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    Bob Gordon, Maggie Gordon - The Complete Guide To Digital Graphic Design-Thames & Hudson LTD (2005) PDF

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    Raluca Mihalache

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    © All Rights Reserved
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    ai COMPLETE GUIDE TO the graphic designer's key to the new media Consultant Editors Bob Gordon and Maggie Gordon THE COMPLETE GUIDE 70 DIGITAL GRAPHIC DESIGN ‘Consultant Eaitors: Bob Gorton and Maggie Gorcion Completely revised and undated developments inthe field, The Camplete Guicle to Digital Graphic Design s an inspiring review ofthe evolving processes andnevs technologies in the fast- changing world of graphic design, and is essential reading for anyone studying or practising inthis broadest of industries. Starting with a showcase of Some of the|beGt/prectitioners inthe fields of print, exhibition design, advertising signage, rackacing, multimedia and the Web, this profusely llustrated ] ( authoritative Handbook also provides in-depth ‘ondesign basics sich as tyoe, colour andimages j Tho succinct ct comprehensive coverage of the multitude oftechnica issues conttonting today’s graphic designers, coupled with stunning examples of graphics tom around the world, makesthe book — ideal both fF these studying Graphic design and for those erpployed in graphica who feel the need to hone their and theoretical skis. flect new With 520 colour ilusirations THE COMPLETE GUIDE TO>> ‘Any copy ofthis book issued by tbe publisher a6 peperbacce sold abject othe condition thai ohall net byway ottadocr atherwise be lent, real, hired out oF herve ceeustd without the pablo pine consent inany frm ofbining r cover ther than hatin which is publehod and witout a szdar condition incucing ‘hase words baing imposed on asubsequeet purchaser. Fist pubs in th United Kingda in 2002 by ‘Twat & Hupgow Loo IIA High Hetborn lendon WIV 7K -worvcthameeandudson.com (©The os Pree Limited 2002 ar 2005 Revised exon 2005 Right Reoeved Noppartof tis pabieaion may be reproduced or tans in any form ot by any ana, ‘lcroie or mechanical eluding photocopy recording tor my ther nformiion storage an eva yea ‘etic prior pesmson wring from the aber This book was concave, aig, and prosucod by ‘i ee Press Lee 23 StAnckews lace nome Ete Suse ENT 1UP [LEXisan imprint Te lox Pras tt [AxtDiocor: Alastair Campbel Designer: Jonatan Raimes. Design Manager: Tony Seddon Project Etor: Lachlan Maine Revised Eaton Bator Adam Banks Potreraoarch: Heather Vickers, (Conroe: jonathan Ramos ln Chiver, hard Gooch, Kah Martin Sue Prk, Jonathan Sith, Paul Springer, Pa Taylor Bri Library Calon in Publcaion Data ‘Acatniogie reorder his beck avalabie om {he eis ibrar ‘siw0-500-2660.8 Printed and bound in Cian ar mone norman on tie vist ‘wrewiweb-Hnked.com eg :NTRoDuCTION ‘ SHOWCASE. rin a PACKAGING i SIGNAGE e exHiBrTIoN ey wreRNer 2 MULTIMEDIA DESIGN BASICS oo. "THE VALUE OF DESIGN BASICS PRIMARY SHAPES POINT LINE, ANC AREA Dynamics, EuPtAsts, AND CONTRAST “THE MECHANICS oFTvee DESIGNING WITH TYE. THE DESION PROCESS Layout ocunent SIGNPOSTING Mase seLecrion worm coLouR ‘SURFACE DESIGN oa. DESIGN FOR PRINT ‘THE SOFTWARE SCREEN TO PROOF PROOFING ‘THE PRINTING PROCESS FinIshine, CHOOSING PAPER case wisToRY 2.02 DESIGN FoR ADVERTISING SPECIALIST PEOPLE besten CONSIDERATIONS. ‘CORPORATE (ENTITY I ADVERTISING BRANDING PLANNING CASE HISTORY 02.03 DESIGN FOR PACKAGING KEY KNOWLEDGE Deston CONSIDERATIONS PLANNING AND CASE HISTORY 02.08 DESIGN FOR SIGNAGE. GRAPHIC DESIGN Deston CONSIDERATIONS. PLANNING ‘wD PRODUCTION CASE HISTORY 02.05 DESIGN FoR EXHIBITION EXHIBITION DESIGN EXHIBITION GRAPHICS esicn CONSIDERATIONS PLANNING AND PRODUCTION CASE HISTORY uz ry CONTENTS [ox [a2 02] [03 |[04] DESIGN FORSCREEN 3.01 DESIGN FORTHE INTERNET THE INTERNET eRowseRs ‘THE CHALLENGE FOR MONITOR ResoLUTiON resizes cououR ano "TyPOGRAPHY ‘orrturzine Wes, GraParcs, wr wrsiwye interacriviry JAVA AND JAVASCRIPT DEVELOPING AWE: DESIGN STRATEGY ‘vo pRODUETION CASE MIsTORY 03.02 DESIGN FOR MULTIMEDIA smuurimenta ano WEB DESIGN THE DESIGN PROCESS AUTHORING ‘APPLICATIONS PLANNING AND prooueTion CeASE MIsTORY 03.05 DESIGN FOR GAMES 136 ry TYPE /COLOUR IMAGE. 180 oan NPE. wa oz ‘cotour 18 RANGE OF ACHIEVABLE COLOUR “THE ATTRIBUTES OF coLour ey 0403 TMAGECREATION 196 UNDERSTANDING DIGITAL MAGE WAKING 0 SCANNING AND RESOLUTION an FILE Fonmars FoR BITMAPPEDIMAGES 207 workin wir BITMAPIMAcES IN PAINTING PROGRAMS. 20 DraWNG (VECTOR) rocRANS uossary a4 siouiocrapay = nig INDEX ne icruRE ACKNOWLEDGMENTS. 228 INTRODUCTION INTRODUCTION ‘igi ‘ghaphle abd design’ have become the vary potent wordsia our ‘ooabulaty/Theve ean be fo people living inthe developed world wees He bas net neen touched or iluencea by infomation an desicm technology Personal Computers and the nbicutousslicon chip have found their way inte the homes and vcelplaoss ofmalions of paople irmepective of background, age, or cute (One ofthe mest cormman words Eandied abut as an all encompassing) escriptoris dujtal Thisis almost inevitable since computers depend on steam of electionioally generated ‘cts to function So we have digital telephone lines, digtal printing digital rico and digital elerision among ‘he many areas conaeced vith information, communication, anddosicn, \Viwallyalidata whether tis the form cf words numbers images, cour or movement can be diaized and tansinited using arange of technologies Disitizstion has ereatoda common method cfrecorcing axel wansmating {ata alloning a high level of nteracivty across many forms ofmedia ‘Thue maractty allows 2ound image text andether creative elements 12 wworktouelhierin asingle context andhas radically changed designe ‘working methods by providing aocessto the vast storehouse ofknomledae ‘onthe Iniernet and corrorate inaneis and enabling them te senciand receive a ange of media elecionically va email fom the ow computers. Digital data transmission speeds are constiained by the size offles the nrediiim through which data flows, and the speed at which computer [progessors can handle the information Bit every day sees an improvement iallofilicae areas —fles canbe compressedmore efficient broadband {nlere! connections and high-speed vineless networking are being used more and more, and processor speeds are getting faster and faster. Together with inoreasosin tansiniseion speeds, there isa growing convergence of ‘media whichis Bringing abouta mercing ofpersonal computing, television, radia telephone, publishing games vel ema, and evommerce, Computer enslTVmonitors are geting ager wih erystal clear Mat screen technologies replacing ORT while mobile phones and other portable devioes gai ull Colour displays hie takes usinto an eraviherethe quality ofvieualccntent ‘vilplay anincressinaly important rolein the way ve communicate oa widar Tange fansiences. The qualtyof visually eceived informations the Tegionsbiliy ofthe digital graphic designer. 5 fat 8 nestion ‘Design finds its way into every aapect of dalylite.Fromthelockcfciothes, dings, andoonsumer goods toreacing matter, fentersinment inferior andexterior lenionments almost every form ofmodem: ‘commisnication ad producion graphic lesion playsan smportant part isalmost impossibieo avoid being bombarded by visual messages ‘Much of whats published iprintoron screens a tendency tobe visually {issatcant orjubled partly because ofthe speed with hich tcan newlbe Genorated and etivered in thiosntormation-andimeasage- orientated world itis nereasingly important forthe qraphie desionorte strive for oréer and Clty Urlersandingthew auciences reaction vsualmaterial theirlevelacfeoncentraion andcoraprehension and hiew tey cathe influenced by cultural or fashion tendisis beso the problem salvingprocess Equally ‘inportantis understanding how eye andorain pork: togelierin scanning and processing ‘worms pietaes. and the suber visual cuss ‘fform| colons anc composition. Stice prehistory humans have usedtsions and slapes to communicate information fan iceas aboutthe real world as wellasto ‘express what they saw intheir imagination. ye the aarhestamibes could pernapshe peel asthe fist Graphic desiapers'— arranging extinaloaical and oficent way —it ‘asthe vention ofprinting, with is potential formmass production, that formed the bedrock foramphieciesi as arecognizahletrade ‘The development ofmevable type inthe smud-15ih Conny widaly atsiautedta Johann Gutenberg 2adially changed the (design ofletershapes Whereas the handivastingoftie scribe hag evolved siowy enegenty over conturies,vitasrmuch ‘emphasis placed on composition and. enibolishment as onletio: formsytype ‘Gesign now became a relatively fast moving ‘Gomnmessialpronass Teter shapes Were ‘sandarcized and it vas necessary 0 devies Ciflerent varisnestohelp convey meaning (Graphiodesign contimied io valve asa ss much fo mathematics, engineering, ard psycliology as io the ine atts (Changesin ae fashion and taste, dramatic advancesiareprographictechnoleeses, and the changing demands of commerceand Iestyle exerted massive inluence| along wilh the creative contribntione of inmumerablo artists typooraphers, designers and stylists Yetche ‘overwhelming impressien givon By tne more fafluenilal giphisclesighers of recent tims! fl caloatedtetuctange to draw on history Following WerliWarl members ofthe ‘Thereare however several aspects of graphic desiom that remain elatwely unatiacted by technology These inside Generstingand developing ideas and concerts design and ‘typographic prinsgles and creative probiers solving — al satnbouteethat distinguish graphic design rom oter profaesions Happily digital technologies ave provided many fist class tools fox exploring extending and realising ideas in faster mare THaible ane more cost-effective ways, Printing has ractionally comnitated tne way m whieh stapme designers work: felds such as packaging, exhibition design, endadvertising are lage defined by the differantprinsing processes asfocislediwith them Burfhe printing methods hat Digital devslopments have given designers arange of frst class tools for exploring, extending. and Jealizingiceas in faster, mote flexible, and more costeetfective ways. [Bauhas Sehool sawhistory asdeae convention, and/preferredio redefine orrejee:tho [Parameters vahin which thelr predecessors Thad worked. Alavant-garde thullang- amar component ofgeaphie design ~ sdriven by the eedie escapefiamthepastin olerio explore the possibilities ofthefatre ‘The emphasis fihis bookis on dal crack design, affeldorexted by the devetopment not ofthe computer itselfbut ofthe graphical user interface! (GU) -the means hy which users can shietac wih Gaphiesymbols onsereen. The ‘Apple Macinieshin particular, by adoptinga (GUin place ottext-baed operation, allewed ‘he innovation ofa graphical screencisplay tobe ‘exploited far tha creation of graphical content, ape ius dita crap tesign Was born. ‘Sinep the lalineh afte Mac 1984 the distal evelitionhas overtaken traditional graphic esigarwotking pinations with cinmondinary speed. Many ssectalstttades andcraftshave production has shifted to he computerized tdesop, and designers themselves ae recited tomasier an ever expanding new sklse, anging from fie operon of different cofware ‘paclages to te digial epresentatin ofeolour andthe processes imolvedin reproducing digital contentin print and on soreon ‘doainated the major par ofthe twentieth century have coon sg revotitions Dung the 1960s cise lithography fockove: fom he labour intensive leterpt6ss prining anciwiun a ‘decade became the moat common form ofseprodiction This major change was followed closely by computerized typesctirg, ‘hich was finally absorbed intopersonal computer aystoms ‘Taday aPDF (portable document formal) Sle containing all the ‘formation necessary te eulpu a printed document - whether single Plack-and-white page 198 color magezine —canbe ‘tanamatted direct tethepmnter’s factory floor, whet ‘computerized equipment eter makes plates ready for offset Iho printing or outputs the job dizecllyto paper usingacital press Colouralipration can be performed automaticaly ‘hroUgoat te proces from obtaining linages from cameras enclecamereto cutputingthamon presi Inpractice designer ‘wil and should sll aiscusd a éomplexjob wi the printer sho wil oversee some ofthe finer technical sttrigs. The fact emalns that nis oW an everyday event ior paces, posters signs andeven three dimensional objects to beprocliced wit: ‘vimllyno separation between thedesignor and the final resut Digital eohnology is by non so welleosablishedthar many yours ‘designers may question whether the word digital’ need even be sed. But graphic design finds itselfin a sate of permanent sevelution Web design for instance; iaa dsciplina loss yan ‘decade old yet iis basic methods have already changed beyarc! recognition asnew generations ofsoftwarohave been developad ‘and nevr standards, hott: technical and practioal, adopted Whe Jmnows whatmedia we may be dlesignins for andwith what tooS, inanctnor decade? As tha saying qoos Iiwe.cansee into he fate, then-werenotlocking far enough heed THE ROLE OF THE DIGITAL GRAPHIC DESIGNER Paradoxically arena that hasseen many icustes and professions having o specialize inorder to survive, the distal aanhic designer hasbeen required to diversify The most significant growth is inthe explosion ofthe Interiet arclmaltimestiaindustry Many graphic designers are fily engaqedin webpage desiqn involving ypoqtaphymagery,animnaton, moviea,andeven coud The computerization of graphic design work wit the evelopment ‘ofnumerous disparate, yet oten overlapping; {olivate programs has greally enlarged the rofessional graphic design will continue to thrive, eative eye cannot be packaged! Tangectivork inwhich ‘graphie'designers ‘can he involved, In addition ta the rich creativ elements of many programs there are snurgeyous buittin preduetivty an Tabor saving lectures, Many previously specialist areas of graphic design now share siilar sefvare programs forimage and text cricination ‘Thedlgial power readily avalable tothe ‘designer isimmense Every aspectofa project oan he ereated and finiahedtoaigh professionallevel ona sinule Apple Maciniosh ‘FPO workstation, Not only has the originaion process been macle easier, battha waysin ‘which he finished result canbe previews by both designer and chent has transformeditne Way ciBativ Heople work Afloable colour proofers she how printed materials willleck, tecimolosios suchas PDP Mescllow instant tuangmission and dist ution, walk through sofwarepreviews threo. dimensional creations; [packaging software folds ancimnakes up packs from flat designs; and slide shows and movies 10 parton. itetcton ‘bring presentanone lle. Many atthe chores assooisiod ‘ah repetitive design or editing laskshave been reduced considerably by automated eattues oultinto most applications search andeplace spelichecking, graphic and ‘typographic style sheets’ and content management systems, toname justa few you canttfind a feature that automates a repaitive task you can probably cresteit yourseiby recorcing ‘sequence of commands asa macro, script or ‘action’. As oraphi¢ designers.can work across so many fields they need tobe familiar wih awide range of different production and ‘lanufacturing procasses and related support prefessions and sills This may include Photographers, Wustators musicians, writers and 5im makers as wellas ectmical specialism web design databese programming and other fields. Digitization feound nage animation, movies snd prociction processes thas enabled professionals o collaborate aid workacross an increasingly wide specttum, ‘The emergence of he personal computer and desktop [Publshingprograms tagethar yith these nde avaabiityto ideas and innovation, good composition, and non designers could have signalled tie hegnningofthe nd forthe practising graphic designer, Photography, as a ‘profession, could alsa have died out ae high-qualily automatic Decaine accessible andl easy touse for anybody and ‘everybody. However like professional photography, ;professional graphic design will confine o thrive because ‘leas and innovation experience the instinct for composition, anda creative eye cannct be ‘packaged! as anoft-ihe-shell product for dientslacking the relevant Salls and talent (Graphic desianis anammensely exciting end visrant activity spwhich olbeinvolvedi and, ac euch is arewercing profession follow Butstrequires vision, stamina and.geed hurnour Combined with cralivity,imoration, ardanaivicaland ‘methodical ways ofwor¥dng Designers needa wor¥ang mnowledgeofbudgels manufacturing, andseproduction processea Successh graphic designers aimto devise mentive ‘Solitons to isa commnication problems intesponseto lenis needs and inorder fo dosooken norkclosely with conten formulating a bute and woking strategy prior to startingany visual work: A good understanding of human mate ‘andthe culnmalenironment, as wellastheibiliy'o lend or be ‘team player astequired ogether witha keen eyefor deta dlstinguish the truly excelleni designer fom the average THE COMPLETE GUIDE TO DIGITAL GRAPHIC DESIGN Teall tts books fo botn spire ana infowntthe reader ny exploring awiae ange olvisual communication and graphié design contexts while mlroducng ‘essential relates design methodology ancl concopison whicito build It explores the diversity of graphic design and showcases the work ofinventive and talented designers using digital mecia forthe development realization and production ofpnjects, ‘The Complote Guide to Digital Graphic Desionclemonstates diferent facets ol ‘gia graphic design anciseeks tc demyesiy some ofthe technicaljargon that {a olen associcied wits computing and the design word ‘The inroductory pagesstiow examplesct work: fom a wide ange of visu ommuticationconiexts seting the soans for furthers: depth exploration vihin individual sections Part One, Designflasies, explotes same of he fardamental principles that ‘underpin good and efficient graphic design his sections in essence, avay from the soreen ae involves thinking and creative provesses related to idea {generation andinformed design decision-making ltincludes an appreciation of the fbuiltineylocks! easental’o good graplhio design shape and form, svatal Aawateness whet type is and how to work wiht The emotive usecfcolour and hoy colour canwarkfor the digital designer is aleo looked at, asa powar‘ultoo] rather than ust decoration Part Two consis of sb sections that explore defined aroas of surface graphic (design, These inchide\ Design for Print Packaging, Sionage, Advertsing and Exiubition and Display Design, Part Three loks al ves asic forthe iternct inkanets and ltimscta This partie ‘pareulary seh or nooo ho may fos somiewhatswampecny tbe terminology in ‘bis ase Isha Seariyhow designers eomta weer an acany natty of splay by ctierantweb browsersand computor platforms amaexpiainsine _sghifiance ofrew stavlacs ef good prachoe for aocessinity tocisabled uses ‘leasmgpracttnens rom cach eldsake min Gepthlcol atthe acca areas “Where equipment or sftsiue, acim tothe core lst introduc these sections, ipconsidered important thieishighlighted Specialist procceses, which include four colour offset agraphicprining are ciscussed,ogether wilstnerelsted creste anv suppor pmfessionals as appropriate Bt he ond of each section, acase history ie explored.andthe Key cestve and producson stages volved in arriving atte fal design are explained) art Four ikea focused lookatthie ‘echnicaliniieacies of Colour Type, ata TmageMaking ‘Theuseofcolour s discussed heDesian ‘Basics section hutitis essential for he practising graphic designer to udesstand ‘how colour is ereatediand wy for instance, fliferent setsofprimary colours are used fx discus nis suave (ROB) oa ‘those usedim printing (CMYE), As mixing, controling, and adjusting colour plays such ‘animportantxele im graphic design the altibutes and fermuoleay ofcoleuranc ‘how ilworks ate looked at closely Digtaltype teo,tiasa language ofits own the Design Basics sacion cevers working, ‘wih type tom an aesthetic anafunctional ‘point ofview but on technicellevel the ‘gniphic designerhasicappicciaiehow ts ishandied by the computer What arebitmas and outine fons for example? How can font bedelivered along witsclocuments wether forprining or viewing? Tyeotaces apa font files managing fons, font ibraries, buying, fonts, and font copyright are also explained (Computer programs have made retouching rmontaging, and technical aud fine artmage making readily aocessibietothedesiqner ‘and arti, The essential way in whieh bitmap programs work comparedto the very. ‘ferent vector based programs ismade clear, Tha creation of specialeects the use unling proglamss or drawing programs ‘andhovrthey interact with each other is @lsoussedl and explained DESIGN FOR PRINT wha ako eae fin Cond 8 DESIGN FOR ADVERTISING DESIGN FOR PACKAGING ovr: Wrapping a exible and imately simplest orm a trample designed Summa fora ceding olden detiatessen ema, meats vegetable fh, andreas products 16 porto. mteucton ‘exition aston design by J Ritistwas ity esigestone carvegar handbag, Desired by ze, UK ‘Roh When packing comes feremony of Zeman Interactive arts centreinSan Franca, nvtesreceived a vetet drawstring bag fentaning a brick of modeling clay slagarty wrappdinthe ‘ovation Hee DESIGN FOR SIGNAGE. etmests igh: Thezeslgnage lone for Chole of materits srelteratesintsret rte, ing oby é the teongcalaursusedforthe {Georges Pompidea Centrein Paris Desi ove Signe are at bys ipl designe as uch Tis (andar and works muchas DESIGN FOR EXHIBITION DESIGN FOR THE INTERNET re Ghreats ove: abla ok Brtihdesgnes Rnardeacon Designers AdamandNick Hayee Bile to showcase their osgnee website not sectanotering tents nd eter 22 0. itotaton a nse si = oe oe Gum aoc 00 DESIGN FOR MULTIMEDIA AND GAMES Abowd Multined co produce ettective ei Thesescreens reasampletrom Dimedatexpling the we! technkcalimeaing equipment lo Itertteh rested thie Peplatins The broader proact. omprised eo, traveling Top: Nod Fe Speed Underground 2 DESIGN BASICS THE VALUE OF DESIGN BASICS PRIMARY SHAPES Thef dimensional r shapes~s There is very “The square like the cube, isa wholly stati form with no ia i braducethesame tect. Line essentially indicates direction andso Loto with ompetiont bath leadsthe eye. Tewillabo encouragethe eet MebanéCD-ROM designers of consnsebeyndislenth.Itmaybeciher Sethe clon inet japon cm eet ‘of depth (linear perspective) (agras6 7). oe Sreceernmicue Lines my alebewe osu fom, oe delnat cok oi ener and fctaavial martes igrans 891012) Rag at roo ‘Areas defined surface or plane, andl opertionsdisionotspace itactsasa visual container, drawing atention _fenbeanettectvewayof visually Z feoraiatingraialyeiterant twits contentor edges. GraphiedesignersareSReatienentemunineante ‘concerned with area sameans of defining design oncept. suchas an format and proportion and asa way of pacing exibitan er apay. Ey wai aes I. Historieand contemperary tesindowntonn Manhatten are linkedin series of walking ours, tach colour-coded ane physic producing tim commer yetowbitespacegiesthe design a rare that arms the the viewing within a design at ny veal. Itis easy tobe distracted by disparate clemenis on thesurice without realizing thavaren is also powerful clementin itsown ight—“empe adesign and ean he used to drees the eye from one place to another. This energy'is, known as dynamie white space Choice ef format (rectangular of otherwise) maye dictated by ether ob content or production practic ities or both Thereare some time-tested formats that have proved tobe particularly suited oa ‘wide range of wes. Print, for example, makes frequent use ofthe international standard seties of Aand It papersizes, which are based ove: Simple nes, rately pace, spnbotze saxophonist ance, ant-urpet-plajr Tale faynamic postoning ledesigned 0 onarecanglelevingsidesintheratioof__Samepetienigisdesnnedo 11414, the later remarkable: SR eee the square root F2. Repeated folding parallel Pee este to the shart side allows paperinrhis wig i umber being proportion tobe halve into further reetangles~alln the same I:1414 proportion giving the designer flexible ran of proportionally related sizes with which to work ‘Although creen-design formats generally follow the ‘maximum allowable vertical and horizontal dimensions there is no reason why this must be rigidly adhered to, qual division ofan area conveys tai feel, whereas contrasting division communicates greater dynamism, The golden section has been used for centuries asa formula for ‘creating harmony, In this formula, te relationship of the reat the larger area is equal tothe relationship of Peet eae er DYNAMICS, EMPHASIS, AND CONTRAST Visual emp! nformation by ¢ wer, ordering comp h creating visual hasis are thro. Headline Le Tpesiaisgneraly sats os expacios que se aman, que se besan, pour una puerta que no se sabe si separa o une, Aqui todo tien¢ la suficente claridad y la deliciosa oscuridad de la armonis No nos sabemos dentro hasta {que tunos pasos mis alls de la primera puerta, nos encontramos fuera del smallgrint Dropeagsthelarge sreusestoindcatethestartafa edificio; manea ssbemos qué es demasiado, Todo recuerdo de este viaje seri el instante en que abandonamos esa sensacién de recogimiento, ‘memoria irrecuperable de un espacio inmenso, inmensamente fuga Ips ASta) ne sesunyenw ont Simonsen stomach, Aveve-The contrasting pesize Fight Uisbooksprenetegtierwith ihe placomeatotanelomentwithinan fiagonlinarddecionctthe _areowilpresice a faes opperance Image. bring thereaderdrecty _lagram 2:Placingan element cueltirsatalargescle tightly wllencourage the eto travel keringtemandreducingth scale upwards boven. ofthesurertomtcntheleters, _agram 3: Placement thet axcentatstheametonandérama, anéathirot the way down il Design 2 Barney Pears “ra ne je denna x2 pro den ais nasis is a means o ating a visual hier size, weigh pecifically directing ts. Four ‘and highlighting ar, and disposition (placement) The skilled use of emphasisis essential to communicating with clarity and pace, and works to focus and progressively direct the viewer through or around a design. Emphasis, like all other design basis, should alwaysbe considered in relation tothe design as awhole. Many examples of size, weight, colour, and disposition used as emphasis canbe seen visual paces in newspapers and magazines whe broken down into small parcels of information. These areidentifed (or emphasized) in many diferent ways, for example, bya heading (size), bold introductory text (Weight) a coloured rule or tonal chan setting (colour), placement or discrete arrangement of elements (disposition). Size reates emphasis through contrasin proportions of format, type, image, relationship of, elements, dimension (length and height), and volume (ares and depth). Reducing an element 0 a small size ona lage format canbe just as powerful a enlarging itto fill he area, ifnot moreso, Weight suggests visual substance and mass, which ca range from heavy or bold tolight. Itisofen used in conjunction with size but works successflly when used across uniformly sized elements. Contrast in weighe alone between individual words or lines can he effective in large amounts of text. Changes of weight herween elements or blocks of continuous display Bel: The Trocadero complex Landon makes use the nee energy ectement an power within isexcudedinfvour of brantclour png. Where ton shineres sere independent contrtied Upntcources, rotating bila, avieo gta entertainer cestiration. Letcthe signage system éeetoped ‘alours ane shape drety design ofthe hosp bling ottsown andthe sins have tbe vorydtnctvointhemeabes yet ‘ely Lik ith. Ths i eke dptha strong celeursndgirky ‘urinated internat arias weights othe same pete variants canbe ectvaty used teaver with tone andtestreyparaphie celourltote ‘text will setup different spatial planes and ean influence the viewing and reading order. Degrees of density and openness in textand the tonal value ofimages can be used to increase oF decrease levels of emphasis The use of colour not only highlights, but also adds depth to every aspect of emphasis through association, temperature, and emotion. Appropriate colour choice can be based on any one oF a combination of these areas. Random choice or personal preference i the use of colour can wrongly ‘emphasize of detract from the content or message. Interaction and/or contrast between individual colours together with the level of saturation (intensity) and brightness (cone) will signifcanely modify the degree and volume of emphasis (ee Designing with Colous). Typographic colou created by weight change from one body of text to another can also be used asa ‘means of subtle emphasis or contr. Disposition ike colour interfaces with every aspect ‘ofemphasis Its so integral to wsual comnsuneation that ite potential is often undervalued. Disposition is inextricably linked to area and is concerned with the strategic placement of elements. Itean subtly or dynamically daw attention to ‘or example, the sal folio sitting on its own atthe bottom ar top ofa page does no clement within the overall design area shout but is instantly found by the reader through its unique positioning. Similarly an indent (¢he placement or disposition ses a ONE ST E-P CONTACT LENS SOLUTION PEROXIDE SYSTEM n plthe sz, angle, and ih he es ot sat laht 2.DiagonaLarangement eed “ofthe frse word in sequences of paragraphs) quietly ereates pace for the reader. Its surprising how successfally judicious use of disposition ean work without recourse ro other methods ‘of emphasis, However, poorly considered placement of Contrast used to ereate and sustsin visual intrest, in the same way that rone and intonation add interest to speech, Without contrast, graphic communication would become dull and flat, with lie to attract attention or sustain interest. Contras ras on visual opposites or dissimilarity to emphasize differentiate, set up competition, attract and change the reading pace. Ieean be both quantitative and qualicative, obvious or sube Is use should always be considered in direet relation tothe concept and the design asa whole. Asthoreis lite limit to the areas in which contrast may be usd, itcan be helpful to looknitilly for potential within the main emphasis 2, colour, weight, and disposition Everyday visual opposites (loud and quiet, warm and ool, balance and motion) can also be «source of in for graphic contrast. To he effective, contrast needs to be appropriate to the conceptand be closely linked to emphasis, (Overuse may resule ins lack of focusin the desig, with clements fighting forthe viewer’ attention and the eye bei pulled in different directions. THE MECHANICS OF TYPE The designer needs to understand how type is constructed and assembled as wellas having an aesthetic appreciation oft. Letters of the alphabet are made up of complex combinations ofstraight lines and curves that give them their individual character. “Abyl cesertr cnt decanter ihe themselves and tothe typeface, for example the ear of lowereate g or the til of uppercase (Q. However, although leterforms are recognized by these specific characteristics, the overall shape of the characters and the counter-shapes (enclosed areas) also contribute tothe character ofa typeface Although there is considerable ividuality All letters have commen, notional points of reference in their cltneverston neapande-heht—Glysiel make-up, reganlessofthe ypetsce design, se, or TICS Sa between fourtyetces ofthe ye, These notional points ae the bascline (the line on which Sincragserieechisher shores E-Palating mam the ascender ln dhe extent of the vera upstoks of Palatino mam DRE ieee aeed | | nen enn pasar en an : SN SD cedtent pn: ‘A Bodoni Santis capaeaniaeeares gh pena teeing cies ain GS Garamond om Times Palatino, Bodoni Garamond. ‘within the different characters ofa typeface, Si SsCeuset pelsmeie monk me Niece Sandestin IherAguindtien monies ta que no 4 abe a siemens abaaes tees Chtiel 75 Senay descro b ‘ypefces are designed to forma cohesive whole and give a global eolourand texture when typeset. Appreciating the physical make-up of type helps the designer to idem points to look for and so facilitates typelace choice for different purposes ra Although the size of type is described feaaustuers ddr, cao hen ecu BY Acommon system (usually in points), you sempsdenain, aged to be aware that different typefaces a, say; 10 pt, may look quite different in size Gee ‘ie ele man me Zorn te ‘Mamie siacnde Semi oe sme examples shove). This happens beeawse of ge chain be ean the relative proportion of the characters. ae ee elves, for instance, has large x-heigoe Speen ea and comparatively shoreascenders and rs descenders, whereas some Garamond’ have PoINTs ano reas. ah Theamall ur, he pins 38134 mm, about V7Zofaninch Thataror unt hepa sade pet 12 points Alpe size Imeaeured over theovera one Pica EM athe ype are speiiedn points. 12pts Larger distances eecily inaeeredinpeae though many Sita dcgers re preter a relatively small «height and longer ascenders and T2pts descenders. These ferences in proportion reli diferent ‘ypographic colour when text ise ~the bigger the height, the more open te rextare and colour, making seni look tliferentsample settings. Forthesume reason the fortypey millimetres foraeaor page sine, Selo Dat rc despers ‘number of characters that will ft on a given line length varies and inches for scanning resolutions (dp). ind themselves working wit terren typefies atthe same size. Even if this makes ite “The em (without the pics) a Sedeeetonens diference to all amounts of op, ican make measurement nodonaly based on thewith Tar rgeesetuaat consierable difference o many pages of ext of capital M. Therefore thevalu ofthe ert lenetn and temisthesame asthe point size being sed, nestor mage reno THE POINT SYSTEM Units of digital leer spacing and character Fret atwarecan Dig proc allows dsgnersto workonseresnins constuction at based on diviingthe em tftesytten alll range of interchangeable messirement stems tothsirown ofthe given type size (eit peor fees ee Choice, However, when dealing with ype, most people nd 24 nto hundreiths or thowsandths~ enone mest prarare jemoreprctica to work witha common system that allows infinitely more subtle than in earlier times. tathytauitateserenson everyone to gra and quickly appreciate the values being ‘heigepciditbons ante talked about. The point system used for measuring type ‘unique to the printing indstry has, surprisingly remained |i atone the same sinee the days of metal type Inthe days of phototypeseting, an attempt as made to use millimetres as «basic unit for pe measurement, but it was never taken up, ‘Type size 2s shown in the diagram, is determined by the size ofthe type body (which, in the past, was apiece of ‘movable metal) rather than by the actual lewer. Nowadays, the body can be considered a the distance between the top of| the highest partof the lererform Casually an ascender) to the boveomn of de lewest (4 descend), plus uutoual amount of clearance, which varies from typeface to typeface. “The tymagrapher’ point is approsimately 0.3 mm or 1772 inch, Sucha very small units necessary when deseribing very small sizes 2 type. However, attempting to express large measurement in points is eambers 12 pt the pica en, isused. In many programs, iis possible to select pica ems or pica asa unit of measurement, for ngs ocements Kerning: 20. oem ne, soa larger unio cxaimple, horizental measurement for setting column widths In practice, digial graphic designers will probably find Cama) a9 themselves working in several measurement systems ~ points DESIGNING WITH TYPE When working with type, the graphic designer automatically draws upon the influence of centuries of development. Typeface design evolved slowly as printing technology developed, but, given the flexibility of digital technology, recent typeface design has had few constraints, Radically different and newletterforms, often challenging typographic convention, have emerged alongside the redrawing and digitization of many classic typeface families originally designed for older typesetting methods, Rather tha eng limited ew fonts ied numberof size, the digital designer wil pally have aces to hued oF ‘ypeices that can be instantly sald to an ize required Each on, moreover isinereasngly likly t contain extra characters beyond ‘heb aphanumenie se nclading symbols igs (ter combinations), actions, accents, and even foci aiphabers ‘Many specs filo one the following broud gros: serif sanssei lpi, decorative and dipley, eie,blaelete, anv contemporary. More recent, innovative gal rypetce designs, howerer fallow thir own ules nd do nt feat into these romps. The terms sed are derive fom basic characters such ssiwhether or not the eters have sf, the shape of any serif the contrast between thea hin strokes, andthe angle of ses oF asiso the eters. These characteris combine give a ypefice ‘tsuniqe haracter, ypogrphic olor andshythen. They should be catflly considered when ou chose a ypfice Tying oat Aiferent tet settings lay afin asvesing the ypogrphic ‘clour and rythm in pariuar conte oe page 38), Although leteforms are necessarily restricted in shape and alos lways monochromatic it woud be blinkered to aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa 8 pr sin sie Zest ancry ABCDEF GHIIKLMNOPQRSTUVWKIZ abedefghijkimnopgrstuvwaye YagRaunées ABCDEFGHIJKLMNOPGRSTUVWXYZ abcdetghijkimnopgrstuvwxyz rank ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkimnopgrstuvwxyz Sapam ABCOEFGHIJKLMNOPORSTUVWXYZ abcdefghijkimnopgqrstuvwxuz ABCDEFGHIJKLMNAOPQRSTUVHXYZ UN BCORRG HET EAN D.AGR STEMI Y 27S lt: Adobe's Maitile Masterton ‘ormat made itpoaibleogenerte Lnesevarlatons inwight, report, and sty the sme basictpetece. though he has enabled he development of someremariable-endunigly djfost ypetaces Design by Abe, USA ove: Recent inmratieypetace thsige ered predoce gai tow har nutes and storottteasy inthe stanearé ‘ypeoraphiat tray groups. thin trates, unbracketed lor minal brackete £Geomstrc Sas Sarit normally simple geomet shape. ton ina single stareylawercase's 1. la Fae: marke asinine’ mete sue ange rom ‘Diktothininshointerstroks, bracketedaerti that re ngled 2. ranstonal ax thatisghty inciedtothelailean alse be—_eninscrgins etertrms with ertcal bracketed seis thatare two-storey owercase's ad's {naedon the ascaners {Stab Ser moetine a with sbruptcontrastbetweenthickand —srkas. Unbractea es cei, a as me UL) consider type asa limited graphic medium, because it can ‘equally well beused in its own right as ‘image’. Ina context ‘where pictorial images ae inappropriate or do not exist, ‘heading, single wor, oF letterform can be inventive used as graphic focal point to ereateineerest, evoke mood, o set the scene for the res of the design scheme. Visual onomatopoeia, in ‘which typeis made to suggest the meaning of the word visually and ‘tall’ o the viewer, also an engaging way of getting the message actos. DECIDING ON A TYPEFACE Typefaces are the voiees of words and determine the visual tone of the text. The success of typographic communication depends as much on the choice of typeface as on the use of space and lout, Deciding on one typeface over another isa matter of visual judgement, fitness for purpose, and style, A close look at the basic characteristics of diferent ypefices ‘within the broad groups will help to make the choice more manageable, Atypeface can be specifically chosen to reflect, for contrast with the content and mood ofthe text in relation to fee! ofthe overall desig, but care should be taken to Abqoe Abqoe Abqoe Abqoe Abqoe Abqoe Signsatthe Melbourne Exton Centra werka ata pewertl espe lament. Although eroppedand paced std angles, the type stl fetans step Tis dynamic ‘ypoarepic signage integrals ‘Me buling, edngtoeunique censure that this docs notconllce with the message or overpower the look: ofthe tex. emtiiying the purpose and context of the rising, signage, packaging, print, ‘Web, or multimedia, the audience and the text -adv location in which i willbe read willinforn the choice of size, weight, and syle of type “Types used for informing, encerainirg, providing reference, instructing, directing, or ‘otherwise involving the reader in some way Bach ofthese contests wll require a different level of concentration and reading pace, and both of these factors ate relevant tothe choice ‘of typeface. For example, road signage has be instantly recognizable: using a decorative face for a directional road sign might dangerously distract the driver’ attention from the road while he or she deciphers the information, Reading may be sustained (8 for book), intermittent (s for a magazine, on ‘website, package, or exhibition panel) oF focused (as for a ser of instructions oF reference soures). Text may need tobe read under compulsion as fora warning), or as an option (as for disclaimer). The choice of Sze, weight, and style ofthe typeface sethe type iuelf, should be linked to the reading pace. For example, it would be inappropriate to set instructional texein small, closely spaced, bold type: the difficulty in reading and understanding woul be reflected inthe reader attitude tothe tas Ieis generally fle cha ef rather chan sans serif, typefices are easier on the eye and less tiring to read over lengthy continuous text. Magazines commonly break the rule, but complete novels are noc often set in sans serif. Discussion ofthe relative merits of serifand son tauee x neste ight anges Instat Compressed Inert oi Compressed Intra ak Compressed Interstate Light Condensed Interstate Light Condensed tale Interstate Condensed Interstate Condensed Italic Interstate Bold Condensed Interstate Bold Condensed italle Interstate Black Condensed Interstate Light Interstate Light Italic Interstate Regular Interstate Italic Interstate Bold Interstate Bold Italic Interstate Black Interstate Black Italie Blow: Lively, characterful letertoms,symbotzing te past, Celera the start the Library's rong andinterosting enough o oh ebe ane ube tor Lit Aseectonttypeace om Usingrelated tpeeces withing socumentillhelpteercures| profesonl-leokingreau Below Thestarkcontrast nie sive cover arange eels oFinerestintypeasimase and ere colarged and teresting abstracted shapestayered using gh: ariants init nd Muhiple mestst Photshop.The typeface deve proportenereshownin his speciaiforthe project cestes 8 trample ots MatpeMster typefaces: vievaltensionbahween the ary infinite flexibility character ofthe eter sy arronestapadcountershaps, NutiptaMastorfntsareveryestat | ataltnglarly “, Design a Sty pograi UK wheres bras osgraphichearehy F Wg pea low price : il Lm gh: Tis oe space and facade for Genter Desion Sen, cn dosign approach. Iovate Inter, were india ‘Thonsi¢ions were, it dingbat above theentrance mak foranusut "ypogrephiimagery. Tony sin igentixing the carpenrisvory lower right hand ie Agro ofbaselieshitrastorm 4 inele word ito above "ypooraphicimpassein tis spread fromthe bolt One More, The relatontoth page together Postetrcking Modernism, as we have know it, has served as the aesthetic, spiritual and moral conscience of our time. It embodies the essentially democratic idea of the creative artist as the inventor of a personal style, a unique vision of the world sans serif txt faves will inevitably continu. Display ices ae suitable for setting afew wordsat «lage size, rathor than continuous text. Quirky or gimmicky typefices are usually best reserved for display work, Tx faces canbe sealed to display sizes, buteare should be taken to consider whether the ltterforms al look well proportioned, and the overall charscter spacing (racking or ringe kerning) may need tobe reduced, “Mase rypeftce are designe with basic roman (apright) and tre italic style (or oblique, for sans serif facss) and perhaps one or two other weights ight, bld, ec). Those intended for profesional textsrtng, however, may have extensive families of weights ranging from extra- light to ultrs-black and of syles ranging from condensed to espanded. This can be wsefal when complex information needs diferent levels of Negatve tracing Modernism, as we have know it, has served as the aesthetic, spiritual and moral conscience of ourtime. Itembodies the essentially democratic idea of the creative artist as the inventor of a personal style, a unique vision of the world. Modernism fosters a dynamic COT OU a eee s sPacine TYPE “rot itches Waid ‘Sesion fapan vali Sotosesl plea oer arc ora digg be sine per Theme eld nce ony nd ogi TYPE FoR soREEN DISPLAY Cray Railuiaks Stalag eas asi gl openly Te formontordplymubesettsiaslargerthelnogriedeopeie oy wing unis asl as oehousndth ofan em than for print, since small letterformscannot be S**TeadereesenseoFbeing Drie] sypeface designers program special adjustments to the Tomedlegbiybyce reared number opts SIMMER Se emingf i pais of characters ch nazeen Si pees ic eioere SARUM Ved Tino cr eta foe wap ne Cina eacen lplyeeeos ine deren oa ee pete recog a a towincherendang Many pe maces Toweer lta be acceso make one-off emphasis it willensure that changes of type will aor: Negative teading workwell rogethersplisialy. The sim should be between the three words ot eel oe ae thistoek ile creates simple ‘ypoqrphicimage that echoes imapeat a pertet eon to choose a smal set ofideal weights for e given purpose, however, not to mix dozens of variants now offer faces optimized for screen display, such a8 AglMonotype’ ESQ (Enhanced Sereen Quality) series. The colour of background and type needs ext: consideration; coloured or dark backgrounds ex ease monitor glare. _ The space between net _ lines of type is known _as leading Word djs kerning, pa ialy i headlines Tnereasing or decreasing the spacing across several words or lines is known as tracking or range kerning, and can bbe used to alter the visual ‘colon of the typeface or on rare ‘occasions as. cheat to help fic the text tothe space availabe, ‘When texts justified across aeolumn (see page 47), rules must be set up and carefully tweaked to tell the sofware how spacing is to be adjusted to achieve the required line length. Word spacing can be controlled independently to hel> balance excessive character spacing against unsightly gups a Neue ‘. Helvetica 85 Neue | Helvetica 55 a | ilsteates ow awhile range ‘rapicscan de developed by THE DESIGN PROCESS Design is normally carried out in response to a need, and inevitably involves a certain amount of planning. The parameters may not always be clear in the first instance, as clients can have difficulty npinpointing their exact requirements. Graphic designers are normally employed to bring thei: individual creative ability and practical understanding to solving a particular problem. fovtaer | Acquiring an insight into the clients’ businessesis an imporcant partof informing the creative process. This en often be done ‘imply by listen ng toad learning from cients, who usually know their own businesses intimately, Sometimes alien may bbe convinced thata particular medium or conte isthe best ‘way to promote product or service but, aftercare analysis “lhe bret by the designe, an entirely different medium oF approach may emerge 2s more suited tothe actual, rather chan the perceived, needs ofthe client. “The designer needs to make a reasonably accurate assessment ofthe size and complexity of the job and level of| budget allocation. Is, for instance, unwise to embarkon ‘corporate identity design without frst agreeing which specific clements are geing to need design consideration —is ea logo or letterhead, o- will there also be a requirement to look at packaging, vei-le livery, and uniforms, a signage system, ‘website and design standards manual? Even a small-scale design can invo ve unexpected work, such as having to include, * mothers day ‘oor: Tis poster formed part anin-stre campaign ora (partment store tat aimed to ‘ove avayrom ides an ceapressthe real sprite Mother's Day Design tars Murray Hare, UK Avo et Tha fortis. classic Design's Saturdayin London. ‘Tecventcombined business sri seth inventve snd ity teansormetion othe pimary shapes suggests Design by an Fletcher, UKIUSA corsework highly complicated diagram, Preliminary inquiries have to e made ss to the feasibility and timescale oF any reprographie and production processes From ‘the completion of digital artwork before a realistic imetable eas he worked out sd agreed with the client These nial planning stages ae all essential othe design process. ‘The ony eal drawback wo digital designs ‘that allows designers to explore endless variations ofidess and eolourwaysin a proces where time s usally ata premium and decisions have o he made quickly. ‘When i comes othe creative clement ofthe desig process, there iil dou st pape, peel and digi software can work ‘well in partnership, Paper and pencil are ‘valuable basi tools for the digital graphic designer ~ mc creative inspiration cn ‘come from dosing and note-making both on-and of screen. Whichever starting point you use, your creative approach shoule alwaysbe informed by the brie. Basic _sidelines fr posible approaches ean be set upby denting fom within che brie the answers to fur simple questions. This exercise will also elp you to lari your intentions forthe design. ‘The questions are What —is the message to be communicated? isthe reason forthe brief? isthe problem to be solved? Why ~ does the cant want to communicate the message? Where ~is the message going to communicate, and under what conditions? Is the intended audience or market? 8 no Working out and evaluating the answers to these questions should give you a springboard for idea generation that will help you maintain a reasoned link between the briefand even the most lateral approaches, One or more key words, ima ‘or points should emerge from the analysis. These ean be used asthe basis of shore butincensive visual brainstorming sessions on paper or sereen to help stat ideas and associations flowing. Deawing need nothe restricted to paper for these sessions, as many designers find working with a digital alee

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