many designers are not familiar with the kind of rigorous processes that might lead to higher levels of formal and conceptual innovation. Formstorming is an act of visual thinking—a tool for designers to unlock and deepen solutions to basic design problems. This chapter presents several formstorming exercises designed to trigger and tease out options and ideas that go beyond the familiar, prompting designers to find fresh ways to illuminate subjects through guided creative engagement. Formstorming moves the maker through automatic, easily conceived notions, toward recognizable yet nuanced concepts, to surprising results that compel us with their originality. The endurance required to stick with a subject through exhaustive iteration, dissection, synthesis, revision, and representation takes discipline and drive, but this level of immersion yields an unexpected and profound return on the creative investment.
In design school students are cautioned against turning too quickly to the computer, eclipsing the ideation phase. Still, many designers engage the process of concept generation thinly, soon landing in a place that seems promising and then starting prematurely to build out that idea. The result of such a truncated development phase is dull design that, at best, seems slick and eye-catching and, at worst, appears instantly dispensable. Top chefs remind us that a great dish depends on top-notch ingredients. Likewise, in graphic design, we must strive for excellence in each part of our design. The principles and processes demonstrated in this chapter may be used to elevate and extend any of the design basics covered in this book and beyond.
In a complex world that is filtered through layers of visual, verbal, and sensory signals, robust, clear visual communication is key. Excellent design not only helps us make sense of our lives, but it can make the experience a pleasurable one. One Hundred Iterations Generating multiple iterations of one subject is a means of digging deeper. By repeatedly tapping into our mental database of associations and ideas, we are able to exhaust the obvious and get to fresher territory. This classic exercise asks designers to choose one subject and visually interpret it in one hundred ways. Basic semiotic principles—the icon, index, and symbol—are introduced to expand the scope of thinking and representation. Students make, capture, and appropriate imagery that, as a collection, has depth and breadth conceptually and formally, with an emphasis on excellence and innovation.
MFA Studio. Jennifer Cole Phillips, faculty. Dozens of Eggs This designer chose a bound book to house her one hundred egg iterations. Basic semiotic modes of representation helped probe the subject from multiple angles. Indexical signs, such as the nest, shell, sperm, and carton, point to the subject, while icons, such as photographs and illustrations of eggs, resemble the subject. Symbols, such as a Humpty Dumpty, rely on shared cultural understanding. Multipage formats challenge the designer to address a layer of pacing and parallelism.
Jackie Littman. A Plus Working with the letter A, the designer found or created one hundred diverse and graphically compelling images. Yingxi Zhou. Formstorming Templates These templates can serve as inspiring vessels to capture, collect, and curate evolving visual and verbal ideas related to projects. Designers use formatted templates to mindfully conduct essential investigations, such as research precedents, engage in visual thinking, draft sketches, and explore various visual and verbal voices, vehicles, component formats, and media and materials. A multi-column grid helps distribute and arrange subject matter, and captions and context summaries reference and record design thinking. Advanced Graphic Design II and MFA Studio. Beyond the Sketchbook Selecting, synthesizing, rendering, representing, and installing visual ideas into templates provides an added layer of clarity and curation, and serves as a more professional process record than a sketchbook.
Aura Selzer. Colleen Roxas Design Investigation Undergraduate seniors at MICA are required to frame and solve a semester-long design investigation of their choosing. Often daunted by the open-ended nature of this challenge, they turn to formstorming templates, which help them organize and deepen their work. Jasper Crocker Julian Haddad Yingxi Zhou Breaking the Block This designer collected strategies for getting beyond creative blocks and translated them into experimental typographic form that fell outside his own comfort zone. Brian Pelsoh, MFA Studio. Dailies This ongoing generative exercise spurs design thinking through a daily creative act situated within a conceptual framework. Designers are prompted to define the parameters of the daily act, including the conceptual framework, medium, and format. Dailies generally span at least two weeks and sometimes involve creating a container or system to house the work and add context.
Trending Hashtags This designer chose a daily trending Twitter hashtag as fodder for dimensional typographic experiments. Amanda Buck, MFA Studio. Daily Collage Project These collaged compositions were inspired by hand sketches of famous modern architects, such as Frank Gehry, Zaha Hadid, and Frank Lloyd Wright. A controlled color palette and consistent visual vocabulary insure cohesiveness across a wide range of experimental form. Jessica Wen, Advanced Graphic Design I. Feeling down? Getting anxious? Feeling good has never been easier. Show off your love for vintage music with Instagramaphone, the hot new audio filter. Why should everything sound so clean? Create playlists from iTunes, Spotify, Rdio, and more to play your favorite songs with a nostalgic twist. App a Day This student created fourteen fictitious apps in fourteen days as an exercise in rapid design.
The apps form a dystopic family that lampoons society and blurs the lines of what is possible, what is legal, and what is worthwhile. Emma Sherwood-Forbes, MFA Studio. Record a Day Passionate about music, this designer challenged himself to match the musical moxy and tenor of a collection of his favorite albums, using color, composition, and custom typography on a series of daily LP cover designs. Shiva Nallaperumal, MFA Studio. Daily Movements For this project the designer created an animated series of two- and three-dimensional letterform experiments built from a variety of digital and analog bits over the course of a month, and then built a website to showcase the alphabet on screen.
Jackie Littman, MFA Studio. Process Verbs After building a solid typographic composition, designers applied a series of actions both physical and digital to their initial design. The actions were prompted by a list of verbs, including fold, cut, tear, touch, warp, reflect, multiply, copy, disperse, compress, and reflect. Each designer chose how to turn these verbs into design processes and outcomes. Typography II. Ellen Lupton, faculty. In the exhibition space, an expertly crafted film capturing the coiffing plays in the background. Chen Yu. Alterego This project invites each designer to develop a fictitious persona that amplifies, undermines, or rediscovers an element of themselves and then to design through the lens of that character.
Alterego pushes designers to step outside and beyond their comfort zone and experiment with fresh design language, media, and making. At MICA, the project culminates in an exhibition where students bring their character to life in a three-dimensional setting. Silas Munro and Jennifer Cole Phillips, faculty. Alterego: Fashion Sense This alterego is an internationally renowned fashion designer with a penchant for sleek silhouettes, taut asymmetry, and bold graphic form, texture, and tonality. The site has no information other than a seductive motion graphic designed to attract new business. Jamie Carusi. Alterego: Identity Disorder The alterego is a German psychiatrist specializing in multiple and dissociative identity disorders. Through multiple-exposure photography meticulously stitched together, he captures and fuses fractured persona parts into one cohesive whole, creating a sort of snapshot of the psychosis.
David Dale. Wood, leather, glass, metal, and paper were carefully crafted to create a credible visual vernacular. Alterego: Botanical Weaver The artist began by translating complex flora into digital materials. She then extracted, layered, and backlit those images in a modular, interactive kit-of-parts and later made them into a motion sequence. Hong Wei, MFA Studio. Her thesis project, The Anatomy of Vegetables, starts with material studies, dissection, and analysis, which are then transformed into tangible contexts, such as a highly interactive app, grocery tote bags, animations, and a website. The clearly articulated hierarchy, and sleek, distilled thesis exhibition design above belie the thousands of generative investigations the designer performed throughout the process. Point, Line, Plane A line is the track made by the moving point. It is created by movement—specifically through the destruction of the intense, self-contained repose of the point.
Wassily Kandinsky Point, line, and plane are the building blocks of design. From these elements, designers create images, icons, textures, patterns, diagrams, animations, and typographic systems. Indeed, every complex design shown in this book results at some level from the interaction of points, lines, and planes. Diagrams build relationships among elements using points, lines, and planes to map and connect data. Textures and patterns are constructed from large groups of points and lines that repeat, rotate, and otherwise interact to form distinctive and engaging surfaces. Typography consists of individual letters points that form into lines and fields of text. For hundreds of years, printing processes have employed dots and lines to depict light, shadow, and volume. Different printing technologies support distinct kinds of mark making. To produce a woodcut, for example, the artist carves out material from a flat surface. In contrast to this subtractive process, lithography allows the artist to make positive, additive marks across a surface.
In these processes, dots and lines accumulate to build larger planes and convey the illusion of volume. Photography, invented in the early s, captures reflected light automatically. The subtle tonal variations of photography eliminated the intermediary mesh of point and line. Yet reproducing the tones of a photographic image requires translating it into pure graphic marks, because nearly every mechanical printing method—from lithography to laser printing—works with solid inks. The halftone process, invented in the s and still used today, converts a photograph into a pattern of larger and smaller dots, simulating tonal variation with pure spots of black or flat color. The same principle is used in digital reproduction. Today, designers use software to capture the gestures of the hand as data that can be endlessly manipulated and refined. Software describes images in terms of point, line, plane, shape, and volume as well as color, transparency, and other features.
There are numerous ways to experiment with these basic elements of two-dimensional design: observing the environment around you, making marks with physical and digital tools, using software to create and manipulate images, or writing code to generate form with rules and variables. Point to Line Processing is a programming language created by C. Reas and Benjamin Fry. In this digital drawing by Reas, the lines express a relationship among the points, derived from numerical data. Point A point marks a position in space. In pure geometric terms, a point is a pair of x, y coordinates. It has no mass at all. Graphically, however, a point takes form as a dot, a visible mark.
A point can be an insignificant fleck of matter or a concentrated locus of power. It can penetrate like a bullet, pierce like a nail, or pucker like a kiss. Through its scale, position, and relationship to its surroundings, a point can express its own identity or melt into the crowd. A series of points forms a line. A mass of points becomes texture, shape, or plane. Tiny points of varying size create shades of gray. The tip of an arrow points the way, just as the crossing of an X marks a spot. In typography, the point is a period—the definitive end of a line. Each character in a field of text is a singular element, and thus a kind of point, a finite element in a series. Jason Okutake Ryan Gladhill Ryan Gladhill Lauretta Dolch Lauretta DolchSummer Underwood Robert Ferrell Digital Imaging.
Al Maskeroni, faculty. Destructive Points Never underestimate the power of a point. This damaged facade was photographed in the war-torn city of Mostar, on the Balkan Peninsula in Bosnia and Herzegovina. Nancy Froehlich. Line A line is an infinite series of points. Understood geometrically, a line has length, but no breadth. A line is the connection between two points, or it is the path of a moving point. A line can be a positive mark or a negative gap. Lines appear at the edges of objects and where two planes meet. Graphically, lines exist in many weights; the thickness and texture as well as the path of the mark determine its visual presence. Lines are drawn with a pen, pencil, brush, mouse, or digital code. They can be straight or curved, continuous or broken. When a line reaches a certain thickness, it becomes a plane. Lines multiply to describe volumes, planes, and textures.
A graph is a rising and falling line that describes change over time, as in a waveform charting a heart beat or an audio signal. In typographic layouts, lines are implied as well as literally drawn. Characters group into lines of text, while columns are positioned in blocks that are flush left, flush right, and justified. Imaginary lines appear along the edges of each column, expressing the order of the page. Jeremy Botts Lines express emotions. Josh Sims Bryan McDonough Alex Ebright Justin Lloyd Digital Imaging. Nancy Froehlich, faculty. Lines describe structure and edges. Allen Harrison Lines turn and multiply to describe planes. Here, new lines are formed by the intersection of shapes, creating a swelling form reminiscent of the path of a steel-point pen.
Ryan Gladhill, MFA Studio. Plane A plane is a flat surface extending in height and width. A plane is the path of a moving line; it is a line with breadth. A line closes to become a shape, a bounded plane. Shapes are planes with edges. In vector-based software, every shape consists of line and fill. A plane can be parallel to the picture surface, or it can skew and recede into space. Ceilings, walls, floors, and windows are physical planes. A plane can be solid or perforated, opaque or transparent, textured or smooth. A field of text is a plane built from points and lines of type. A typographic plane can be dense or open, hard or soft. Designers experiment with line spacing, font size, and alignment to create different typographic shapes. Plane Letters A plane can be described with lines or with fields of color. These letterforms use ribbons of color to describe spatial planes. Kelly Horigan, Experimental Typography. Ken Barber, faculty. Parallel Lines Converge Summer Underwood Space and Volume A graphic object that encloses three-dimensional space has volume.
It has height, width, and depth. A sheet of paper or a computer screen has no real depth, of course, so volume is represented through graphic conventions. Linear perspective simulates optical distortions, making near objects appear large as far objects become small, receding into nothing as they reach the horizon. The angle at which elements recede reflects the position of the viewer. Axonometric projections depict volume without making elements recede into space. The scale of elements thus remains consistent as objects move back into space. The result is more abstract and impersonal than linear perspective.
Architects often use axonometric projections in order to keep a consistent scale across the page. Digital game designers often use this technique as well, creating maps of simulated worlds rather than depicting experience from the ground. Projection Study This idealized landscape uses axonometric projection, in which scale is consistent from the front to back of the image. As seen on a map or computer game, this space implies a disembodied, godlike viewer rather than a physical eye positioned in relation to a horizon. Visakh Menon, MFA Studio.
Yeohyun Ahn Visakh Menon Gregory May Yeohyun Ahn Jason Okutake Point and Line: Physical and Digital In the lettering experiments shown here, each word is written with lines, points, or both, produced with physical elements, digital illustrations, or code-generated vectors. Marian Bantjes, visiting faculty. Three Objects, Thirty-Three Ways This comprehensive design project encourages designers to observe, represent, and abstract visible objects using a variety of materials and techniques. Designers begin by visiting an unusual place with surprising things to see and observe, such as a local museum, aquarium, or botanical garden. They produce a substantial number of observational drawings of three objects, paying special attention to the appearance of form, color, texture, and materials.
Careful observation is followed by exercises in creating word lists and drawing from memory to create a total of ninety-nine studies. The project exposes designers to the iterative design process, building individual capacity for patience, endurance, and an open mind. Graphic Design I. Brockett Horne, faculty. Trevor Carr Michael Quednau Spatial Translation In this project, designers explore point, line, and plane as tools for expression. They immerse themselves in a space and observe it from multiple points of view, including different vantage points above, below and different psychological orientations as a male, a female, a giraffe, a shrimp, etc. Participants generate images of their chosen spaces in diverse media, including photography, drawing, painting, printing, collage, or video. Representations can be literal, abstract, iconic, indexical, or symbolic. After gathering their initial observations, designers create a series of representations using dot stickers, tape, and cut paper.
Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Library of Congress Cataloging-in-Publication Data Lupton, Ellen, author. pages cm Includes bibliographical references and index. ISBN hardcover : alk. paper ISBN paperback : alk. paper ISBN epub, mobi 1. Graphic arts. Phillips, Jennifer C. L87 Since its release, Graphic Design: The New Basics has reached an enthusiastic audience around the world. Everywhere we go, we meet educators and young designers who have used the book and learned something from it. You will find updated and expanded content throughout the book, reflecting new ideas emerging in our classrooms at Maryland Institute College of Art MICA. Formstorming is a set of structured techniques for generating visual solutions to graphic design challenges. We open the book with this chapter in order to plunge our readers directly into the act of visual invention.
As educators with decades of combined experience in graduate and undergraduate teaching, we have witnessed the design world change and change again in response to new technologies. Postmodernism was on the rise, and abstract design exercises seemed out of step with the interest at that time in appropriation and historicism. During the s, design educators became caught in the pressure to teach and learn software, and many of us struggled to balance technical skills with visual and critical thinking. Form sometimes got lost along the way, as design methodologies moved away from universal visual concepts toward a more anthropological understanding of design as a constantly changing flow of cultural sensibilities.
This book addresses the gap between software and visual thinking. By focusing on form, we have re-embraced the pioneering work of modernist design educators, from Josef Albers and László Moholy-Nagy at the Bauhaus to Armin Hofmann and some of our own great teachers, including Malcolm Grear. We initiated this project when we noticed that our students were not at ease building concepts abstractly. They were adept at working and reworking pop-culture vocabularies, but they were less comfortable manipulating scale, rhythm, color, hierarchy, grids, and diagrammatic relationships. This is a book for students and emerging designers, and it is illustrated primarily with student work, produced within graduate and undergraduate design studios.
Our school, MICA, has been our laboratory. Numerous faculty and scores of students participated in our brave experiment. The work shown on these pages is varied and diverse, reflecting an organic range of skill levels and sensibilities. Our student contributors come from China, India, Japan, Korea, Puerto Rico, Trinidad, Zimbabwe, a wide range of US states, and many other places. The book was manufactured in China and published with Princeton Architectural Press in New York City. Self publishing. Login to YUMPU News Login to YUMPU Publishing. TRY ADFREE Self publishing Discover products News Publishing. Share Embed Flag. Graphic Design: The New Basics - PDF eBooks Free Download Graphic Design: The New Basics - PDF eBooks Free Download. SHOW LESS. ePAPER READ DOWNLOAD ePAPER. TAGS basics graphic download instruction contemporary visual amazon ebooks designers combinations architecture.
Create successful ePaper yourself Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software. START NOW. Graphic Design : The New Basics Graphic Design : The New Basics Description: By Free -Books. In Graphic Design : The New Basics , Ellen Lupton, best-selling author of such books as Thinking with Type and Design It Yourself, and design educator Jennifer Cole Phillips refocus design instruction on the study of the fundamentals of form in a critical, rigorous way informed by contemporary media, theory, and software systems. Through visual demonstrations and concise commentary, The New Basics shows students and professionals how to build interest and complexity around simple relationships between formal elements of two-dimensional design such as point, line, plane, scale, hierarchy, layers, and transparency.
The New Basics explains the key concepts of visual language that inform any work of designfrom a logo or letterhead to a complex web site. Colorful, compact, and clearly written, The New Basics is the new indispensable resource for anyone seeking a smart, inspiring introduction to graphic design and destined to become the standard reference work in design education. How To Get Book For Free? download Graphic Design : The New Basics Full PDF version Read This First: We offer two ways that you can get this book for free, You can choose the way you like!
Powered by TC PDF www. org Tags: Graphic Design : The New Basics , Graphic Design : The New Basics By Free -Books. biz, Graphic Design : The New Basics PDF Download Full PDF Version of This Book - Free. More documents Similar magazines Info. DOWNLOAD The History of Graphic Design. Page 2: Powered by TCPDF www. org Ta. Share from cover. Share from page:.
Graphic design the new basics 2nd edition pdf free download Free Download Ebook. The second rule of Web Design is: Web Design is NOT the graphic design of web pages! This edition unites imaginative vision with fundamental architectural principles to cover the traditional basics of drawing, including line, shape, tone, and space. Guiding the reader step-by-step through the entire drawing process, Design Drawing also examines different types of drawing techniques such as multiview, paraline, and perspective drawings — and how they can be applied to achieve In addition, the third edition includes all-new material on digital media, interactive design, and typography to ensure that students have all the information needed to work in the ever-changing world of graphic design. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.
design for how people learn 2nd edition voices that matter PDF ePub Mobi Download design for how people learn 2nd edition voices that matter PDF, ePub, Mobi Books design for how people learn 2nd edition voices that matter PDF, ePub, Mobi Page 1. design for how people learn 2nd edition voices that matter Creative Cloud is here. New apps. New features. New ways to create. Here is a list of 10 free e-books. Web … Lighting Design Rüdiger Ganslandt E Edition Harald Hofmann Vieweg 1,70 m 0˚ 10˚ 20˚ 45˚ 45˚ 1,20 m 15˚ 25˚ 40˚ 90˚ Rüdiger Ganslandt Born in Studied German, Art and the History of Art in Aachen, Germany.
Book publications on topics relating to sciences and humanities, article on lighting design. This book will introduce readers To The fundamentals of digital graphic design and desktop publishing. Computer graphics user interfaces GUIs — A graphic, mouse-oriented paradigm which allows the user to interact with a computer. Everyday low prices and free delivery on eligible orders. About the Author Arthur Griffith is a computer programmer and a writer. He is the author of twelve books and the coauthor of three. Since the purpose of this book is to teach pencil sketching, I believe that a new book, with all new writings and illustrations, will serve the purpose well. Sketching with color pencil is intentionally left out because I feel strongly that the basics in learning Ebook Description. Beginnings of Interior Environments, 11e, provides a practical approach to introductory interior design.
The text addresses interior design holistically, stressing the importance of commercial and residential environments equally. Students are introduced to the history, design fundamentals, and building systems construction, electrical, mechanical of design through practical examinations and [PDF] Starting Your Career as a Freelance Illustrator or Graphic Designer Full Online [PDF] The Graphic Designer s and Illustrator s Guide to Marketing and Self-Promotion Popular Online Free [PDF] Downlaod Starting Your Career as a Freelance Illustrator or Graphic Designer BOOK Neural Network Design 2nd Edition , by the authors of the Neural Network Toolbox for MATLAB, provides a clear and detailed coverage of fundamental neural network architectures and learning rules. This book gives an introduction to basic neural network architectures and learning rules. Emphasis is placed on the mathematical analysis of these networks, on methods of training them and on their This revised edition replaces sixty-four pages of the original publication with new content, including new chapters on visualizing data, typography, modes of representation, and Gestalt principles, and adds sixteen pages of new student and professional work covering such topics as working with grids and designing with color.
His education was many years ago in Download Graphic Design And Desktop Publishing PDF EPUB. Skip to content. Graphic design the new basics 2nd edition pdf free download March 8, nicole. Home Uncategorized Graphic design the new basics 2nd edition pdf free download. Previous Gre model question paper pdf. Next Graphic design contract template pdf. Search Search. Recent Posts Divan e shams tabrizi pdf Do no harm book pdf Dps guide to aged care pdf Dr seuss happy birthday book pdf Du cut off list pdf science. Recent Comments.
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Graphic Design The New Basics. Download Graphic Design The New Basics full books in PDF, epub, and Kindle. Read online free Graphic Design The New Basics ebook anywhere Download Graphic Design: The New Basics [PDF] Type: PDF. Size: 96MB. Download as PDF. Download Original PDF. This document was uploaded by user and they confirmed that they 08/03/ · Graphic design the new basics 2nd edition pdf free download Free Download Ebook. Navigation. Home Home» Ebook» For Dummies» SEO» Free Download Ebook Download Free PDF. Graphic Design The New Basics Second Edition, Revised and Expanded (PDFDrive) Pages. Graphic Design The New Basics Second Edition, Revised and Graphic design: the new basics by Lupton, Ellen. Publication date Topics Graphic arts Pdf_module_version Ppi Rcs_key Republisher_date Graphic Design The New Basics written by Ellen Lupton and has been published by Chronicle Books this book supported file pdf, txt, epub, kindle and other format this book has been ... read more
Color exists, literally, in the eye of the beholder. As technology allows ever greater access to information, the ability of the designer to distill and make sense of the data glut gains increasing value. By repeatedly tapping into our mental database of associations and ideas, we are able to exhaust the obvious and get to fresher territory. Visual pattern density signifies relative absorbency. In Graphic Design: The New Basics, bestselling author Ellen Lupton Thinking with Type, Type on Screen and design educator Jennifer Cole Phillips explain the key concepts of visual language that inform any work of design, from logo or letterhead to a complex website. Margin A margin creates a protective zone around an image, presenting it as an object on a stage, a figure against a ground. Our school, MICA, has been our laboratory.
Indeed, in our previous book, D. Library of Congress Cataloging-in-Publication DataLupton, Ellen, author. Building on memory and experience, the brain fills in gaps and filters out extraneous data. Graphic designers use rhythm in the construction of static images as well as in books, magazines, and motion graphics that have duration and sequence. Read online free Graphic Design The New Basics ebook anywhere anytime directly on your device. Children learn to mix colors according to this model, and artists use it for working with pigments oil paint, watercolor, gouache, and so on.
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