Elements of GD_Edson
A grid is a network of lines. The lines in a grid typically run horizontally and vertically in evenly spaced increments, but grids can be angled, irregular, or even circular as well.
A well-made grid encourages the designer to vary the scale and placement of elements without relying wholly on arbitrary or whimsical judgments. The grid offers a rationale and a starting point for each composition, converting a blank area into a structured field.
Grids Organize Content The nine-square grid divides the page into spaces for images and text. Although each layout has its own rhythm and scale, the pages are unified by the grid’s underlying structure. The book you are reading is built around a similar ninesquare grid.
Phillips, Jennifer Cole, and Jennifer Cole Phillips. Graphic Design: The New Basics : Revised Second Edition, Princeton Architectural Press, 2014. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/gasouthern/detail.action?docID=4518455.
Created from gasouthern on 2022-01-13 18:18:57.
Chapter 2: Pattern
The creative evolution of ornament spans all of human history. Shared ways to generate pattern are found in cultures around the world.
Styles and motifs of patternmaking evolve within and among cultures, and they move in and out of fashion. They travel from place to place and time to time, carried along like viruses by the forces of commerce and the restless desire for variety.
Nearly any pattern arises from three basic forms: isolated elements, linear elements, and the criss-crossing or interaction of the two. 1 Various terms have been used to name these elementary conditions, but we will call them dots, stripes, and grids.
Created from gasouthern on 2022-01-20 17:53:42.
Chapter 3: Point, Line, Plane
Point, line, and plane are the build ing blocks of design. From these elements, designers create images, icons, textures, patterns, diagrams, animations, and typographic systems. Indeed, every complex design shown in this book results at some level from the interaction of points, lines, and planes.
Point A point marks a position in space. In pure geometric terms, a point is a pair of x, y coordinates. It has no mass at all. Graphically, however, a point takes form as a dot, a visible mark.
In typography, the point is a period— the definitive end of a line. Each character in a field of text is a singular element, and thus a kind of point, a finite element in a series.
A line is an infinite series of points. Understood geometrically, a line has length, but no breadth. A line is the connection between two points, or it is the path of a moving point.
Graphically, lines exist in many weights; the thickness and texture as well as the path of the mark determine its visual presence. Lines are drawn with a pen, pencil, brush, mouse, or digital code. They can be straight or curved, continuous or broken. When a line reaches a certain thickness, it becomes a plane. Lines multiply to describe volumes, planes, and textures.
A plane is a flat surface extending in height and width. A plane is the path of a moving line; it is a line with breadth. A line closes to become a shape, a bounded plane. Shapes are planes with edges. In vector-based software, every shape consists of line and fill. A plane can be parallel to the picture surface, or it can skew and recede into space. Ceilings, walls, floors, and windows are physical planes. A plane can be solid or perforated, opaque or smooth.
Phillips, Jennifer Cole, and Jennifer Cole Phillips. Graphic Design: The New Basics : Revised Second Edition, Princeton Architectural Press, 2014. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/gasouthern/detail.action?docID=4518455.
Created from gasouthern on 2022-02-22 16:58:53.
Chapter 4: Rhythm and Balance
Balance is a fundamental human condition: we require physical balance to stand upright and walk; we seek balance among the many facets of our personal and professional lives; the world struggles for balance of power. Indeed, balance is a prized commodity in our culture, and it is no surprise that our implicit, intuitive relationship with it has equipped us to sense balance— or imbalance— in the things we see, hear, smell, taste, and touch.
A symmetrical design, which has the same elements on at least two sides along a common axis, is inherently stable. Yet balance need not be static. A tightrope walker achieves balance while traversing a precarious line in space, continually shifting her weight while staying in constant motion. Designers employ contrasting size, texture, value, color, and shape to offset or emphasize the weight of an object and achieve the acrobat’s dynamic sense of balance.
Phillips, Jennifer Cole, and Jennifer Cole Phillips. Graphic Design: The New Basics : Revised Second Edition, Princeton Architectural Press, 2014. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/gasouthern/detail.action?docID=4518455.
Created from gasouthern on 2022-02-22 17:02:55.
Chapter 5 Hierarchy
Hierarchy is the order of importance within a social group (such as the regiments of an army) or in a body of text (such as the sections and subsections of a book). Hierarchical order exists in nearly everything we know, including the family unit, the workplace, politics, and religion. Rankings of power and position define who we are as a culture.
Hierarchy is expressed through naming systems: general, colonel, corporal, private, and so on. Hierarchy is also conveyed visually, through variations in scale, value, color, spacing, placement, and other signals. Expressing order is a central task of the graphic designer. Visual hierarchy controls the delivery and impact of a message. Without hierarchy, graphic communication is dull and difficult to navigate.
Phillips, Jennifer Cole, and Jennifer Cole Phillips. Graphic Design: The New Basics : Revised Second Edition, Princeton Architectural Press, 2014. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/gasouthern/detail.action?docID=4518455.
Created from gasouthern on 2022-03-22 16:28:33.
Chapter 6 Modularity
Every design problem is completed within a set of constraints or limitations. These limits can be as broad as “design a logo,” as generic as “print on standard letter paper,” or as narrow as “arrange six circles in a square space.” Working within the constraints of a problem is part of the fun and challenge of design.
Modularity is a special kind of constraint. A module is a fixed element used within a larger system or structure. For example, a pixel is a module that builds a digital image. A pixel is so small, we rarely stop to notice it, but when designers create pixel-based typefaces, they use a grid of pixels to invent letterforms that are consistent from one to the next while giving each one a distinctive shape.
Created from gasouthern on 2022-04-07 16:00:36.
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