s g n i h t 0 1 t u o b a n w o i g n k e s o t D d e c e i n h u o p y r a G
There is no design without discipline - M a s s i m o
V i g n e l l i
There is no discipline without intelligence
Pantone
Colour matching system
Pantone 68-16 U
Pantone is an accurate system of every colour that has been made. The purpose of this is so designers, manufacturers etc. can refer to it and be assured that they get the right colour when work is printed - even if the colour may not look right on the screen. Each Pantone colour system uses a unique coding scheme. This key helps you to find which system a particular pantone number of name is assosiated with. The letter suffix within the codes referes to the paper stock on which it is printed -C for Coated or Gloss, U for Uncoated and M for Matt.
Pantone Black 7 CP
Look Here The level of attention a specific element can demand from a user is often refered to as ‘Visual wieght’. Hevier stokes, bright colours, and more exaggerated fonts all carry hiegher levels of visual wieght.
F i n a ll y
h er e . . .
T h e n
Visual Hierchy is the arrangement of elements in a gradu al series in o r d e r o f i m p o r tan c e .
Visu a l Hi era c h y
Ch aracteristics such as size, wieght,
Typographical emphasis
style, colour and
comes into play when
lo cation help the
designing a higher
audience read
priority to one element
through emphasis.
over another. This emphasis is giving
h e r e
type a treatment that contrasts with that of type around it, in order to call more attention to it.
Ma y b e
over
h ere?
V i s u a l Metaphor
Synecdoche
A visual metaphor is used to transfer certain meaning from one image to another. Although the images may have no close relationship, a metaphor conveys an impression about something relatively unfamiliar by drawing a comparison between it and something familiar.
The term visual
A visual metonymy is a
synecdoche is applied
symbolic image that is
when a part is used to represent the whole, or visa versa. In more simple terms, the main subject is substituted
Metonymy used to make reference to something with more of a literal meaning. By way of assosiation
for something that is
the viewer makes a
inherently connected to it
connection between the
in some way.
image and the content.
Metaphor
Synecdoche
Metonymy
L I T E R A C Y
S i g n - t h e s m a ll est u n i t of m e an i n g ( an y t h i n g t h a t can b e u s e d to co m m u n i ca te . ) S i g n i f i e r - t h e fo r m t h e s i g n takes . S i g n i f i e d - t h e co n c e p t t h e t h e s i g n i f i e r r e f e r s to . S y mb o l - s i g n s w h e r e t h e r e l a t i o n s h i p b e t we e n t h e s i g n i f i e r an d t h e s i g n i f i e d i s p u r e l y co nve n t i o n a l an d c u l t u ra ll y s p e c i f i c .
semiotics
S e m i o t i cs , o r S e m i o l o g y , i s t h e st u d y of s i g n s , s y mb o ls an d s i g n i f i ca t i o n . I t s i s t h e s t u d y of h ow m e an i n g i s c r e a te d .
scitoimes
As co nsumers of v isu a l art, we h ave b e come h i g h l y so p h isti cated re aders of si g ns an d symb o ls. We de co de me an i n g from im a g es wi th sub co nsi o us e ase. - Dav i d Crow
a n a t o m y o f t y p e Within Typography and design, it is very important to be able to understand and know the components that make up all the typographical characters.
Bar
Ascender line
Baseline Descender line
Bowl
Shoulder
Body
Ascender
Typography Terminal
Serif
Counter
Loop
Descender
Stem
X-hieght
e v i t a g e n ace p s
The use of negative sp ace is important as it can define the content that exisits in the positve sp ace - it is a major structural player within layout design. To summarise it, negative sp ace is the white sp acing between elements; whether it is between the actu al sections of the p age, or right down to the sp ace between the lettters.
Negative space works best when there is a balance between that and the positve, Focusing on the negative can give you a more accurate, aesthetically pleasing design, with balanced composition, drawing the viewers eye to the subject.
C M Y
Subtractive colour Printing on sto ck creates colours by mixing inks which absorb light C y an , M a g e n ta , Y e l l o w , an d K e y ( B l a c k ) When you mix all 4 colours together and you get black. The more ink applied, the less light is reflected, d arkening the colour. Therefore CMYK is a subtractive model.
R Additive colour mixing light using the 3 primary colours -
G
Computer moniters produce an image by Red, Green and Blue. If you mix all 3 colours together you will get white, therefore RGB is an ad d itive model.
B
u s i n g
g r i d s
The use of Grids as an ordering system is the expression of a certain mental attitude in as much as it shows that the designer concieves his work in terms that are constrcutive and orientated to the future. - Josef Muller Brockman
Column Gutter Flowline
Margin
Grids are in important mean of p ositioning and containing the elements of a design in order to facilitate and ease decision making. They help to result in a more considered ap proach to the layout of a design. They allow greater accuracy in the placement of elements, in terms of ph ysical measurements or proportional sp ace.
Margin
the colour wheel
These colours are formed by mixing the primary and second ary colours, hence the two word names.
Blue green and Yellow green
purple, Blue purple , Blue purple,
- Yellow orange, Red orange, Red
T e r t i a ry C o l o u r s
The second ary colours are formed by the mixing of primary colours.
- Green Orange Purple
Secondary Colours
In traditional colour theory, primary colours are the 3 pigment colours th at cannot be mixed or formed by any combination of other colours. All other colours are derived from these 3 hues.
- Red Yellow Blue
P r i m a ry C o l o u r s
legibility Le gibili ty is co n cern ed wi th h ow e asy i t is to d istin gu ish ind i vidu al ch ara cters. Th e simp ler a typ e desi gn is, th e m o re le gib le i t is. Wh ile i t is ge n erall y better to use a l e g i b l e t y p e fa c e , t h e r e a r e t i m e s w h e n d i s t i n c t i v n e s s m a y b e m o r e i m p o r ta n t t h a n l e g i b i l i t y .
Legibility is concerned with how easy it is to distinguish individual characters. The simpler a type design is, the more legible it is. While it is generally better to use a legible typeface, there are times when distinctivness may be more important than legibility.
Readability refers to the ease with which a reader
Re ad abili ty refers to th e e ase wi th wh i ch a re ader can scan over t ex t - i n o t h e r w o r d s h o w e a s y i t i s t o r e a d . W h i l e l e g i b i l i t y i s
can scan over text - in other words how easy it is to
b a s i c a l l y d e p e n d a n t o n t y p e fa c e d e s i g n , r e a d a b i l i t y i s d e p e n d a n t o n th e m an i p ul ati o n o r h and lin g of th e typ e. A h i gh l y le gib le typ e can
read. While legibility is basically dependant on typeface
be m ade un re ad ab le b y p o o r typ o grap h u c desi gn. Fa cto rs wh i ch will a f f e c t r e a d a b i l i t y i n c l u d e l i n e l e n g h t , p o i n t s i z e , l e a d i n g , t y p e fa c e
design, readability is dependant on the manipulation
se le cti o n, sp a cin g, typ e ali gnme nt and b a ckgro und.
or handling of the type. A highly legible type can be
readability made unreadable by poor typographuc design. Factors
which wil affect readability include line lenght, point size,
leading, typeface selection, spacing, type alignment and