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Helena Knutsen DD3000 Design: Culture and Society 3
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Assignment Title: 3,000-word visually rich research project
Key issue: Why are Graphic Design rules/principles relevant/important, and what is the future of their relevance/importance?
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Helena Knutsen DD3000 Design: Culture and Society 3 Assignment Title: 3,000-word visually rich research project Key issue: Why are Graphic Design rules/principles relevant/important, and what is the future of their relevance/importance?
Introduction In the past, designers have created principles for future generations of designers to follow when creating. These principles were based off of their own knowledge of what is aesthetically pleasing when designing. ‘During the 1920s and ’30s certain eminent designers in Europe and the United States took delight in telling other designers how to design. During these nascent years of Modernism they were so convinced they had discovered the rightness of form that, to spread the word (and image), they issued detailed manuals setting out their ideas.’ (Heller and Vienne, 2012:87)
for other designers to take inspiration from when producing their pieces, and how the overall goal and meaning of doing this was to create starting points for every designer to formally follow then to work on top of creatively to generate effective pieces of work. An example of a guideline handbook is shown in figure one.
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‘The French publisher Alfred Tolmer’s Mise en Page: The Theory and Practice of Lay-Out, published in 1932 in separate English and French editions, codified the most widely practiced of the early twentieth-century design styles. Tolmer’s goal was to provide formal guidelines while encouraging creative invention.’ (Heller and Vienne, 2012:87)
Furthermore, this relates to the main research topic of this project, which is, ‘Why are Graphic Design rules/principles relevant/important, and what is the future of their relevance/importance?’ I will also be researching relevant questions in coherence with the main topic such as:
set out are important within the design industry and the impact of technology on principles in the future. Also looking into the psychological background of principles. All of this combined to create this research project that will discuss, evaluate and summarize why principles are important within design.
1. What are the Psychological aspects surrounding graphic design pieces? 2. How is the growth of technology changing the need for learning the rules? 3. What are the positives and negatives of technology growth impacting the principles? 4.Future impact on the way we see and compose graphic design? (10-20 years)
The aim of this project is to evaluate thoroughly a few of the principles of graphic design to evaluate the importance of them and why they could potentially be changing/impacted in the future (10-20 years) because of the progression of technology. There are 100’s of principles within design, but I will only be looking at approximately 5 that I find the most important.
These questions are being explored to help look at all aspects of why the principles ‘Design Principles are widely applicable laws, guidelines, biases and design considerations, all reflecting researchers’ and practitioners’ accumulated knowledge and experience. Design Principles draw from many disciplinese.g., behavioral science, sociology physics and ergonomics. Designers apply them with discretion.’ (Interaction Design Foundation, n.d)
These quotes show how designers created ‘guidelines’ ‘information intended to advise people on how something should be done or what something should be.’ (Cambridge Dictionary, 2018) Fig.1. thinking with type (2010)
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Colour theorycomplimentry colours
Here are some examples of design principles:
Golden ratio
‘Line: The Graphic Unifier, Curved, Straight. Directional Thrust: Horizontal, Vertical, and Diagonal. Shape: Naturalistic, Golden Mean)
Geometric.
(The
Space / Size: Large, Medium, Small. Proportion or Scale. (The Golden Mean) (Perspective) Value: Light, Dark. (Value Patterns) (Arial Perspective)
Rhythm and repetition
Color: Hue, Chroma, and Value. (The Color Wheel)
Hierarchy
Texture: Rough, Smooth, Soft, Hard. The Principles of Design are achieved through the use of the Elements of Design. Each principle applies to each element and to the composition as a whole. The Principles are: unity, harmony, balance, rhythm, contrast, dominance, and gradation. Unity: Echoes of all elements relating.
Balance
Fig.2. Principles of form and design (2018)
Fig.3. A Life Well Wasted 7 (n.d)
In figure 2 you can see infographics being used to explain some of the principles.
In figure 3 I analyze an example of graphic design to show principles in use.
Harmony: Within each element and as a whole. Balance: With the "weights" of the segments of each element. Rhythm: Variety and Repetition. Contrast: Alternation. Dominance: Within each element. (Center of Interest, Focal Point) Gradation: Modeling, (3-D effect), Transitions.’ (makART, n.d)
I believe that not only will I benefit from this research project but designers will because they will be able to look at all the analysis and evaluation I will do and understand where the principles are headed in the future and how that will potentially impact design. 3
Literature Background To begin with, we wonder as designers, who is the judge of ‘good design’? and why are the principles a relevant aspect to ‘good design’?
Educated at Penn State, he started designing covers for Knopf in 1986, where he was responsible for 75 book covers a year. He is still employed at Knopf, an imprint of Random House, where he is an According to my research, ‘The concept of art director.’ ’Good Design’ was pioneered by the union (DESIGN IS HISTORY, n.d) des Artistes Modernes (UAM), a Paris organization founded by Robert This piece composed of an image, author’s Mallet-Stevens in 1929 in the aftermath of name, and book title. Chip uses hierarchy to the watershed 1925 Arts Decoratifs lead the audience's eye first to the image, exhibition. The anti-ornamentation stance of which makes the audience subconsciously the UAM artists paved the way for what try to find out what the narrative of the would soon be called ‘graphic design’ as image is, which then leads onto the title of opposed to ‘graphic arts’. Among poster the book, then the author. These three designers, illustrators and typographers, aspects composed together creating an clear communication became a benchmark effective book cover that clearly of excellence.’ (Heller and Vienne,2012:114) communicates using the principles. Principles were synthesized through designers deciding what type of design is aesthetically pleasing for the public.
The research exploring why This creates a exploring the principles.
Furthermore, the reason we use principles within design is stated ‘at a fundamental level, graphic design works as a kind of user interface; we organize information visually to allow people to navigate through and understand the world. As graphic designers we channel interactions through a primarily visual funnel, stripping out everything that can’t be accommodated in the medium.’ (Peart,2016)
This meaning that there are literal psychological changes in our brains when we see colour palettes that work together, which links to the principle of colour theory ‘Color theory is a term used to describe the collection of rules and guidelines regarding the use of color in art and design, as developed since their early days. Color theory informs the design of color schemes, aiming at aesthetic appeal and the effective communication of a design message on both the visual level and the psychological level.’ (Interaction Design Foundation, n.d) which I will be discussing further ahead, but Fig.6. Aizone 14-16 (n.d) as a principle, it creates psychological changes within our brains, which shows the In comparison, this piece uses importance and are analyzed in figures five complimentary colours as well that create a psychedelic impact; these colours are and six ahead. aesthetically pleasing because they complement each other. These examples proving the psychological impact colour has as a principle, and therefore it’s importance.
We create pieces of design that accommodate to these principles to visually communicate clearly and use the principles to synthesize design pieces to take out any material that does not need to be communicated. E.g. In figure four is the famous book cover for Jurassic Park by Chip Kidd ‘Chip Kidd is one of the most prolific book cover designers in American design history. Fig.4. Jurassic Park (1990)
question states that I am the principles are important. lot of sub-categories, such as psychology surrounding the
An example I found really interesting in research stated this ‘The first direction a designer may pursue in developing a color palette for a project is that of optical interaction. Creating a rich palette depends on combining colors that can be clearly distinguished from each other but that also share some unifying optical relationships. Because of the strong opposition of complements, palettes based on this relationship tend to be the most optically dynamic-that is, cells in the eye are stimulated more aggressively, and the brain is provoked into greater activity as a result.’ (Samara,2014:112)
Fig.5. Frooti Fizz (n.d) Jessica Walsh created these two pieces. She uses these two particular colours to create an optical illusion for a brand. These two colours, not only complimentary, but psychologically, create feelings such as ‘ORANGE. Positive: Physical comfort, food, warmth, security, sensuality, passion, abundance, fun.’ (Colour Affects, n.d) and ‘Purple Combines the stability of blue and the energy of red. Associated with royalty. It symbolizes power, nobility, luxury, and ambition.’ (Color Psychology, n.d) Combined creating a passionate, luxury drink advertisement.
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Compositional Subcategories To fully analyze and understand the main issue of this research project, I will have to analyze specific principles. Recognition patterns fall into two main categories, a ‘Z’ recognition pattern ‘A Z-Pattern design traces the route the human eye travels when they read — left to right, top to bottom: First, people scan from the top left to the top right, forming an imaginary horizontal line, Next, down and to the left side of the visible page, creating an imaginary diagonal line Last, back across to the right again, forming a second horizontal line. When viewers’ eyes move in this pattern, it forms an imaginary “Z” shape.’ (Mialki, 2018) and an ‘F’ recognition pattern ‘The F-Pattern is the way our eyes move when we read content online. In a matter of seconds, our eyes move at outstanding speeds across website’ copy and other visual elements, scanning the page in this order: First, across the top of the page to read important headlines, Then, down the left side of the page to view numerals or bullet points, Lastly, across the page again to read bolded text or sub headlines.’ (Mialki, 2018)
In figures Seven and Eight you can see the two patterns visually, and in figures Nine and Ten you can see examples of the patterns applied.
Fig. 9. Jewish Museum Identity (2014) These patterns have been applied to enhance the pieces visually and create an aesthetically pleasing layout for the viewers to scan with ease and in a pattern, so everything makes logical sense.
Fig.7. Z layout (n.d)
Creating ease of information being communicated is mainly what the principles are used for. Additionally, this is shown within grids. ‘During the early twentieth century, even before the Bauhaus (the birthplace of the Modern grid), grids were found on everyday printed matter, including invoices, ledgers and other materials used for tabulation. Yet once introduced as the panacea for graphic design clarity, rather than a simple organizational and compositional tool, the grid became a target of both love and hate. It was loved for bringing order to disorder and hated for purposefully locking designers into rigid confines.’ (Heller and Vienne,2012:146)
As designers, knowing these patterns as principles and applying them gives us an advantage when creating a piece because we know the piece will psychologically work for the audience because the brain will automatically know where to look when scanning the page for information. The importance of this speaks for itself because without these principles being applied, compositions would deteriorate as they would have no sense of order and our brains would find them ‘uncomfortable’ as compositions.
Fig.8. F layout (n.d)
Fig.10. The Woodies poster design (2016) 5
This quote shows how designers have discourse surrounding the grid as a principle, but it is also said that ‘To avoid using the grid as a template for conformity, aesthetic and conceptual choices must be made. To trigger excitement using the grid it is not enough to line things up: active design decisions are required.’ (Heller and Vienne,2012:146)
Figure eleven does not use a grid whilst figure twelve does. You can see the clear differences in how they are composed, but to analyze, they are two different types of design and they each have a narrative to fufill. This showing that the principle depends on context of the piece.
Three-column grid.
As said in this research ‘In simple terms, a grid is a structure for arranging text and images on a screen. The purpose of the grid is to establish a rhythm, or framework, for how elements should be organized. Almost all of the websites we visit use grids to ensure that text, images, white-space, and navigation buttons are all arranged and sized relative to each other. Grids provide a guideline when designers are wireframing their pages, and define a visual language that enables visitors to understand content and navigate a website. Developers who approach the grid as a guide, instead of an absolute rule, have the opportunity to do something different, and bring their client’s personality into the design.’ (Griffin, 2018)
This basically stating that the principle is only as good as the design it is used on. In figures eleven and twelve you can see a comparison of grids being used versus not and how it impacts a design overall.
In conclusion, this principle is important and always will be, but to a certain creative extent. With the growth of technology, the grid is getting easier to apply to pieces of work.
Fig. 11. New Balance 247 (2017)
Fig. 12. Stadttheater Zürich/The New York City Ballet (1962) 6
The technology impacts Correspondingly, technology has expanded and is set to increase exponentially in the next 20 years, this research stating that ‘By 2026, 30% of business audits to be performed by AI, by 2025, 5% of consumer products to be 3D printed, and by 2022, 3D-printed cars to be made’ (BabaMail, n.d) Technology is relevant to the design principles because, according to this research ‘AI is going to be mostly about optimization and speed. Designers working with AI can create designs faster and more cheaply due to the increased speed and efficiency it offers. The power of AI will lie in the speed in which it can analyze vast amounts of data and suggest design adjustments. A designer can then cherry-pick and approve adjustments based on that data. The most effective designs to test can be created expediently, and multiple prototype versions can be A/B tested with users. Designers are also faced with tedious day-to-day tasks such as product localization and creating the same graphics in multiple languages. Netflix is already using augmented intelligence systems to translate artwork personalization and localization of show banners into multiple languages. The system “reads” the master version, and the personalized and localized graphics are rapidly produced. All a designer has to do is check the graphics, approve or reject, and if necessary, manually adjust them—a massive time-saver.’ (Philips, 2018) Technology is being used to reproduce designs and actual designers are being used as art directors, Impacting the principles immensely as this results in the principles being merely an after-thought to the designer that art directs the AI’s designs. Figure 13 showing reasons businesses are opting for AI.
Another example is a software called ‘Maya’. ‘Maya is an animation and modeling program used to create three-dimensional (3-D) full-motion effects. Maya incorporates the natural laws of physics to control the behavior of virtual objects in computer animation.’ (Rouse, 2005)
Fig. 13. Business organizations’ reasons for adopting artificial intelligence (AI) worldwide, as of 2017 (2017)
Fig. 15. How to switch views in Autodesk Maya (2014) In Figure 15 it shows Maya is impacting the principles of perspective, as you can drop shapes into the Maya port and it will generate it using real perspective without having to press anything.
Design is being impacted by software we have.Within Figure 14 it shows Adobe Illustrator’s ‘smart guides’ tool. This tool enables an automatic response that tells you where aspects of the composition should be to be aligned.
This technology increase has positive and negative aspects to it in terms of principles.
This tool, simplifying alignment principle ‘ALIGNMENT – Allows us to create order and organization. Aligning elements allows them to create a visual connection with each other.’ (j6 design, 2015)
Fig. 14. Setting Smart Guides Preferences (2019)
Positives being ‘The layout functions of design programs have made it a breeze to pump out an entire publication. As I worked for a large publication as the computer age washed over us, I saw it not only cut production time in less than half the time, but the cost savings on production were over half of previous costs.’ (Schneider, 2014)
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This showing the increase in automation of design is cutting the time to complete a task in half, therefore saving time/money for designers but inevitably, designers in the future lacking knowledge of how principles were used in the process, decreasing the need to learn the principles because everything will be automated through the software without a designer having to think about it.
The negative aspects include, ‘While companies may benefit from tech-enabled increased productivity in the short term, the blurring of the line between work and life follows a law of diminishing returns. As recent Deloitte research suggests, the value derived from the always-on employee can be undermined by such negative factors as increased cognitive load and diminished employee performance and well-being.’ (Joyce and Fisher and Guszcza and Hogan, 2018)
This showing that designers will get less creatively driven because of the automation of design, because they will know 100 variations of an idea can be created by a computer in 5 seconds, this is already happening within the design industry from such websites as ‘WIX’ and ‘Fiverr’.
Both examples showing how the increase of technology and automation is starving the designer of even having to look at the principles, therefore decreasing principles importance in the near future because of the lack of designers actually designing. Linking back to the main issue, the future of principles importance is a grey area because of the automation of design. This however not taking away from the importance of applying principles to design to increase effectiveness psychologically for the audience.
Fig. 16. Wix website - choose how you want to create your website (2019)
Fig. 17. Wix Website - Pick your favorite homepage design (2019)
In figure 16 and 17 examples from WIX website is asking if you want WIX to ‘create the website for you’ pumping out template designs instantly. In figure 18, is ‘fiverr’. This generates a logo for you, with no use of a graphic designer.
Fig. 18. Fiverr- logo design (2019) 8
Personal Pieces versus the Question For this research project, I have created my own pieces of design based on the idea of seeing the impact a lack of principle knowledge and application can have. In Figure 19, you can see my design following the principles. It displays a balanced composition.
SEEING
All of these resulting in a compositionally complete design. The audience is able to connect with the piece, without discomfort. In ‘Design Elements’ it says, ‘Make sure all the elements “talk” to each other. Good design assumes the visual language of a piece-its internal logic- is resolved so that its parts all reinforce each other, not only in shape or weight or placement, but conceptually as well.’ (Samara, 2014:14)
SEEING
DESIGN
DESIGN
Fig. 19. Seeing Design (2018)
Fig. 20. Seeing Design 2 (2018)
‘Balance: Balance is the sense that the painting "feels right" and not heavier on one side. Having a symmetrical arrangement adds a sense of calm, whereas an asymmetrical arrangement creates a more dynamic feeling. A painting that is not balanced creates a sense of unease.’ (Boddy-Evans, 2018), a clear focal point, hierarchy of information and ‘Z’ recognition pattern among other principles.
In comparison, the piece in figure 20 does not work. Psychologically an audience would see this piece has conflicting focal points. ‘Great design requires great psychology, agrees Simon Norris, managing director at Nomensa, a design consultancy that combines psychological insight with design. “Psychology is the science of behaviour and the mind. When design and behaviour match, the design will be superior,” he explains.’ (Richardson Taylor, 2013)
The conflicting focal points that I purposefully put in figure 20 create unease for the audience’s eye, in comparison to figure 19 where the focal point is clear. ‘The dominant element is noticed first and sets the context for what’s seen next. It’s at the top of the hierarchy. It should emphasize your most important information, because it might be the only thing anyone will see. Whatever message you want people to take away should be clearly communicated in or near your dominant element.’ (Bradley, 2015) This shows the importance of applying principles because it could result in a piece not being psychologically pleasing to an audience, therefore resulting in a negative response to work, which results in the designer involved losing money and time. Figure 21 displays the piece not following the hierarchy principle, ‘Visual hierarchy helps describe the importance and sequence of elements in a particular composition. It can help lead your audience through an entire message. Good design can attract the viewer to the “whole” and lead them through it’s “parts” by creating different levels of priority and intuitive flow.’ (Weser, 2015) And figure 22 shows a clear disregard for colour theory, resulting in a domino effect on the piece, with the hierarchy being ruined, the legibility of the type, and the flow of the design. This research has really helped me to analyze pieces against my question and understand further that, without a basic application of principles, a design fails, psychologically, for an audience.
SEEING
DESIGN
Fig. 21. Seeing Design 3 (2018)
SEEING
DESIGN
Fig. 22. Seeing Design 4 (2018) 9
Additionally, I created this poster to analyze to see the resulting impact.
clearly shows that participants are able to recognize and recall an item far better (be it text or an image) when it blatantly sticks out from its surroundings.’ (Ciotti, 2014) This research relating to my colour palette. Pink among a dark background has more of an impact psychologically for an audience, so they remember the information.
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Fig. 23. All principles matter (2018)
Figure 23 shows clear compositional balance, ‘Z’ recognition pattern, Hierarchy of text, colour theory, grid, and other principles. In research it shows ‘The psychological principle known as the Isolation Effect states that an item that "stands out like a sore thumb" is more likely to be remembered. Research
The pieces I created in figures 24 and 25 comparatively, showing a lack of alignment within a grid in figure 24 and in 25 a clear lack of colour theory. You can see the difference it causes to your brain when viewing them. The lack of principles make the piece un-aesthetically pleasing, this is discussed in this research,
Line, Texture, Visual weight, Balance, Scale, Proximity and Movement. Using these element well will help us achieve good visual aesthetics.’ (Nikolov, 2017) A L L P R I N C I P L E S M AT T E R .
I chose this research method because being able to create pieces purposefully that did not follow the principles, then analyzing them against each other really helps to research further in depth and understand why the principles of design are important to make design look good at a base psychological level for an audience.
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Fig. 24. All principles matter 2 (2018)
‘There is a phenomenon that social psychologists call “the halo effect”. It means humans tend to assume that good-looking people have other positive qualities aside from their looks. The same is valid for product design. Good looking products and user interface are perceived as more valuable and having more qualities. “Beauty is in the eye of the beholder”. Aesthetics are in all our senses, not just the sight. Aesthetic design is a 4D experience. Product designers, who are doing actual physical products are aware of that.’ Visual aesthetics have these key elements: Color, Shape, Pattern,
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Fig. 25. All principles matter 3 (2018) 10
Distinguished Principles Hierarchy within design is defined as ‘Visual hierarchy is the order in which a user processes information on a page; its function in user interface (UI) design is to allow users to understand information easily. By assigning different visual characteristics to sections of information (e.g., larger fonts for headings), a designer can influence what users will perceive as being further up in the hierarchy.’ (Interaction design foundation, n.d)
Fig. 26. Vision (n.d)
Figure 26 displays an example of visual hierarchy using typography. The title of the poster is the largest to grab people’s attention. Then the name of an artist that people would be familiar with, followed by the date, time, and venue.
Famous graphic designers around the world apply visual hierarchy within their work, because of the impact it has. See figure 27 for famous graphic designer, Milton Glaser’s work with colour hierarchy.
‘When information design does not have a strong visual hierarchy, a user’s eye follows a predictable reading path. This path is culturally influenced, as it is connected to the standard reading direction of written text. In the Western world, two main left-to-right paths exist, which can be described as a Z and an F pattern. A designer has the opportunity to use visual hierarchy to reinforce these natural paths, or deliberately use visual characteristics to break such patterns so as to draw the viewer’s attention to a focal point. Thus, the successful manipulation of this hierarchy empowers designers to lead users, quite literally, along a cleverly devised visual journey to a goal.’ (Interaction design foundation, n.d) Visual hierarchy holds a lot of importance within the design industry, and lack of it’s use would result in things such as, ‘Having no visual hierarchy usually results in 2 kinds of audiences: 1. Confused: The viewer tries to take in all of the content at the same level of importance and leaves confused, without actually digesting much or any information. They bounce around all of the “parts” without ever getting the “whole.” 2. Moved On: The viewer sees everything at the same level of importance, so they don’t even try to guess at what you are trying to tell them. They pass up the “parts” because the “whole” doesn’t inform them where to start or how to get around.’ (Weser, 2015) Which indubitably shows how ignoring this principle leads to audiences being confused and uncomfortable, which would make a design fail in communicating, which is designs purpose.
Milton Glaser’s work is a perfect example of colour hierarchy being applied. The bright colours with information bursting into the foreground, whilst the dark illustration fades into the background. This creating effective visual hierarchy that communicates, which leads onto colour theory principle. Colour theory is defined as ‘Color theory is a term used to describe the collection of rules and guidelines regarding the use of color in art and design, as developed since their early days. Color theory informs the design of color schemes, aiming at aesthetic appeal and the effective communication of a design message on both the visual level and the psychological level.’ (Interaction design foundation, n.d)
Fig. 27. Mahalia Jackson (1967)
In ‘Design elements’ it states, ‘All the qualities of chromatic color have a pronounced effect on hierarchy because of the way they change the apparent spatial depth and prominence of the typographic elements to which colors are applied. If the different levels of importance in the hierarchy are clearly established, further distinguishing each level with a difference in color can force greater separation between them. For example, if the information at the top of a hierarchy is set in a vibrant orange-red, while the secondary information is set in a cool gray, the two levels of the hierarchy will be separated visually to a much greater degree.’ (Samara, 2014:183)
Colour theory’s importance is based off of psychology. In research it’s found that ‘In an appropriately titled study called Impact of Color in Marketing, researchers found that up to 90% of snap judgments made about products can be based on color alone.’ (Ciotti, 2014) Furthermore, colour creates psychological reactions such as ‘Psychology of Color: Green The color of growth, nature, and money. A calming color also that's very pleasing to the senses. Dark forest green is associated with terms like conservative, masculine and wealth. Hospitals use light green rooms because they are found to be calming to patients. It is also the color associated with envy, good luck, generosity and fertility. It is the traditional color of peace, harmony, comfortable nurturing, support and well-paced energy’ (Precision intermedia, 2017) The study of this creating better results for companies because they can chime into the audience's brain to work out what colours would create the reaction they want. Although colour theory is an important principle it is impacted by different cultures associations with colour around the world. 11
For example, ‘Psychology of Color: Brown This color is most associated with reliability, stability, and friendship. More are likely to select this as their favorite color. It's the color of the earth itself "terra firma" and what could represent stability better. It too is associated with things being natural or organic. Caution however, for in India it is the color of mourning.’ (Precision intermedia, 2017)
It is proven psychologically that different colours affect you emotionally because of how they are processed through the brain. A designer does not want to give off a subconscious negative association with their design because of the colour. Therefore, accepting the importance of colour theory and applying it.
Another example, ‘The Eastern cultures, however, have a lot of different meanings for the colour green. In China, if a man wears a green hat, it can mean that his wife cheated on him. Japan associates the green colour with eternity and vitality. In Islamic culture, green is actually the sacred colour, the colour of the prophet Muhammad. Quran also uses green to describe the paradise as a place full of green cushions and carpets of beauty.’ (blogroom, 2018) The importance of colour theory is associated with the psychology of it ‘With color comes a variety of psychological messages that can be used to influence content--- both imagery and the verbal meaning of typography. This emotional component of color is deeply connected to human experience at an instinctual and biological level. Colors of varying wavelengths have different effects on the autonomic nervous system---warmer colors such as red and yellows, have long wavelengths, and so more energy is needed to process them as they enter the eye and brain. The accompanying rise in energy level and metabolic rate translates as arousal. Conversely, the shorter wave-lengths of cooler colors---such as blue, green, and violet--require far less energy to process, resulting in the slowing of our metabolic rate and a soothing, calming effect.’ (Samara, 2014: 122)
There are potential factors that impact the principles and their effectiveness, colour being perceived by different cultures differently being one of them.
‘The colour of Sun – yellow. Most cultures have similar meanings for yellow. It is generally associated with optimism, good energy, cheerfulness. However, it also represents caution and possibility of danger. When it comes to differences between the cultures, Germany recognizes yellow as the colour of jealousy. That’s why they don’t necessarily like to give yellow flowers. In Ancient Egypt, yellow stood for the deity of the religion. However, moving to the eastern part of the world, we can see a lot of varied interpretations of the colour. Fig. 30. McDonalds logo (1961) In Japan, yellow is for the brave and courageous. It stands for people that are not afraid of anything. In Russia, people refer to the mental hospitals as “yellow houses”.’ (blogroom, 2018)
Fig. 31. McDonalds logo- yellow/green (2019)
Fig. 28. We are med (n.d)
The designer used colour theory in Figure 28 to create boldness and increase metabolic and heart rate. This creates an exciting feeling within audience, which helps sell the event. The background colours then fade into the peripheral vision of the audience to provide the information.
The impact of colour theory principle is shown in figure 30 and 31. The contrast of colours provoking very different emotions. Psychologically it is happiness versus sick.
Fig. 29. McDonalds logo (1961)
This research showing that the McDonalds logo would be perceived differently to different cultures based on their association with that colour.
‘Different shades, tints, and hues of green have different meanings. For example, dark green represents greed, ambition, and wealth, while yellow-green stands for sickness, jealousy, and cowardice, and olive green represents the traditional color of peace.’ (Bourn,2011) In the future, our relationship with colour theory could be completely changed based off of our development with associations, impacting the principle. 12
Future facing The future of design is an interesting thought. What will an average design process look like? Will principles be relevant? How will technology impact design?
So, in the next 10-15 years, technology has the potential to completely over-ride graphic designers, therefore abolishing the need for principles.
Technology and design as a whole have See figure 32, 33 and 34 for an example of this developed exponentially in the last 20 years. negative technological advancement So, what is the potential for the next 20 years? happening now. ‘The definition of the designer is becoming blurred. The accessibility of technology now means that anyone with a computer and the correct software can become a designer. This has both negative and positive effects: On one hand, poorly considered, non-disciplined design is now being allowed to flow through into the public consciousness. On the other hand, we are seeing new, forward thinking, unrestricted creative thinking from those who are not restrained by traditional formalities.’ (Howarth,2019) This skewing the future of design principles importance because of the ease of buying design software. The advance in technology creates ‘designers’ that do not hold any previous education in design and therefore all they have known is automated design, with no knowledge of the principles. The progress of technology is creating positive and negative results for the future of design principles.
This example is a website called ‘Logojoy’, that uses AI to create hundreds of logos for you in one click, no principles included. Although technology could potentially take away graphic design jobs, there’s always the positive outcome that it could enhance our capabilities. Miguel Lee, creative director predicts: ‘“Technology will play a bigger role than ever in the way that we communicate through design. We are living through a time where the paradigm shifts so often in the way we approach content creation that the overall effect is now the new norm.
Fig. 32. Logojoy Screenshot 1 (2019)
Fig. 33. Logojoy Screenshot 2 (2019)
Specialized and highly technical methods of executing work inevitably become simple buttons,” empowering designers to realize their vision and build richer and more meaningful experiences without technological hindrances. The battlefield for high-end execution will continue to evolve away from a heavy-lifting contest and into a chess game. This accessibility will also lead to a noisier design landscape, resulting in a higher premium on creating disruptive work to cut through that noise’ (Hastreiter,2016)
‘Back in 2013, a research paper outlined the probability of particular occupations being replaced by intelligent machines by 2033. “Graphic designer” is not on the list, but I’d suggest we sit somewhere between “machinist” and “actor.”’ (Peart, 2016)
Figure 35 and 36 providing a comparison on how far we have come with technology within design in the last 20 years. Fig. 34. Logojoy Screenshot 3 (2019)
Fig. 35. NIKE AIR MAX Running Shoes Poster (1990)
Fig. 36. NIKE – VAPORMAX (n.d)
Figure 35, Nike advertisement from 1990, versus Figure 36 advertisment from 2018. Figure 35 using simple typography and colour separations versus Figure 36 using 3D programs and automatic perspective tools. Although the positives of development of technology are clear in the examples, it still shows that most design in present day uses automated grids etc.,therefore, making principles become irrelevant because of this. 13
‘Most of the everyday design we encounter can be broken down into a simple set of principles that can be codified, and it seems highly probable that a machine can learn the rules of typography, the golden ratio and the rule of three. And it's no gamble to assume that cost-culling businesses will latch onto the money saving benefits of AI design.’ (Shaughnessy, 2018)
‘"Most of the content you see on the web today is run by some framework or service – WordPress, Blogger, Drupal, you name it. Frameworks provide you a foundation and shortcuts so you spend less time struggling with the creation of a website, and more time creating content. As a consequence of the ubiquity of these frameworks, a world of free and paid templates let you start with a professional-looking design in minutes. Why hire a web designer if you can achieve Although this research predicts an AI a fairly acceptable design for a fraction of takeover, there are positives in the future of the cost using a template?"’ our design jobs. ‘Executive creative director at (Shaughnessy, 2018) This resulting in no Sapient Nitro APAC Claire Waring agrees. “AI use of principles because of the automation is going to bring with it an explosion of creative of design and the lack of willingness to pay possibilities that shortcut the digital design for a designer by big firms. process. A designer’s role will evolve to that of directing, selecting, and fine tuning, rather I conducted questionnaires filled out by than making. The craft will be in having vision designers on their opinion on the and skill in selecting initial machine-made con- principles and automation, cepts and pushing them further, rather than making from scratch. Designers will become ‘What do you think the positives/negatives conductors, rather than musicians.”’ (Peart, are of automation in terms of the design 2016) principles/rules? Pro: ease of use, efficiency, new aspect to explore. Con: Perhaps an increase in This article stating that designers will become standard of work, traditional media may more like art directors, for the designs that AI fade out, the industry is bound to be will produce. Fine tuning designs whilst affected’ (Pietron, 2018) principles are still applied, but designers are observing them being applied rather than ‘a positive is that it makes it easier to make applying them ourselves. things exact, like a grid on Illustrator or automated text on Microsoft word, but a This positive discourse showing that negative is that when it comes to being preprinciples will still be relevant, but in a cise/accurate, you may be too reliant on different way. Although, negative outcomes automation to do this for you.’ (King, 2018) are still potential for the future of design principles, as shown in this quote, This research gathering conclusive evidence that designers are aware of the impact of automation and how principles will become less relevant because of it.
Our jobs as designers may be impacted because of the new standard of quick work with lots of variations because of how AI can do this, potentially leading to designers not being able to keep up and therefore resulting in the lack of principles being used in the future. Looking at the future of principle relevance is important because it will have a direct impact on my graphic design career, ‘But discuss it in relation to design and you will likely face a wall of resistance, with many designers holding onto the notion that creativity can only be done by a human, that machines can’t make the leap into the creative process, and that the creativity of humans is beyond being mechanized. But even in healthcare, another profession on the cusp of becoming more automated and with people’s lives at stake, it has been largely welcomed, with many seeing it as a way to increase efficiency and improve patient outcomes.’ (Bull, 2017) This showing that automation is likely to happen in design. All this research helps me to understand the future of principles relevance and how I can adapt my work process to this.
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Conclusion In conclusion, I have gathered summative
information that has helped towards multiple interpretations of what could be considered an ‘answer’ to my question. Additionally, principles as a whole have proved to be an important aspect of any design. They are the starting point to creating effective design that pleases an audience psychologically and visually. ‘Design principles are aimed at helping designers find ways to enhance usability, influence perception, increase appeal, teach users, and make sound design decisions during projects.’ (Boag, 2018) I have found this to be true, through critically and analytically evaluating pieces of practice an d information, current and future facing. (10-20 years in the future) Furthermore, principles in the future may or may not be relevant but, as designers, we will always adapt no matter the outcome. From research, personally, I think principles will still be relevant, but in a different sense. Technology will automate designs, and we, will act as art directors, this does not mean the AI will not apply the principles, as stated in previous research, principles can be coded. Resulting in principles still being used, but not necessarily by humans.
I have gained insights throughout this research project. To summarize: technology is already taking over graphic design jobs, therefore diminishing need for principles, but technology is also creating a new lease of life for designers, giving them the tools to create things never before seen. Refer back to Figure 36. Principles are also, more psychologically rooted than you think. Limitations of the study were that I could only make assumptions about what will happen in the future based off of research. This linking to my own future as a graphic designer, and how I will have to adapt to whatever outcome is true. Throughout this project I have used qualitative primary and secondary research methods. I have gathered Internet and book research, created my own pieces of work and questionnaires to analyze, and primary research posters. I chose these research methods because they best suited my analysis of my research question in depth.
Fig. 37. Principles of Design (n.d)
Overall, I have gained a lot of insight towards design principles and the future that they hold in design.
Word count: 3,220 15
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Fig. 23 Knutsen, H. (2018) All principles matter [poster] Available at: https://helenatknn.wordpress.com/2019/01/16/dissertation-images-by-me/ Accessed on: 16/01/2019 Fig. 24. Knutsen, H. (2018) All principles matter 2 [poster] Available at: https://helenatknn.wordpress.com/2019/01/16/dissertation-images-by-me/ Accessed on: 16/01/2019 Fig. 25 Knutsen, H. (2018) All principles matter 3 [poster] Available at: https://helenatknn.wordpress.com/2019/01/16/dissertation-images-by-me/ Accessed on: 16/01/2019
Fig. 19. Knutsen, H. (2018) Seeing Design [poster] Available at: https://helenatknn.wordpress.com/2019/01/16/dissertation-images-by-me/ Accessed on: 16/01/2019 Fig. 20. Knutsen, H. (2018) Seeing Design 2 [poster] Available at: https://helenatknn.wordpress.com/2019/01/16/dissertation-images-by-me/ Accessed on: 16/01/2019 Fig. 21. Knutsen, H. (2018) Seeing Design 3 [poster] Available at: https://helenatknn.wordpress.com/2019/01/16/dissertation-images-by-me/ Accessed on: 16/01/2019 Fig. 22 Knutsen, H. (2018) Seeing Design 4 [poster] Available at: https://helenatknn.wordpress.com/2019/01/16/dissertation-images-by-me/ Accessed on: 16/01/2019 17
Fig. 29. Kroc, R. (1961) Mcdonalds logo [logo] Available at: https://medium.com/@inkbotdesign/history-of-the-mcdonalds-logo-design-abb29ef78741 Accessed on: 18/01/2019 Fig. 30. Kroc, R. (1961) Mcdonalds logo [logo] Available at: https://medium.com/@inkbotdesign/history-of-the-mcdonalds-logo-design-abb29ef78741 Accessed on: 18/01/2019 Fig. 31. Kroc, R. (2019) Mcdonalds logo- yellow/green [logo] Available at: https://helenatknn.wordpress.com/2019/01/18/images-for-dissertation-baltic-triangle-posters/ Accessed on: 18/01/2019 Fig. 32. Logojoy Screenshot 1 (2019) Logojoy Screenshot 1 [screenshot] Available at: https://logojoy.com Accessed on: 19/01/2019 Fig. 33. Logojoy Screenshot 2 (2019) Logojoy Screenshot 2 [screenshot] Available at: https://logojoy.com/logo-maker/?company_name=kdfjds Accessed on: 19/01/2019 Fig. 34. Logojoy Screenshot 3 (2019) Logojoy Screenshot 3 [screenshot] Available at: https://logojoy.com/explore Accessed on: 19/01/2019
makART (n.d) THE ELEMENTS OF DESIGN AND PRINCIPLES OF DESIGN [online] Available at: http://www.makart.com/resources/artclass/EPlist.html Accessed on: 18/11/2018 Mialki, S. (2018) The Z-Pattern Layout: What It Is, Why It Works, and When to Use It [online] Available at: https://instapage.com/blog/z-pattern-layout Accessed on: 30/11/2018 Mialki, S. (2018) What is the F-Pattern and How to Use It for Increased Conversions [online] Available at: https://instapage.com/blog/f-pattern-layout Accessed on: 30/11/2018 Fig. 11. Moross, K. (2017) New Balance 247 [mural poster] Available at: https://www.katemoross.com/New-Balance-247-2017 Accessed on: 01/12/2018 Fig.10. Moross, K. (2016) The Woodies poster design [Poster] Available at: https://www.studiomoross.com/projects/woodies-poster/ Accessed on: 01/12/2018 Fig.3 Moss, O. (n.d) A Life Well Wasted 7 [poster] Available at: http://ollymoss.com/#/a-life-well-wasted-7/ Accessed on: 18th November 2018 Fig.2. Mueller, E (2018) Principles of form and design [infographic] Available at: http://teaching.ellenmueller.com/figure-drawing/resources/elements-principles-of-design/ Accessed on: 18th November 2018 Fig. 12. MĂźller-Brockmann, J. (1962) Stadttheater ZĂźrich/The New York City Ballet [poster] Available at: http://www.artnet.com/artists/josef-m%C3%BCller-brockmann/stadttheater-z%C3%BCrichthe-new-york-city-ballet-P3VmUTUaIpSgw0yePPvXzw2 Accessed on: 01/12/2018 Nikolov, A. (2017) Design principle: Aesthetics [online] Available at: https://uxdesign.cc/design-principle-aesthetics-af926f8f86fe Accessed on: 16/01/2019 Fig. 35. NIKE AIR MAX Running Shoes Poster (1990) NIKE AIR MAX Running Shoes Poster [poster] Available at: https://www.ebay.com/itm/Vintage-NIKE-AIR-MAX-Running-Shoes-Poster-Print-Ad-1990s-RARE-/283338319435 Accessed on: 19/01/2019
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Pietron, B. (2018) Dissertation Questionnaire. Interviewed by: Helena Knutsen. 11/2018. Precision intermedia (2017) Psychology of Color [online] Available at: http://precisionintermedia.com/color Accessed on: 18/01/2019 Fig. 37. Principles of Design (n.d) Principles of Design [poster] Available at: https://www.flottmanco.com/4-basic-design-principles-every-business-owner-should-know/ Accessed on: 20/01/2019
Richardson Taylor, A. (2013) The psychology of design explained [online] Available at: https://www.digitalartsonline.co.uk/features/graphic-design/psychology-of-design-explained/ Accessed on: 16/01/2019 Rouse, M. (2005) Maya [online] Available at: https://whatis.techtarget.com/definition/Maya Accessed on: 15/01/2019 Samara, T. (2014) Design Elements A Graphic style manual United States of America: Rockport Publishers Schneider, S. (2014) WAS MILTON GLASER RIGHT ABOUT COMPUTERS DESTROYING DESIGN? [online] Available at: https://www.webdesignerdepot.com/2014/01/was-milton-glaser-right-about-computers-destroying-design/ Accessed on: 15/01/2019 Fig. 14. Setting Smart Guides Preferences (2019) Setting Smart Guides Preferences [screenshot] Available at: https://helpx.adobe.com/uk/illustrator/using/rulers-grids-guides-crop-marks.html Accessed on: 15/01/2019 Shaughnessy, A. (2018) Will designers be replaced by robots? [online] Available at: https://www.creativebloq.com/features/will-designers-be-replaced-by-robots Accessed on: 19/01/2019
Fig.1. Thinking with type (2010) Thinking with type [book] Available at: https://www.waterstones.com/book/thinking-with-type/ellen-lupton/9781568989693 Accessed on: 18th November 2018 Fig. 36. Thorp, A. (n.d) NIKE – VAPORMAX [image] Available at: http://altcinc.com/work/nike-vapormax/ Accessed on: 19/01/2019 Fig. 26. Vision (n.d) Vision [poster] Available at: https://helenatknn.wordpress.com/2019/01/18/images-for-dissertation-baltic-triangle-posters/ Accessed on: 18/01/2019
Fig. 6. Walsh, J. (n.d) Aizone 14-16 [advertising print] Available at: https://sagmeisterwalsh.com/work/advertising/aizone-14-16/ Accessed on: 26th November 2018 Fig. 5. Walsh, J. (n.d) Frooti Fizz [advertisement poster] Available at: https://sagmeisterwalsh.com/work/advertising/frooti-fizz/ Accessed on: 26th November 2018 Fig. 9. Walsh, J. (2014) Jewish Museum Identity [Branding website] Available at: https://sagmeisterwalsh.com/work/all/jewish-museum-identity/ Accessed on: 01/12/2018 Fig. 28. We are med (n.d) We are med [poster] Available at: https://helenatknn.wordpress.com/2019/01/18/images-for-dissertation-baltic-triangle-posters/ Accessed on: 18/01/2019 Weser, J. (2015) Why is Visual Hierarchy Important in Design? [online] Available at: https://www.moonlightcreative.com/why-is-visual-hierarchy-important-in-design/ Accessed on: 18/01/2019
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Fig. 16. Wix website - choose how you want to create your website (2019) Wix website - choose how you want to create your website [screenshot from website] Available at: https://www.wix.com/website/builder/?referral=split%20page&vertical=design#!/builder/story/0eb1d24e-4ac3-4b1a-83d1-d464ecb22536:f39c24b1-8d4c-4df9-8113-f16a7cc824b6 Accessed on: 15/01/2019
Fig. 17. Wix Website - Pick your favorite homepage design (2019) Wix Website - Pick your favorite homepage design [screenshot from website] Available at: https://www.wix.com/website/builder/?referral=split%20page&vertical=design#!/builder/story/0eb1d24e-4ac3-4b1a-83d1-d464ecb22536:f39c24b1-8d4c-4df9-8113-f16a7cc824b6 Accessed on: 15/01/2019
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