DesignEle...CH1 by zzLL

Chapter 1 Image Formats and Use

Sherin, A 2013, Design Elements, Using Images to Create Graphic Impact : A Graphic Style Manual for Effective Image Solutions in Graphic Design, Quayside Publishing Group, Osceola. Available from: ProQuest Ebook Central. [4 December 2018]. Created from bcu on 2018-12-04 21:27:51.

10 s Design Elements s Using Images to Create Graphic Impact

What Are Images? Images can be illustrative, photographic, based on line art, etchings, screen prints, pictographs, or symbols. They may be representational or abstract and can be made by hand or with a camera, computer, or a variety of other mark-making and printing techniques. When using imagery in a design project, one must consider how an image is created, whether it costs money, and what visual form an image takes. The type of image that will be most effective for a speciﬁc project will depend on the message being conveyed, the target audience, one’s own rendering skills, and where the end product will be seen.

The meaning attributed to an image can vary tremendously, depending on how it was produced. For instance, a contour drawing of an intense subject will have different connotations than a photograph of an actual event. Think about the difference between seeing a photo of the World Trade Center being hit by airplanes on 9/11 versus a line drawing of the same thing. The drawing relies on the memory and association. It may be emotionally evocative but will rarely have the same immediacy as a photographic image. While photographic imagery is undeniably strong, it isn’t appropriate for every design solution, nor is it always best to use a photo in its original state. For some projects an illustration or ﬁne art representation will be more appropriate. Collage, textures, and prints can also be used in a composition and should not be overlooked in favor of more traditional communicative elements.

S This combination of photographic imagery and the silhouette of a hypodermic needle are intensely evocative. Photos create a mood and add to the communicative content while the outline of the syringe demands attention. Design: Paone Design Associates, Philadelphia, Pennsylvania

S Actual bathroom ﬁxtures are used to make kaleidoscopic-like imagery for Roca’s annual report. This is a great example of how interesting imagery can be created without a huge budget. The resulting compositions are beautiful and showcase the company’s products in an unusual way without taking attention away from the text content. Design: Sonsoles Llorens, Barcelona, Spain

Chapter 1 s Image Formats and Use s 11

W S Quirky and fun illustrations are used for a catalog of graphically decorated cookies. The cutouts used to create the illustrations reference shapes made by cookie cutters, creating a perfect marriage of style and content. Design: MarisMaris, Inc., New York

12 s Design Elements s Using Images to Create Graphic Impact

History Imagery has been used to tell stories and convey ideas from the days of cave painting through modern times. As an exclusive means of communication, it was replaced by alphabets, which provided a less ambiguous and more direct means of transmitting information. First printing and then photography revolutionized the use of imagery by offering a means for multiple reproductions. In the last century, advanced printing technology and computer software have made it easier to work with imagery and to disseminate ﬁnished design work to a diverse audience. Television and screen-based design further altered how we experience the image. It is now possible for designers to use images to transmit speciﬁc information using a variety of input digital devices and production techniques.

S Symbols or pictograms (see page 43) were painted by members of the Ojibwa tribe of Native Americans on the face of a cliff in Lake Superior Provincial Park, Ontario, Canada. Photo by Dr. Gordon E. Robertson, Ph.D, Ottawa, Canada

S Parts of unique artworks are blown up and used to create doorways and wall panels. An innovative design and unusual use of imagery make this museum installation engaging to the audience and allow viewers to experience detail on a grand scale. Design: Studio Rašić, Zagreb, Croatia

Chapter 1 s Image Formats and Use s 13

14 s Design Elements s Using Images to Create Graphic Impact

Where and When to Use Images Images are ubiquitous in contemporary visual culture. They have immediacy, are readily available, and can be produced and reproduced by professionals and amateurs alike. An average person will see thousands of images over the course of a day. Some of that visual material will be designed to make us do something or want an object. In other instances, imagery will be used to communicate information or simply to share ideas. Because of their pervasiveness, images often

go unnoticed. Even when imagery prompts us to buy a product or take action, we may not realize that a particular visual was the motivator for that behavior. Images are particularly effective when they are used in place of words and/or in situations where viewers are unable or unlikely to read large amounts of text. They communicate vital information quickly on road signs and complement text in magazines, books, and

websites. Advertising relies on photos or illustrations to catch a viewer’s attention and to convey information about a product quickly and clearly. In information graphics, illustrations or diagrams explain or reinforce directions or technical information. While most design relies on imagery for impact and to enhance the content, it is rarely used on its own. In most graphic design solutions, imagery will be paired with text or other visual material.

S Images are used to communicate speciﬁc information, but they are also used as a form of visual expression. This Santiago neighborhood has embraced a form of grafﬁti that has more in common with street art and façade design than the tagging one commonly sees in U.S. cities.

Chapter 1 s Image Formats and Use s 15

Social media and mobile technology have changed the way people are able to collect and distribute imagery. Mobile phones with built-in cameras allow people to easily document any aspect of their lives. The low-quality visuals produced by phones may not be print ready, but they can be used as references for drawings or illustration and/or in websites and in design for digital media. Sites like Flickr (ﬂickr.com), Tumblr (tumblr.com), and Pinterest (pinterest.com) allow users to collect and share visual material with friends, family, and the general public.

S When a publication has to accommodate a large number of images, it can be useful to create a loose grid system in which type and visuals can be placed. By leaving some grid modules blank, it is possible to create engaging compositional space while still highlighting text and necessary visual material. Design: THERE, Surry Hill, Australia

S The design of this theater promotion references “exquisite corpse” drawings created by Dada artists but uses cropped photos and unusual props. Design: Noah Scalin, Richmond, Virginia

16 s Design Elements s Using Images to Create Graphic Impact

Who Uses Images? Designers use visual material for different reasons, in diverse situations, and to produce a variety of deliverables. Editorial designers use images to make text more interesting and to “illustrate” aspects of content. Online, pictures or illustrations can make a website memorable and make it seem less text heavy. Exhibition designers may use imagery as their primary communicative element, whereas designers working on wayfinding or signage may find that line art or pictographs offer the greatest benefit.

Regardless of the type of visual output one is designing for, imagery can only be used successfully with careful planning. Ask what type of visuals best suits the project and the audience being targeted. Consider whether production requirements limit the type or quality of visual material that can be used in the project and make sure to ﬁnd out if a client has preconceived notions about what the ﬁnal output should “look like.”

It is rare that a designer will select only one set of images for a project. More often, during the exploration phase of a project, a variety of styles and sizes will be applied to content and only the best iterations will be shown to the client. To avoid confusion and extra work, ask the client to “sign off” on an overall look and feel (which can be done with mood boards [see page 20], storyboards, or mockups) before laying out or producing an entire project.

S Using hand-rendered textures and historically derived imagery makes this website unique and adds value to the products because it connects them to the idea of handmade quality. Design: MarisMaris, Inc., New York

Chapter 1 s Image Formats and Use s 17

S Images can be used to create a series of related deliverables. By using stylistically similar photos or illustrations and by tinting images the same color it is possible to make multiple images seem connected. Design: Design Liga, Munich, Germany

S Signage and explanatory graphics often use imagery to catch a viewerâ&#x20AC;&#x2122;s attention and to reinforce the message communicated through text. This panel outside the United Nations headquarters in Geneva shows Eleanor Roosevelt holding a copy of the Universal Declaration of Human Rights and includes a quote, by Roosevelt, about the declaration.

S The wide variety of rendering styles used in this piece might cause visual confusion in some instances, but in this case it is obvious that the designer is purposely highlighting the diversity found in Portland, Oregon. Design: Eduardo Bertone, Madrid, Spain

18 s Design Elements s Using Images to Create Graphic Impact

Why Use Images? Humans are visual beings. In surveys, sight is often listed as the sense we would least like to lose, so visual material—whether computer generated, hand drawn, or photographed—can have tremendous communicative power. In a crowded visual landscape, imagery has the power to differentiate one design output or company from another. Because we only need a few seconds to recognize and

X The image of a man in a top hat conveys the historical period in which this story takes place, and the illustration of a marionette suggests further plot intrigues in this offbeat love story. Design: Base Art Co., Columbus, Ohio

T Imagery easily communicates action and suggests place. A digital collage uses readily available imagery and combines it with distressed textures and a color palette that emphasizes a trek across Turkey. Design: 2FRESH, London, Istanbul, Paris

digest imagery, it can communicate information more quickly than text. This is why photos or simpliﬁed illustrations are often used in design situations where time is of the essence. Even reductive visuals like those used for identity marks or logos are memorable and can help make associations between brand values and the attributes of a company or a customer base.

Chapter 1 s Image Formats and Use s 19

W The image of a saxophone is shown “head-on” with a face behind it. The visual combination immediately references jazz, the subject of the poster. Design: Finn Nygaard, Fredensborg, Denmark

T Imagery is the primary visual communicator in this Salvatore Ferragamo catalog. The high-quality, professionally shot photographs do such a good job of representing luxury that words aren’t needed. Design: The O Group, New York

20 s Design Elements s Using Images to Create Graphic Impact

Mood Boards Mood boards are a way to show and experiment with how visual material will work in design deliverables. They are usually created during or immediately after the research phase of a project. In some cases, a mood board may use only photographic or illustrative imagery, but in other instances they will also include textures, samples of mark-making techniques, and even low-relief objects. The purpose of mood boards is to represent an idea, a speciﬁc attribute of content, or a company’s brand. The images used for these boards are usually found from free image sources, may be created in “mock-up” form, or include samples of a particular artist or photographer’s work. Sometimes mood boards are literally boards (usually large pieces of foam core or illustration board), but they can also be created digitally. Mood boards are used as a starting point for visual projects and are a way of freely expressing ideas to members of a design team or to a client. They provide an effective means to test styles and types of image content before purchasing or commissioning ﬁnal material and are particularly useful when dealing with nonvisual clients and/or in situations where multiple parties have to see and approve an overall direction.

S Using low-relief materials and textures is a great way to communicate more information. Here rubber bands show connections, and the wire provides an accurate representation of the materials that will be used in the project.

S Mood boards are a collection of visual material that will inﬂuence the look and feel of a project. They can include notes about the project, possible font choices and color palettes, as well as relevant imagery. Design: Diana Hu and Katrina Smilth, New York

Chapter 1 s What Are Images? s 21

How It’s Done Putting images up on a board or wall can help make it easier to categorize and pair them by theme or subject. Seeing a printed visual also allows designers to quickly differentiate between images that stand out and those that aren’t as strong visually.

Here, a large number of images are printed, cut out, and tacked to the wall so that notes can be made directly on the printouts. Even as layouts are in progress, having a physical record of all the image assets can help with identifying unusual or exciting pairings.

The resulting spreads for this paper company promotion showcase beautiful, arresting, and even startling image combinations printed on high-quality paper. Since the goal is to show how well the paper presents images, including a variety of subjects, colors, and styles is appropriate. Design: 50,000 Feet, Chicago, Illinois

22 s Design Elements s Using Images to Create Graphic Impact

Digital versus Analog Today working with imagery most often means dealing with digital ﬁles at some phase of the process. Image material may initially be created in digital form, as is the case with digital photos and illustrations, or it may be scanned so that the designer can manipulate it and incorporate it in a layout. While most imagery ends up being delivered for production or even seen (as in the case of websites and motion graphics) as digital ﬁles, it is often useful to start out with hand-drawn, found, or another type of analog

Imagery that is rendered by hand may not be as common as digital imagery, but it is still widely used in graphic design projects. Drawn, printed, or painted imagery or textures tend to show evidence of the originator and of the human hand at work. These visual styles are immediately appealing to viewers because they have a more custom look and can be easily differentiated from overly slick graphics and photography. Hand-done imagery is a good choice when a designer needs to

material. This is a great way to give a project an original look and to get away from making work that appears to have been produced with speciﬁc software. Even if your rendering skills aren’t particularly advanced, you can start by sketching a rough outline of the visual you want to represent. Then, using collage (see page 30) techniques or found objects and textures, it is possible to “create an image.” Using a tablet and stylus can produce a visual effect that

closely references hand rendering even though it has been created on the computer. One of the most important beneﬁts of developing or customizing imagery digitally is that it is easy to change tonal variations and color on the computer, so lastminute edits can be done quickly.

communicate mood or style quickly. When commissioning, ﬁnding, or creating hand-drawn material, it is important to decide on an ideal look and style before choosing the imagery or giving the job to an illustrator (see page 90). This decreases the likelihood that the material won’t ﬁt with other elements of the project or meet the client’s expectations.

X Texture can come from both analog and digital sources. In programs like Photoshop, it is possible to add noise and graininess to a digital composition or ﬁles that have both handmade and digital components. This is a good way of giving a computer rendering a more unique appearance. Design: 2FRESH, London, Istanbul, Paris

Chapter 1 s Image Formats and Use s 23

S This website uses patterns that can be created using both digital and analog methods. The skillful combination of contrasting patterns ties the overall look and feel of the website to the featured products. Design: MarisMaris Inc., New York

S The props used for this theater promotion were created with corrugated cardboard that was cut and shaped into three-dimensional objects. The handmade objects were photographed, and text was added with computer software. Design: Noah Scalin, Richmond, Virginia

24 s Design Elements s Using Images to Create Graphic Impact

Imagery from Props or Objects When one thinks of images, one normally imagines a two-dimensional rendering or photograph, but imagery can also be created using threedimensional props, found objects, or sculptures. Using objects to create visual content is a great way to add a sense of depth and virtual space to a design output. Additionally, because three-dimensional objects are fantastic at communicating movement and action, they are often used in motion graphics and animation. If an output will be seen digitally or is part of a moving sequence, then the objects used will have to be photographed or ﬁlmed before being edited and having sound and

other elements (like text) added. On the other hand, flat two-dimensional design projects also use objects as a communicative device. In these instances, a photo of the prop is what will appear in the final design output. Building or creating one’s own props is an easy way to make custom image content. Props can be made from existing objects, or found materials, or they may be fabricated from other supplies. Some design studios and companies have designated rooms for building props, but in many instances three-dimensional objects will be made on the fly in traditional office space. When props

are used for stop-motion videos, it may be necessary to make multiple versions of the same character or to create an object with enough moving parts that it can be photographed in a variety of positions. Designers working in stop-motion animation usually conduct their own photo sessions. On the other hand, designers who have made stationary objects for two-dimensional layouts often hire a professional photographer to ensure high-quality results.

S Almost any item around the house can be used to create props for design work. Here, string has been styled in the shape of a face and script text for this CD packaging. The result is visually enticing, almost seems three-dimensional, and is sure to be noticed. Design: Noah Scalin, Richmond, Virginia

Chapter 1 s Image Formats and Use s 25

S Careful placement turns these veggies into a smiling face. The design is simple and the appearance is fun and playful. Design: Finn Nygaard, Fredensborg, Denmark

S Children’s Legos have been used to create the shape of Pac-Man and other characters, which are made unique by their construction. This is a great way to make a reference to a known character while still creating a new and original composition. Design: 2FRESH, London, Istanbul, Paris

S Fun props like masks become engaging when paired with unique backgrounds and expressive body gestures. On the right models are shown in “normal clothes” wearing the animal masks. Design: Sagenvier Design Kommunikation, Dornbin, Austria

26 S Design Elements S Using Images to Create Graphic Impact

How It’s Done Ordinary objects like dishes and plates can become extraordinary when used as props for a photo shoot. Adding whimsical hand-cut lettering transforms a photo into a designed composition. These images highlight the importance of preparation when setting up a scene.

Design: Sagenvier Design Kommunikation, Dornbin, Austria

Attention is paid to every detail during the setup so that the production and photo shoot will go more smoothly. Letters are traced onto paper and carefully cut. The tabletops are carefully laid out with dishes and silverware. Having multiple people getting props, reading, and creating items makes the process go faster and more smoothly.

Good lighting is even more important than a fancy camera. Buying or renting professional-quality lights or hiring someone with expertise in lighting products is well worth the money and can make an in-ofﬁce setup look professional. The photos created for this project have an easy, natural look because so much time went into planning. The resulting posters are fanciful and engaging and will stand out against work that is computer generated or even exclusively hand rendered.

Chapter 1 S Image Formats and Use S 27

28 s Design Elements s Using Images to Create Graphic Impact

Images as Illustration or Fine Art Illustration is used to achieve a specific look or style and is often commissioned for a particular project (see page 90). This type of visual material is also widely used in information graphics, in packaging, and as a means of creating simplified forms like icons or pictographs. Illustrations can be made with an infinite array of visual styles and materials. In some instances, an illustration will look hand drawn or painted, while in other cases it may be obviously computer generated or created with unusual or unexpected materials.

Fine art can also be used successfully in design projects. A work of art will often reference a specific mark-making technique or time in history. For instance, the use of a nineteenth-century print for the cover of a book will immediately communicate information about time, place, and tone. Similarly, a line drawing or tonal representation can seem elegant and refined simply because of the way it was created. While illustration and fine art may be created specifically for a project, it is also possible to find copyright-free material online and in books, or to use an existing artwork with permission (see page 88).

S Illustrations are often used to create logos or brand marks. By simplifying an object and reducing the level of detail in the drawing it is possible to create a graphic mark that is easily recognizable and can be used at a variety of scales in many types of media. Design: Tactical Magic, Memphis, Tennessee

W A simple illustration of a skyline is a great way to reference a city and can be created by a designer even if she doesn’t have advanced skills in rendering. By showing iconic buildings it is possible to transition from the general idea of the city to a more speciﬁc and recognizable place. Design: Design Liga, Munich, Germany

Chapter 1 s Image Formats and Use s 29

Line Art and Silhouette Line art and silhouettes can be used to attain a strong, crisp look. Line art uses minimal mark-making to create a visual representation of the subject. The amount of detail in line art or in a contour drawing may vary, but neither of these techniques uses shading or tonal variation. Silhouettes are created by outlining

the exterior of an object in a way that contrasts from the background. Using silhouettes can give visual consistency to different objects. They make one object stand out in a composition and they can also be used to emphasize virtual foreground or background space.

S In this poster for Miami, the information about sunny weather, ocean, and beach is communicated through simple shapes and color. The illustration is so effective that only one word is needed to reinforce the location. Design: The Heads of State, Philadelphia, Pennsylvania W This illustration of a spoon becomes expressive and unexpected with the addition of teeth. The drawing is simple, but the imagery still has visual power. Design: Timo Thurner, Munich, Germany

30 s Design Elements s Using Images to Create Graphic Impact

Collage, Montage, and Photomontage Combining images that might not exist together in normal situations can result in highly original results. The following techniques are particularly successful when several ideas or types of information need to be represented within the same overall message. Collage, photomontages, and montages combine more than one image or textural elements to create a new composition. Images may be placed in such a way that they appear connected, or they may have spaces between

them. Objects from nature, advertising ephemera, and found materials are often combined with more recognizable imagery. Traditionally collages and montages were made by hand or in a darkroom (as in the case of photomontages); however, digital workﬂow and design software now allow designers to create these visual forms on the computer. Some of the immediacy of the process may be lost in digital production, but using design software creates ﬁles that are easily editable.

W Sometimes a collage can be as simple as combining a few images. Here the unusual juxtaposition of visual elements instantly makes the viewer want to know more. Design: Dave Plunkert/Spur Design, Baltimore, Maryland T Imagery can be created through a variety of techniques and materials. Here cut paper stands in for real laundry and suggests a casual and humorous approach to the message and content. Design: Mélangerie, Inc., New York

Chapter 1 s Image Formats and Use s 31

Collage refers to the combination of two or more visual elements and often includes printed matter, photographs, and other found items. Photomontages use two or more images together to create a composite. Montages use separate elements to create a new and different image from the parts, and while the technique is similar to collage, the requirement of an independent resulting image makes their intent different. W Discarded objects and even trash can be used to create new and engaging compositions. These ﬁgures are whimsical. Value is added because the viewer is able to recognize the material used to create them. Design: Peter Fine, Las Cruses, New Mexico W T This montage combines an image of a book with the background of clouds and sky to connect the ideas of freedom and literacy. The resulting composition is surrealistic and invites the viewer to imagine that the content of a book can be more than literal. Design: Paone Design Associates, Philadelphia, Pennsylvania

T Found images of people, icons, outlines of maps, and text are combined in this unusual self-initiated design about the origins of South African émigrés. Design: Garth Walker, Durban, South Africa

32 s Design Elements s Using Images to Create Graphic Impact

Photographic Imagery Photos are persuasive in our visual landscape and are widely used in graphic design projects. People tend to believe photos are inherently truthful and that they provide an accurate record of an event, time, or place. Even though people think photos represent a single moment, an examination of a photographer’s contact sheets or negatives will show that it almost always takes dozens or even hundreds of frames to produce one ﬁnished picture. The photographer makes determinations about light, composition, depth of ﬁeld, and whether an image should be color or black and white. A good photographer can make any object extraordinary and can make an ordinary person or place seem unusual or special.

S This high-quality photo of a leaf is a good pairing of form and content. The detailed cropping is beautiful, and when paired with the hairline grid and elegant text, it makes viewers want to know more about the Botanical Gardens. Design: Poulin + Morris Inc., New York

W Highly styled photos immediately demand attention and are frequently used in advertising. This photo makes the throws, pillows, and blankets sold by Zoeppritz seem edgy and will likely attract younger consumers. Design: Schmidt Thurner von Keisenberg (STVK), Munich, Germany X Photographic imagery is the mainstay of the fashion industry. Skillful use of color and the addition of handpainted brushstrokes make these magazine spreads visually arresting and powerfully compelling. Design: Cheah Wei Chun, CLANHOUSE, Singapore

Chapter 1 s Image Formats and Use s 33

how altering an image can change its meaning. In 1994, both Time magazine and Newsweek used a mug shot of O.J. Simpson on their covers. Newsweek used the original image, while Time darkened the image and was subsequently criticized for making Simpson look more sinister. Photoshop has made image manipulation easier, but it has decreased the power of the photograph as “truth carrier” as well. To combat the negative connotations associated with product advertising, companies like Dove launched campaigns showing images of real

people rather than actors or models. Unaltered, but professionally shot, photos of ordinary people posing for commercials and advertisements highlighted women of a variety of shapes and sizes and attempted to communicate the attributes of nonideal beauty. Regardless of ethical and technical issues associated with working with photos, the seductive power of photographic imagery means that it will continue to be a mainstay in graphic design projects.

Manipulation of imagery by a photographer, an editor, or designer is nothing new. Even in rudimentary darkrooms, artists altered the appearance of their photos. The introduction of desktop publishing allowed greater freedom when customizing imagery but also came with ethical dilemmas. Today retouching imagery is so common that it is rare to ﬂip through a magazine and see an image in its raw state. Even children’s school photos are enhanced to eliminate unwanted or unsightly physical characteristics. Scandals have erupted over

34 S Design Elements S Using Images to Create Graphic Impact

How It’s Done The event poster for Design vs Music provided the opportunity for the designers at Oh Yeah Studio (who were also invited speakers at the event) to do something very special. They built the concept for the project around the idea a ﬁght between design and music. Surreal and strange visuals were created using photos of a model. The type treatment is rough and clearly contrasts with the glossy, highly realistic photo.

The photo shoot included multiple images of the model in a variety of poses and outﬁts set against a

white background. Once images were input into the computer, it was possible to see them all at once and to make determinations about which would work best for the project. First, two images were identiﬁed from the countless shots taken, and then one image was chosen to be customized and have type added to it. The photo was then manipulated in Photoshop so parts of it appeared to be hand drawn and other parts still seem like a photograph. Finally text was added and the ﬁnished poster was printed.

Chapter 1 S Image Formats and Use S 35

Here it is possible to see how the ďŹ nished poster appears on a wall. The combination of seductive imagery and grungy type will make viewers want to attend this offbeat event. Design: Oh Yeah Studio, Oslo, Norway

36 s Design Elements s Using Images to Create Graphic Impact

Texture Whether found in nature, as part of photographs, digitally created, or made by hand, adding texture can make compositions more interesting and will give them a specific visual appearance. When layering photos or creating a digital collage, texture can be added to give a sense of unity among separate elements. Adding texture will make vector imagery look less flat, and it can also be used to give cohesiveness to a single composition or series. It is usually possible to find or create interesting textures without having to purchase rights-restricted imagery or hire an illustrator. As a result, this type of visual material is a great choice for low-budget projects.

S When combined with a small illustration of an archer, pattern creates the primary visual material used for these collateral pieces. The clean and uncluttered cards easily highlight the message on the invitation. Design: Hatch Design, San Francisco, California

W The dark ring made when a wet container or cup is set down has enough texture to be the basis for the composition where the negative space is as interesting as the positive. Design: Finn Nygaard, Fredensborg, Denmark

S Textures can be layered and combined with other visual materials like illustrations. This poster uses texture to create a rich background that seems to have depth because of the way color is added to different parts of the composition. Design: El feo (Fernando Revollo Torrico)/ Mario Vargas Cuellar, Cochabamba, Bolivia

Chapter 1 s Image Formats and Use s 37

Pattern Patterns are made by repeating a visual element in sequence. They can be abstract or representational and may be made up of geometric shapes, line art, silhouettes, or even photographic material. In design projects, patterns may be used as background material, but they are also used in the foreground, where they can help to differentiate one part of a composition from another. Patterns can help a designer achieve a sophisticated and reﬁned look, but there is also the danger of cluttering compositional space

or making other elements difficult to see or read. One should start by evaluating what purpose pattern will have in the visual output. Then create specific spaces for it to be applied and make sure that any headlines and body text are still easily readable if they are placed on top of or interact with a pattern. Less is often more. Make sure to test the final layout before going to production to ensure that pattern does not detract from the communicative goals for the project.

S Intricate patterns that are reminiscent of tile work or mosaics create an unusual background to place photos on. The color has been removed from these photos, and they have been simpliﬁed so they look like a hybrid between illustration and a photocopy. By customizing imagery and creating patterns oneself, it is possible to achieve a high-quality result even if a project doesn’t include the budget to hire a photographer or illustrator. Design: Shual Studio, Ramat-Gan, Israel

38 S Design Elements S Using Images to Create Graphic Impact

How It’s Done There are numerous techniques for producing imagery oneself. Using a software program like Adobe Photoshop allows a designer to layer images, patterns, or other found material to produce a variety of results. Combining images doesn’t have to be done only with digital material; Savvy designers use a variety of art-related techniques to create hand-done compositions or image components.

The designer for these humorous and ironic Zombie posters used found textures, hand done painting, torn paper and Photoshop brushes to create specifically stylized results. The abstract mark making and textures are fit into vector silhouettes of the figures. The end result is highly individual and retains a hand-done aesthetic. Design: Luz Guillermo, New York

Chapter 1 S Image Formats and Use S 39

40 s Design Elements s Using Images to Create Graphic Impact

Abstraction versus Representation A design project may call for representational or abstract imagery. In many cases realistic imagery is used because of the specificity of the message. Imagery that acts as illustration or is used to emphasize an idea is usually representational. On the other hand, representational imagery may not fit the overall look and feel of a project. In these instances abstraction is a great way to decrease specificity, change the visual tone of a composition, and highlight the other elements in a design.

Abstract imagery can include textures and patterns as well as distorted or unclear photographs and illustrations. The originator may create this type of visual material intentionally, or an existing image can be altered or changed by the designer for the purposes of a speciﬁc project. By distorting an image beyond recognition, the designer retains the visual impact of imagery while increasing visual ambiguity. When associated meaning has been decreased, it is possible to apply new or unusual ideas to an image, texture, or pattern.

S Abstraction is a good tool to use when imagery shouldn’t be too specific. The abstract illustration of a face is evocative without ever referencing a particular person or even gender. Design: The Heads of State, Philadelphia, Pennsylvania W At first viewers may not be able to tell what the subject of this poster is. The image of a finger has been distorted to the point that it is nearly abstract. Design: Gerwin Schmidt, Munich, Germany

Chapter 1 s Image Formats and Use s 41

X Fashion design and advertising capitalize on the bodies of beautiful models wearing expensive clothing. This highly stylized photograph represents luxury and style without saying anything about the models that posed for the shot. Design: Cheah Wei Chun, CLANHOUSE, Singapore

T High-quality photographs suggest that the viewer’s hair could look as good as the models’ if she uses Omai products. Even though the images may have been altered and retouched to make them look even better, the representational style is perfect for selling products. Design: The O Group, New York

42 s Design Elements s Using Images to Create Graphic Impact

Graphic Translation There are many instances when the complex visual information or highly rendered imagery is inappropriate or too complicated for a particular context. Icons, pictographs, and symbols offer simpliﬁed techniques for representing information. They can be made up of a line or shape but also can be created using a simpliﬁed rendering of an object, place, or idea. These visuals are often used for signage and as graphic representations of a company or brand.

X Images of ordinary objects can be transformed into graphic forms by skillfully reducing the amount of visual information shown and using positive and negative space. Design: Digno Milo, New York

S This logo takes its form from a simpliﬁed shape of a wing. It is a good example of an icon where the reference is easy to understand. Design: Tactical Magic, Memphis, Tennessee

S Pictograms easily represent action and have been used for the Olympics and in other situations where information needs to be quickly communicated. Here simpliﬁed drawings of people in action allow viewers to quickly understand what sports are being represented. Design: 2FRESH, London, Istanbul, Paris

Chapter 1 s Image Formats and Use s 43

S The symbol for a company or product can be as simple as a shape complemented by text. This logo shows how the addition of texture, color, and additional shapes can make the triangle seem speciﬁc and unique. Design: Studio Rašić, Zagreb, Croatia.

W The symbol for Muranaka Farms isn’t a direct illustration of a ﬂower, leaf, or seed but still manages to convey an organic feel that ﬁts well with the idea of a specialty vegetable producer. Design: B12, Scottsdale, Arizona

Icons represent a person, object, or idea. An icon should be immediately recognizable. By reducing a visual to the simplest means of communicating, it is possible to gain clarity. The beneﬁt of icons is that they alleviate distractions that come with more complex visual forms. Icons are an excellent choice when used for logos and/ or signage. Symbols graphically represent ideas or concepts without pictorially describing what they refer to. Companies often use symbols to represent their brand. The Target bull’s-eye and Nike swoosh are examples of symbols that have become highly recognizable. Because of their nonspeciﬁc form, it is possible that the same symbol may represent different things to different people. For example, the Nazis used the swastika to represent fascist ideals, but the same symbol has been used for centuries in Hindu and Buddhist cultures, where it represents well-being.

Pictograms (also called pictographs) are pictorial representations of a letter, word, phrase, or physical object. Pictograms rely on the viewer’s ability to make the correct association between the visual and what it represents. Early writing is thought to have developed from pictograms, and they are still used as a means of communication in places where a large percentage of the population is illiterate. Pictograms can transcend cultural and language barriers because they are universally recognizable, but when used together in a series to communicate more complex ideas, they may cause confusion for some viewers.

S By simplifying the visual language used in image representation it is possible to communicate information without the need for text. These trash bags communicate their purpose to visitors and residents alike.

Copyright Â© 2013. Quayside Publishing Group. All rights reserved. Sherin, A 2013, Design Elements, Using Images to Create Graphic Impact : A Graphic Style Manual for Effective Image Solutions in Graphic Design, Quayside Publishing Group, Osceola. Available from: ProQuest Ebook Central. [4 December 2018]. Created from bcu on 2018-12-04 21:27:51.