Balance

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  • Balance

    1. 1. TOWARD ADYNAMICBALANCEAA 210 Graphic Design 1 September 24, 2011
    2. 2. Da Vinci studied proportions and referenced it toman, the perfect measure for all things
    3. 3. Terms to remember Intellectual Unity Visual Unity Kinesthetic Projection Symmetry Asymmetry Radial Symmetry Visual Weight Visual Direction Visual Texture
    4. 4. GoalsUnderstand how the elements on a page ( of type and image, ofphotography and illustration ) work together by knowledgeably using thevisual language of balanceExamine how type and image are placed in a composition intentionally todirect the eye and achieve visual unity
    5. 5. VISUAL ANDINTELLECTUAL UNITY Intellectual unity – is idea generated and word dominated
    6. 6. VISUAL ANDINTELLECTUAL UNITYVisual unity- created bythe placement of designelements perceptible tothe eye
    7. 7. DESIGN ASABSTRACTION Abstract art is about color, value, shape, texture and direction although often incorporating recognizable imagery
    8. 8. DESIGN ASABSTRACTION
    9. 9. DESIGN ASABSTRACTION INTERNATIONAL TYPOGRAPHIC STYLE WITH STRONGA good graphic designer must be a POSTER FOR KUNSTGEWERBEMUSEUM, ZURICH, 1960 PURE DESIGN SHAPES REMINISCENT OF MONDRIAN’Sgood abstract artist using both SURFACE DIVISION AND STRONG HORIZONTAL/ VERTICAL ORIENTATIONpictorial and non objective elements
    10. 10. DESIGN ASABSTRACTION Graphic design is essentially an abstract art which combines elements into a formal 2D structure a work should be balanced and visually compelling in its own right as well as supportive of an idea Gestalt and semiotics
    11. 11. DESIGN ASABSTRACTION
    12. 12. WORKING TOGETHER Bauhaus: the form of a design matches its function “ The words on a printed page are meant to be looked at not listened to.” -El Lissitzky, Constructivist
    13. 13. VISUAL DYNAMICSKinesthetic projection – sensory experience stimulatedby bodily movements and tensions whether we dealwith pictures of people or the abstract shapes of typedesign
    14. 14. VISUALDYNAMICS
    15. 15. VISUAL DYNAMICS People project emotional as well as physical experience onto the page Visual form stirs up memories and expectations
    16. 16. VISUAL DYNAMICS Loose strokes that allow the process of construction to show through also arouse dynamic tension Dynamic tension is not contained in the paper itself, or in the graphite, ink or computers. It is created by our interaction with the image
    17. 17. TOP TO BOTTOMThings in the world rest on theground than in the sky
    18. 18. TOP TO BOTTOMthe bottommeasurement is slightlygreater than the top,allowing for an opticalcenter that is slightlydifferent from themathematical center
    19. 19. VERTICAL ANDHORIZONTALDiagonal lines aredynamic because theyseem to be in a state offlux, poised formovement toward themore stable horizontalor vertical
    20. 20. VERTICAL ANDHORIZONTALTheo van DoesburgDeviated from thehorizontals andverticals stating thatthe modern humanspirit felt a need toexpress a sharpcontrast to the rightangles found inarchitecture andlandscapeTension can create
    21. 21. LEFT TO RIGHTPictorial movementfrom left to rightseems to requireless effort thanmovement in theopposite direction
    22. 22. LEFT TO RIGHT
    23. 23. LEFT TO RIGHT Successful communication requires balance, the directing and conducting of visual tensions.
    24. 24. BALANCE Lack of balance in design will irritate viewers and impair the communication In isomorphic terms, we identify our physical structure with the physical layout of the page When the dynamic tension between elements is balanced, we are most likely to communicate our intended message, otherwise the eye is confused Balance is achieved by two forces of equal strength that pull in opposite directions whose strengths offset one another. It is not a state of rest but a state of equal tension An interplay between tension heightening and tension reducing visual devices seem to satisfy us and match our kinesthetic and emotional experience
    25. 25. TYPES OF BALANCE SYMMETRICAL- identical shapes are repeated from left to right in mirrored positions on either side of a central vertical axis; quiet sense of order, useful whenever stability and a sense of tradition are important, uses contrast of value, texture and shape to relieve boredom and introduce variety It can also be achieved even with slight differences in shape, color and value as long as the overall balance of the same is referenced to a singular axis
    26. 26. SYMMETRICAL
    27. 27. SYMMETRICAL
    28. 28. ASYMMETRICAL - evokes a greater sense of movement andchange, of possible instability and relative weightsCONTRAST achieved through contrast to create equal visual weight among the elements to be effective, contrast must be definitive most successful designs rely on a carefully juggled balance of similarities and contrastsWEIGHT visual weight is the strength or dominance of the visual objects visual direction is the way the eye is drawn between elements over the flat surface balance is determined by the natura weight of an element and by the directional forces the composition
    29. 29. LOCATION- the center of a composition willsupport more weight than the edges
    30. 30. SPATIAL DEPTH- vistasthat lead the eye intothe page have greatvisual strength
    31. 31. SIZE- the contrast between large and small should be sharpand definite without overpowering the smaller elements sothey can contribute to the composition; unexpected sizeresults in a visual double take and makes the designinteresting
    32. 32. TEXTURE – a smallhighly textured areawill contrast with andbalance a larger areaof simple texture.Contrast of texture isuseful with text type
    33. 33. ISOLATION- a shape that appears isolated from itssurroundings will draw attention to itself morequickly and have greater visual weight than onesurrounded by other shapes
    34. 34. SUBJECT MATTER-the natural interest of subject matter will draw the the viewerseye and increase visual weight it can also create directional movement as we move our eyes between elements or follow the eye direction of a figure
    35. 35. VALUE- areas of high contrast have strong visualweight ; the high contrast of texture and size and thecropping of images, can create an extremely wellbalanced and dynamic layout
    36. 36. SHAPE- the shape ofobjects generates adirectional pull alongthe main structurallinescomplicated contourshave greater visualweight than simpleones
    37. 37. STRUCTURE- type designrefers to the contrastingcharacteristic of type families
    38. 38. COLOR - the brighter and more intense thecolor, the heavier it will be visually in graphic design, additional color costs money in monotonic design, color need not be black
    39. 39. END...à{tÇ~ çÉâ4

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