Visual Graphics Design NC III

This course is designed to enhance the knowledge, skills and

attitudes of a trainee/student on core competencies such as;
Develop design studies, Create vector graphics using a graphics
application, Create raster graphics using a graphics application,
Develop designs for print media, Develop designs for electronic
media, Develop designs for product packaging, Design designs
for booth and product/window display in accordance with the
industry standards. It includes common competencies such as;
Apply Quality Standards, Perform Computer Operations.
 Unit of Competency
 COC1

-DEVELOPING GRAPHIC DESIGNS FOR A PRINT MEDIA

 COC2

-DEVELOPING DESIGNS FOR AN ELECTRONIC MEDIA

 COC3
-DEVELOPING DESIGNS FOR A PRODUCT PACKAGING
 COC4

-DEVELOPING A BOOTH AND PRODUCT/WINDOW

 DISPLAY
 Key Terms
 RGB color model is an additive color model in which red, green, and blue light are added
together in various ways to reproduce a broad array of colors. The name of the model comes
from the initials of the three additive primary colors, red, green, and blue.
 The main purpose of the RGB color model is for the sensing, representation, and display of
images in electronic systems, such as televisions and computers, though it has also been used
in conventional photography
 MYK color model (process color, four color) is a subtractivecolor model, used in 
color printing, and is also used to describe the printing process itself. CMYK refers to the four
inks used in some color printing: cyan, magenta, yellow, and key (black). Though it varies by
print house, press operator, press manufacturer, and press run, ink is typically applied in the
order of the abbreviation
 About spot colors

 A spot color is a special premixed ink that is used instead of, or in addition to, process inks, and that requires its
own printing plate on a printing press. Use spot color when few colors are specified and color accuracy is critical.
Spot color inks can accurately reproduce colors that are outside the gamut of process colors. However, the exact
appearance of the printed spot color is determined by the combination of the ink as mixed by the commercial
printer and the paper it’s printed on, not by color values you specify or by color management. When you specify
spot color values, you’re describing the simulated appearance of the color for your monitor and composite printer
only (subject to the gamut limitations of those devices).
 Keep the following guidelines in mind when specifying a spot color:
 For best results in printed documents, specify a spot color from a color-matching system supported by your
commercial printer. Several color-matching system libraries are included with the software.
 Minimize the number of spot colors you use. Each spot color you create will generate an additional spot color
printing plate for a printing press, increasing your printing costs. If you think you might require more than four
colors, consider printing your document using process colors.
 If an object contains spot colors and overlaps another object containing transparency, undesirable results may occur
when exporting to EPS format, when converting spot colors to process colors using the Print dialog box, or when
creating color separations in an application other than Illustrator or InDesign. For best results, use the Flattener
Preview or the Separations Preview to soft proof the effects of flattening transparency before printing. In addition,
you can convert the spot colors to process colors by using the Ink Manager in InDesign before printing or exporting.
 You can use a spot color printing plate to apply a varnish over areas of a process color job. In this case, your print
job would use a total of five inks—four process inks and one spot varnish
 About process colors

 A process color is printed using a combination of the four standard process inks: cyan, magenta, yellow, and black
(CMYK). Use process colors when a job requires so many colors that using individual spot inks would be expensive or
impractical, as when printing color photographs.
 Keep the following guidelines in mind when specifying a process color:
 For best results in a high-quality printed document, specify process colors using CMYK values printed in process
color reference charts, such as those available from a commercial printer.
 The final color values of a process color are its values in CMYK, so if you specify a process color using RGB (or LAB,
in InDesign), those color values will be converted to CMYK when you print color separations. These conversions
differ based on your color-management settings and document profile.
 Don’t specify a process color based on how it looks on your monitor, unless you are sure you have set up a color-
management system properly, and you understand its limitations for previewing color.
 Avoid using process colors in documents intended for online viewing only, because CMYK has a smaller color gamut
than that of a typical monitor.
 Illustrator and InDesign let you specify a process color as either global or non-global. In Illustrator, global process
colors remain linked to a swatch in the Swatches panel, so that if you modify the swatch of a global process color,
all objects using that color are updated. Non-global process colors do not automatically update throughout the
document when the color is edited. Process colors are non-global by default. In InDesign, when you apply a swatch
to objects, the swatch is automatically applied as a global process color. Non-global swatches are unnamed colors,
which you can edit in the Color panel.
 Color Intelligence
Spot vs. Process Color
 Spot Colors
 Colors created without screens or dots, such as those
found in the PANTONE MATCHING SYSTEM®, are
referred to in the industry as spot or solid colors. From
a palette of 18 basic colors, each of the spot colors in
the PANTONE MATCHING SYSTEM is mixed according to
its own unique ink mixing formula developed by
Pantone. You probably mixed yellow and blue paint to
get green in your youth. Creating a PANTONE Spot Color
is similar in concept, but with the added need for
precision.
 Raster
  raster graphics image is a dot matrix 
data structure representing a generally 
rectangular grid of pixels, or points of color,
viewable via a monitor, paper, or other
display medium. Raster images are stored in
image files with varying formats
  A raster is technically characterized by the
width and height of the image in pixels and
by the number of bits per pixel (a 
color depth, which determines the number
of colors it can represent).
Vector graphics
 Vector graphics is the use of 
geometrical primitives such as 
points, lines, curves, and 
shapes or polygons—all of
which are based on
mathematical expressions—to
represent images in 
computer graphics
COLOR WHEEL

 A color wheel or color circle[1] is an abstract

illustrative organization of color hues around
a circle that shows relationships between 
primary colors, secondary colors, tertiary
colors etc.
Primary color
  the Primary Colors are the root of every other
hue imaginable. The primary pigments used in the
manufacture of paint come from the pure source
element of that Hue. There are no other pigments
blended in to alter the formula.
 Think of the three Primaries as the Parents in
the family of colors.
 Inpaint pigments, pure Yellow, pure Red, and
pure Blue are the only hues that can’t be created
by mixing any other colors together. Printer inks
and digital primaries are referred to as Yellow,
Magenta and Cyan.
Secondary color
When you combine any two of the Pure
Primary Hues, you get three new mixtures
called Secondary Colors.
Think of the three Secondaries as the
Children in the family of colors.
Yellow + Red = ORANGE
Red + Blue = VIOLET or PURPLE
Blue + Yellow = GREEN
Tertiary Colors
 When you mix a Primary and its nearest Secondary on the Basic Color Wheel you
create six new mixtures called Tertiary colors.
 Think of the six Tertiary Colors as the Grand children in the family of colors, since
their genetic makeup combines a Primary and Secondary color.
 Yellow + Orange = YELLOW-ORANGE
Red + Orange = RED-ORANGE
Red + Violet = RED-VIOLET
Blue + Violet = BLUE-VIOLET
Blue + Green = BLUE-GREEN
Yellow + Green = YELLOW-GREEN
 This totals twelve basic colors that allows you to mix an endless variety of 
hues, tints, tones and shades.
 Most artists don’t actually mix every color themselves from scratch. It’s far simpler to
work with a standard palette of six or twelve pre-mixed paint tubes. Just keep them
as pure and unmixed as possible.
Color Harmonies
Basic techniques for combining
colors
Complementary 
Colors that are opposite each other on the color wheel are considered to be
complementary colors (example: red and green).
The high contrast of complementary colors creates a vibrant look especially
when used at full saturation. This color scheme must be managed well so it
is not jarring.
Complementary colors are tricky to use in large doses, but work well when
you want something to stand out.
Complementary colors are really bad for text. 
Analogous 
Analogous color schemes use colors that are next to each other on
the color wheel. They usually match well and create serene and
comfortable designs.
Analogous color schemes are often found in nature and are
harmonious and pleasing to the eye.
Make sure you have enough contrast when choosing an analogous
color scheme.
Choose one color to dominate, a second to support. The third color
is used (along with black, white or gray) as an accent.
Triad 
A triadic color scheme uses colors that are evenly
spaced around the color wheel.
Triadic color harmonies tend to be quite vibrant, even
if you use pale or unsaturated versions of your hues.
To use a triadic harmony successfully, the colors should
be carefully balanced - let one color dominate and use
the two others for accent.
Split-Complementary 
The split-complementary color scheme is a variation of the
complementary color scheme. In addition to the base color,
it uses the two colors adjacent to its complement.
This color scheme has the same strong visual contrast as the
complementary color scheme, but has less tension.
The split-complimentary color scheme is often a good choice
for beginners, because it is difficult to mess up.
Rectangle (tetradic)
The rectangle or tetradic color scheme uses four
colors arranged into two complementary pairs.
This rich color scheme offers plenty of possibilities
for variation.
The tetradic color scheme works best if you let one
color be dominant.
You should also pay attention to the balance
between warm and cool colors in your design.
Square 
The square color scheme is similar to the rectangle,
but with all four colors spaced evenly around the
color circle.
The square color scheme works best if you let one
color be dominant.
You should also pay attention to the balance
between warm and cool colors in your design.
 Spectrum

an array of entities, as light waves or particles,
ordered in accordance with the magnitudes of a
common physical property, as wavelength or
mass: often the band of colors produced when
sunlight is passed through a prism, comprising
red, orange, yellow, green, blue, indigo, an
dviolet.
Pantone

 What is Pantone?
Pantone is a standardized color matching system,
utilizing the Pantone numbering system for
identifying colors. By standardizing the colors,
different manufacturers in different locations can
all reference a Pantone numbered color, making
sure colors match without direct contact with one
another. 
LAB color
 TheLAB color model is a three axis color system and LAB colors are absolute, meaning
that the color is exact. It’s what’s known as device independent; meaning that the LAB
color space is the only way to communicate different colors across different devices.
An object’s color is measured in LAB color with a spectrophotometer.
 When to use LAB color space
– Matching paint colors to printed media
– Matching fabric colors in a catalog or website
– Communicating your favorite Pantone color to another media form
–LAB color space is the back-bone of all color management between devices in the
color workflow
 Image File Formats - JPG, TIF, PNG, GIF
Which to use?
 JPEG
 JPEG is short for Joint Photographic Experts Group, and is the most popular among the
image formats used on the web. JPEG files are very ‘lossy’, meaning so much
information is lost from the original image when you save it in JPEG file. This is because
JPEG discards most of the information to keep the image file size small; which means
some degree of quality is also lost.
 GIF, short for Graphics Interchange Format, is limited to the 8 bit palette with only 256
colors. GIF is still a popular image format on the internet because image size is
relatively small compared to other image compression types.
 The Windows Bitmap or BMP files are image files within the Microsoft Windows
operating system. In fact, it was at one point one of the few image formats. These files
are large and uncompressed, but the images are rich in color, high in quality, simple
and compatible in all Windows OS and programs. BMP files are also called raster or paint
images.
 TIFF
 TIFF was created by Aldus for ‘desktop publishing’, and by 2009 it
was transferred to the control of Adobe Systems. TIFF is popular
among common users, but has gained recognition in the graphic
design, publishing and photography industry. It is also popular
among Apple users.

 PNG
 PNG or (Portable Network Graphics) is a recently introduced format,
so not everyone familiar with it. But PNG has been approved as a
standard since 1996. It is an image format specifically designed for
the web. PNG is, in all aspects, the superior version of the GIF. Just
like the GIF format, the PNG is saved with 256 colors maximum but
it saves the color information more efficiently. It also supports an 8
bit transparency.
Print Graphics: TIFF is the best and only choice for professionals when images are intended for
print. Its ability to read CMYK and YcbCr color, plus its ability to store such high pixel intensity
makes it the only choice for designers, photographers and publishers.
Web Graphics: PNG, JPEG and GIF are the most web friendly image formats there is. JPEG is
great for images when you need to keep the size small, such as when you need to upload it
online. If you don’t mind compromising the quality of the image a bit, use JPEG. If you want to
keep the size small, but still retain the image quality, use PNG. GIF is the worst choice,
although file sizes are very small, and they load very fast. Plus, if you want to add animation
effects, use GIF.
PC & Mac Compatibility: If you are using Mac or PC, or constantly shifting from one to another,
JPEG is the best image format for PC and Mac Compatibility.
Logos & Line Art: JPEG is the worst choice, it tends to add artifacts and blur the text, line and
edges. JPEG also cannot support transparency, which is often a need for logos or icons. GIF is a
good choice, but it pales in comparison to TIFF and PNG. Both of the latter image formats are
lossless, store as much image information, and are not limited to 256 colors, unlike GIF. They
also don’t add artifacts (the downfall of JPEG) and keep the logo or line art sharp and concise.
Clip Art: GIF is the best image for clipart and drawn graphics that only use few colors and
precise lines & shapes.
 HSB
 Hue, saturation, and brightness are aspects of color in the red, green,
and blue ( RGB ) scheme

HUE-the property of light by which the color of an
object is classified as red, blue, green, or yellow in
reference to the spectrum.
SATURATION
 degree of difference from the gray having the same lightness
 degree of difference from the achromatic light-source color of the same
brightness —used of a light-source color
Brightness
is an attribute of visual perception in which a source appears to be radiating
or reflecting light
 Elements of Design
 Line
The first and most basic element of design is that of the line. In drawing, a
line is the stroke of the pen or pencil but in graphic design, it’s any two
connected points. Lines are useful for dividing space and drawing the eye to a
specific location. For example, think about how a magazine uses lines to
separate content, headlines and side panels.
 Color is one of the most obvious elements of design, for both the user and the
designer. It can stand alone, as a background, or be applied to other
elements, like lines, shapes, textures or typography. Color creates a mood
within the piece and tells a story about the brand. Every color says something
different, and combinations can alter that impression further.
 Shapes, geometric or organic, add interest. Shapes are defined by
boundaries, such as a lines or color, and they are often used to emphasize a
portion of the page. Everything is ultimately a shape, so you must always
think in terms of how the various elements of your design are creating shapes,
and how those shapes are interacting.
 Space
 Negative space is one of the most commonly underutilized and misunderstood aspects
of designing for the page. The parts of the site that are left blank, whether that’s
white or some other color, help to create an overall image. Use negative space to
create shapes as you would any other element.
 Texture
 It’s counter-intuitive to think about texture when the piece isn’t ever going to be
touched. Websites and graphic design do rely on the look and impression oftexture on
the screen, however. Textures can create a more three-dimensional appearance on this
two-dimensional surface. It also helps build an immersive world.
 Typography
 Perhaps the single most important part of graphic and web design is typography. Like
color, texture, and shapes, the fonts you use tell readers you’re a serious online news
magazine, a playful food blog or a vintage tea tins shop. Words are important, but the
style of the words is equally essential.
 Scale (Size)
 Playing with the scale and size of your objects, shapes, type and other elements add
interest and emphasis. How boring would a symmetrical website with all similarly sized
ingredients be? Very. But the amount of variation will depend heavily on the content
within. Subtle differences suit professional content, while bold ones prefer creative
enterprises.
 Dominance and Emphasis
 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. Contrast is intriguing, and it creates a focal
point.
 Balance
 There are two schools of balance: symmetry and asymmetry. While most
designers, artists and creative folks much prefer asymmetry for its eye-
catching nature, symmetry does have its place. Sometimes.
 Harmony
 Harmony is “The main goal of graphic design,” according to Alex White,
author of “The Elements of Graphic Design.” So, you know it must be
important. Harmony is what you get when all the pieces work together.
Nothing should be superfluous. Great design is just enough and never too
much. Make sure all the details accord with one another before you consider
the project complete.
 Principles of Design

Principles are concepts used to organize or arrange the structural elements of design.

Again, the way in which these principles are applied affects the expressive content, or
the message of the work.

The principles are:

Balance
Proportion 
Rhythm 
Emphasis 
Unity 
 Balance is the concept of visual equilibrium, and relates to our physical sense of balance. It
is a reconciliation of opposing forces in a composition that results in visual stability. Most
successful compositions achieve balance in one of two ways: symmetrically or
asymmetrically. Balance in a three dimensional object is easy to understand; if balance isn't
achieved, the object tips over. To understand balance in a two dimensional composition, we
must use our imaginations to carry this three dimensional analogy forward to the flat surface.
 Symmetrical balance can be described as having equal "weight" on equal sides of a centrally
placed fulcrum. It may also be referred to as formal balance. When the elements are
arranged equally on either side of a central axis, the result is Bilateral symmetry. This axis
may be horizontal or vertical. It is also possible to build formal balance by arranging
elements equally around a central point , resulting in radial symmetry.

 Proportion refers to the relative size and scale of the various elements in a design. The issue
is the relationship between objects, or parts, of a whole. This means that it is necessary to
discuss proportion in terms of the context or standard used to determine proportions.
 Rhythm in design is also called repetition. Rhythm allows your designs to develop an internal
consistency that makes it easier for your customers to understand. Once the brain recognizes
the pattern in the rhythm it can relax and understand the whole design. Repetition rarely
occurs on its own and so it embues a sense of order onto the design
 Emphasis creates a focal point in a design; it is how we bring attention to
what is most important. Emphasis is what catches the eye and makes the
viewer stop and look at the image. Without emphasis, without getting
the viewer to look at the image, communication cannot occur.
 Emphasis can be created by contrast. An element in contrast with
something else is more easily seen and understood; something different
attracts the eye. Any of the elements can be contrasted: line (a curve in
the midst of straight lines), shape (a circle in a field of squares), color
(one red dot on a background of grays and blacks), value (a light or dark
area in the middle of its opposite) and texture (rough vs. smooth)

 Unity is the relationship among the elements of a visual that helps all the
elements function together.  unity gives a sense of oneness to a visual
image. In other words, the words and the images work together to create
meaning
 Assessment COC
 COC1 -DEVELOPING GRAPHIC DESIGNS FOR A PRINT MEDIA

 COC2 -DEVELOPING DESIGNS FOR AN ELECTRONIC MEDIA

 COC3 -DEVELOPING DESIGNS FOR A PRODUCT PACKAGING

 COC4 -DEVELOPING A BOOTH AND PRODUCT/WINDOW DISPLAY

Assessment Package
 Bravo auto body care Repair
 Mama Jane’s Pizza Parlor
 Environmental Issues
 PAHRA-Philippine Alliance of Human Rights
Advocates
Day1 Print Media
Logo

BRAV
Tagline
Poster
Flyers (B2B) 3 panels

O
PAHR
 Logo
 Tagline
 Poster

A
Environmental Issues



Logo
Tagline
Poster
Day2
Product Packaging
Window/booth display
E-Media Logo
Tagline
Productpackaging( Die Line,2D, Layout

Pizza window/Booth display(2D, layout, 3D)

Web Page(Html-Home Product, Profile,
About)
Question

 What is Process color?

 What is spot color/
 CYMK
 RGB
 Grayscale