Elements of GD_Polk

Grid:

Grids function similarly in the design of printed matter. Guidelines help the designer align elements in relation to each other. Consistent margins and columns create an underlying structure that unifies the pages of a document and makes the layout process more efficient. In addition to organizing the active content of the page (text and images), the grid lends structure to the white spaces, which cease to be merely blank and passive voids but participate in the rhythm of the overall system.

This chapter looks at the grid as a means of generating form, arranging images, and organizing information. The grid can work quietly in the background, or it can assert itself as an active element. The grid becomes visible as objects come into alignment with it. Some designers use grids in a strict, absolute way, while others see them as a starting point in an evolving process.

Pattern:

Nearly any pattern arises from dots, stripes, and grids. Any isolated form is considered a dot, a stripe is a linear path. Dots and stripes interact to form grids, as a grid takes shape, it subverts the identity of the separate elements in favor of a larger texture. 

In every instance patterns follow some repetitive principle. 

Point, Line, Plane:

Point:

A point takes form as a dot, a visible mark. A point can be an insignificant fleck of matter or a concentrated locus of power. 

Line:

A line is an infinite series of points. 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. 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. 

Plane:

A plane is a flat surface extending in height and width. A plane is the path of a moving line. A line closes to become a shape, a bounded plane. Shapes are planes with edges. 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. 

Rhythm & Balance:

Balance: 

In design, balance acts as a catalyst for form – it anchors and activates elements in space. Visual balance occurs when the weight of one or more things is distributed evenly or proportionately in space.  

Symmetrical design, which has the same elements on at least two sides along a common axis. Symmetry is not the only way to achieve balance, asymmetrical designs are generally more active than symmetrical ones, and designers achieve balance by placing contrasting elements in counterpoint to each other. Yielding compositions that allow the eye to wander while achieving an overall stability.  

 

Rhythm: 

Rhythm is a strong, regular, repeated pattern. Balance and rhythm work together to create works of design that pulse with life, achieving both stability and surprise. Graphic designers employ similar structures visually. The repetition of elements creates rhythm, in animation designers must orchestrate both audio and visual rhythms simultaneously.  

Hierarchy:

Hierarchy is the order of importance in a body of text, such as the sections and subsections of a book. 

Hierarchy is conveyed visually through variations in scale, value, color, spacing, placement, and other signals. Visual hierarchy controls the delivery and impact of a message, without it graphic communication would be dull and hard to navigate. 

A designer’s approach to visual hierarchy reflects his or her personal style, methodology, and training as well as the zeitgeist of the period. 

In interaction design, menus, texts, and images can be given visual order through placement and consistent styling.