Magazine
Composition
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Bleed is the industr color or image that g edge of the paper. happens is that the p graphic extends 1/8� the edge of the page image or color is th part of the bindery o cess. For specific inf how to create bleeds ics program please s tion Tips secti
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ry term for any goes right to the What actually picture or other ” (.125”) beyond e and that excess hen cut off as a or finishing proformation about s in your graphsee the Applicaion below.
Text or images that are not meant to be trimmed off he edge of your final printd piece must be 1/8”-1/4” 125”-.25”) from the edge of our layout (also known as Safety).
Colour There are few things in design that are more subjective—or more important— than the use of color. A color that can evoke one reaction in one person may evoke the opposite reaction in another, due to culture, prior association, or even just personal preference. Color theory is a science and art unto itself, which some build entire careers on, as color consultants or sometimes brand consultants. Knowing the effects color has on a majority of people is an incredibly valuable expertise that designers can master and offer to their clients.
Energy Energy art is any form of art that takes the reality of there being other dimensions than just those we can see, hear, feel and touch, smell and taste into consideration. The purpose of a work of energy art is to create something - a painting, a sculpture, a piece of music, a dance, a poem, a system, a new tool, a program, a theory etc. etc. etc.- which has not just a physical reality but also an energetic reality, and that actually does something at the energy levels. Energy art is any form of art that takes the reality of there being other dimensions than just those we can see, hear, feel and touch, smell and taste into consideration. The purpose of a work of energy art is to create something - a painting, a sculpture, a piece of music, a dance, a poem, a system,. new tool, a program, a theory etc. etc. etc.which has not just a physical reality but also
Symmetrical (Formal)
Bal
To understand balance, think of the balance beam. Symmetrical balance is mirror image balance. If you draw a line down the center of the page, all the objects on one side of the screen are mirrored on the other side (they may not be identical objects, but they are similar in terms of numbers of objects, colors and other elements. Sometimes they are completely identical (often seen in architecture). Look at this drawing of the Cathedral of Saint-Pierre in Angouleme, France. You can draw a line down the middle of the front face, and everything on either side would be mirror image.
lance
Asymmetrical (Informal)
Asymmetrical balance occurs when several smaller items on one side are balanced by a large item on the other side, or smaller items are placed further away from the center of the screen than larger items. One darker item may need to be balanced by several lighter items. Although asymmetrical balance may appear more casual and less planned, it is usually harder to to use because the artist must plan the layout very carefully to ensure that it is still balanced. An unbalanced page or screen creates a feeling of tension, as if the page or screen might tip, or things might slide off the side, just as the unbalanced balance beam would tip to one side
Sc le a
Scale refers to the size of an object (a whole) in relationship to another object (another whole). In art the size relationship between an object and the human body is significant. In experiencing the scale of an artwork we tend to compare its size to the size of our own bodies. An artwork has a physical size; when referring to an artwork’s size, we use the term scale. Scale is more than simply the object’s
size, however. It is the size of the art object in relation to another object. The relative size of the artwork is always compared to the size of the human body--life-sized, miniature, enormous--are all terms that use the human body as a size reference. When scale is used in a design, it can greatly influence the meaning of the work. Determining classic scale when working with visual design can be achieved using the Golden Section, or the Divine Proportion. This is a visual representation of a number called Phi (pronouced fi). Phi is a number produced by bisecting a line at a particular point. Phi is 1.618033988749895, or by the numerical sequence called the Fibonacci sequence. Phi helps determine classic scale. Phi is evident everywhere in the universe - in nature, space, physics, mathematics, art, and design.
DOMIN
NANCE Dominance is the treatment of one element over another. This principle catches your audience’s brain by surprise and causes them to process the information in a more detailed way than just viewing two of the same elements. Usually the dominant area of the design will be the area in which the most important information is, or the focal point that your eye is first drawn to. This is why on magazines the cover is dominated by a large photo designed to catch your eye, with smaller text containing the information overlayed in small font once you’ve been reeled in. While you can talk about emphasizing one thing or another, the element of emphasis has more to do with an object, color or style dominating another for a heightened sense of contrast.
Symm There are three types of symmetry: reflection (bilateral), rotational (radial), and translational symmetry. Each can be used in design to create strong points of interest and visual stability.
metry Reflection Symmetry Reflection symmetry is also known as bilateral symmetry. It is the “mirror� effect, or when one object is reflected across a plane to create another instance of itself.
By: Sydney Merritt