Rough outline of the workshop and learning objectives.
- What is Poster?
- History of Poster.
- Father of the modern Poster.
- Types of Posters.
- Elements of a Poster Design.
- Principles of Design.
- How to design effective Poster.
- Poster Design Software
- Poster Design quick & basic tips
- Digital & Print version mode (ppi & dpi)
- Output file - ready process.
- Printing Process.
- Types of Paper.
- Types of Lamination.
- Fundamental of Color
> Primary Colors
> Secondary Colors
> Tertiary Colors
> Color Wheel
> Cool Color & Warm Color
- Poster Design Software
> Adobe Illustrator
> Adobe Photoshop
And lots to thing....
Key Design Principles To Improve Your User Experience (UX)Belatrix Software
In this webinar, Belatrix user experience (UX) expert Barbara Lipinski, will outline the design principles underlying UX. This webinar is vital viewing for anyone who’s day-to-day job involves UX, and is trying to create a powerful UX for their product.
We will define the difference between UX and graphic design, as well as examine how they are related. In addition we will also explore:
Difference between art and design
Similarities between projectual process and the UX process, and the importance of the user in graphic design
Image-based versus text-based design
Typographical principles and paragraph
Concept and consistency of good design
Color theory, balance and weight
How Visual Design Makes or Brakes Mobile Ivana Milicic
How our visual perception works, and what are the main visual design principles we can rely on to build consistent, eye pleasing and functional mobile app interfaces that will make better mobile app UX?
Rough outline of the workshop and learning objectives.
- What is Poster?
- History of Poster.
- Father of the modern Poster.
- Types of Posters.
- Elements of a Poster Design.
- Principles of Design.
- How to design effective Poster.
- Poster Design Software
- Poster Design quick & basic tips
- Digital & Print version mode (ppi & dpi)
- Output file - ready process.
- Printing Process.
- Types of Paper.
- Types of Lamination.
- Fundamental of Color
> Primary Colors
> Secondary Colors
> Tertiary Colors
> Color Wheel
> Cool Color & Warm Color
- Poster Design Software
> Adobe Illustrator
> Adobe Photoshop
And lots to thing....
Key Design Principles To Improve Your User Experience (UX)Belatrix Software
In this webinar, Belatrix user experience (UX) expert Barbara Lipinski, will outline the design principles underlying UX. This webinar is vital viewing for anyone who’s day-to-day job involves UX, and is trying to create a powerful UX for their product.
We will define the difference between UX and graphic design, as well as examine how they are related. In addition we will also explore:
Difference between art and design
Similarities between projectual process and the UX process, and the importance of the user in graphic design
Image-based versus text-based design
Typographical principles and paragraph
Concept and consistency of good design
Color theory, balance and weight
How Visual Design Makes or Brakes Mobile Ivana Milicic
How our visual perception works, and what are the main visual design principles we can rely on to build consistent, eye pleasing and functional mobile app interfaces that will make better mobile app UX?
Gestalat Theory of Visual Perception_Mujeeb Riaz .pdfMujeeb Riaz
Gestalt Theory of Visible Perception..
The classic principles of the gestalt theory of visual perception include similarity, continuation, closure, proximity, figure/ground, and symmetry & order (also known as prägnanz). Others, such as “common fate,” have been added in recent years.
What is the Gestalt theory of visual perception?
What are the theories of perception?
What are the applications of Gestalt theory?
Who proposed Gestalt Theory?
The Elements and Principles of Design A Guide to Design Term.docxtodd701
The Elements and Principles of Design
A Guide to Design Terminology
The elements of design are some of the basic building blocks that make up the design or artwork.
Understanding and using this terminology can help the designer articulate what works and what doesn’t
work in a design, and to think critically about a design on a more conscious level. Combined, the elements
and principles of design can make for a strong, complete and well-established composition. The principles
of Gestalt, which arise from the elements of design, are included at the end of this document. Learning to
use these elements and principles will be the focus of Beginning Design.
The elements of design are: Point, Line, Form, Value, Texture, Shape, Space, Color
(Color is covered in Art 110; we will be focusing on black, white, and gray scale values.)
DEFINITIONS:
A Point is a position in space.
A Line is the path of a moving point. Two points connected make a line. Lines often imply motion, and can
be rendered in a variety of ways. Contour lines or outlines, define the boundary between shapes. Lines can
create texture or value when used in crosshatching. In addition to these types of actual lines, our eyes can
invent implied lines, such as in dotted lines, or where area boundaries describe lines that may not be there.
Shape is a two dimensional form. The variety of possible shapes is endless. Several common ones are as
follows:
• Simple Geometric: circles, squares, triangles are some of the examples.
• Complex Geometric: straight and curved shapes that have more sides and angles.
• Curvilinear: French curves, ellipses, circles and ovals used in combination.
• Accidental: an example of this might be a coffee ring or paint splatters.
Form is a shape with dimension, an object existing in three dimensional space physically or implied.
Value is the tone created by black, white and shades of gray. The value or tone of an element can create
mass, dimension, emphasis or volume.
Texture can be actual or visual.
• Actual texture is tactile: you can feel it by touching it.
• Visual texture are the markings of a two dimensional artwork that imply actual texture.
Space is an illusion or feeling of 3-dimensionality, which can be created in a two-dimensional design in
several ways, for example:
• Overlapping one object in front of another;
• Using differences in value, amount of detail, etc. between elements;
• Using techniques related to linear perspective, such as differences in size or height on page between
elements
The principles of design are: Unity, Variety, Movement, Balance, Emphasis, Contrast, Proportion,
and Pattern.
DEFINITIONS:
Unity or harmony is the quality of wholeness or oneness that is achieved through the effective use of the
elements and principles of design. The most basic quality of a design or artwork, unity gives a piece the
feeling of being an integrated human expression. The princi.
Use of Shapes in Graphic Design | Psychology of Shapes by ADMEC (Updated)Ravi Bhadauria
Each and every shape has its own meaning and influences our minds differently.
Right here in this slide presentation, we are going to present the power of shapes that can knock down any design. Understand from basics till advanced stage step by step.
Learn about the Psychology of Shapes from the perspective of experts in an interactive way.
The file is a sample of the full study material provided by PRECEPT Design Studio. The full study material covers both Theory and drawing module for NATA with topics like Perspective drawing, 3D Composition, 2D Composition, Logo Design, 3D Visualization, Building Material Basics, Arithmatic Aptitude, Architectur eAwareness, Logical Reasoning, History of Architecture, Color Theory, etc. along with some solved NATA Drawing Questions.
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
2. What is Visual Literacy?
Educational Purposes:
• Critical Thinking
- Heightened awareness of hyper-
mediated visual culture (media literacy)
• Communication
- Support effective teaching and learning
3. Learning & Instruction
• Connection between visual imagery, sound,
memory & perception
• Theories about how memory works
– Information processing theory
– Dual-coding theory
4. Visual & Auditory
Information Processing Theory
Short Term Memory
Long Term Memory
Sensory &
Working
Selecting
Organizing
Visual & Language
Integration
5. Dual-Coding Theory
• Separate memory systems for different
types of information
– Verbal: language systems (auditory/speech)
– Imaginal: (picture, sound, taste, nonverbal
thoughts & imagination)
Concrete (cat) vs. Abstract ideas/emotions
(fickle) – which is easiest to remember?
6. Learning & Instruction
• Design visuals to support cognitive processes
of selection, organization & integration
• Choose colors, typefaces & visual symbols
• Use visual design principles of figure/ground,
hierarchy & gestalt
7. Three Principles
1. Hierarchy: Helping learners organize
information
2.2. Figure/GroundFigure/Ground: Helping learners select
important information
3. Gestalt: Helping learners integrate
information
8. Principles of Visual Design
• Hierarchy: The perception principle that
communicates the relative importance of
elements in a display
– Chunking groups of related information using visual cues
– Imaginary vertical, horizontal & diagonal planes
– Visually stratify layers of information
Principles of Perception
& Visual Design
11. Graphs & Visualization of Data
Charles Joseph Minard
Napoleon’s March on Moscow (1812-1813)
12. Principles of Perception
&Visual Design
• Figure/Ground: The perception principle
that describes how the mind seeks figure and
ground distinctions
– Figure: Information that stands out
– Ground: Information that recedes or supports
14. Labyrinths
• Labyrinths, usually in the form
of a circle, have a meandering
but purposeful path, from the
edge to the center and back
out again, large enough to be
walked into.
• Each has only one path, and
once we make the choice to
enter it, the path becomes a
metaphor for our journey
through life.
15. Labyrinths
Labyrinths, usually in the form of a circle,
have a meandering but purposeful path, from
the edge to the center and back out again,
large enough to be walked into. Each has
only one path, and once we make the choice
to enter it, the path becomes a metaphor for
our journey through life.
16. Labyrinths
Labyrinths, usually in the form of a circle,
have a meandering but purposeful path, from
the edge to the center and back out again,
large enough to be walked into. Each has
only one path, and once we make the choice
to enter it, the path becomes a metaphor for
our journey through life.
17. Principles of Perception
& Visual Design
• Gestalt:The whole (a total learning
environment) is greater than the sum of its
parts (successful design and integration of
all visual/instructional elements)
– A/symmetry, balance, proximity, similarity,
contrast & contiguity
– Closure: mind’s tendency to seek completion
20. Grey scale: Black, grey, white
Monochromatic: different tints (added white) or shades (added
black) of same color
Complementary: directly opposite on color wheel (e.g. red-
green, yellow,-violet, orange-blue)
Primary: red, blue, yellow
Secondary: purple, green, orange
21. • Be inspired by art and nature
• Explore color palettes of templates
• Use psychological associations (color and
mood/meaning)
– Red: passion, bloodshed, power, zeal
– Blue: serenity, tranquility
– Green: growth, hope, disease, terror
26. Process of Visual Design
(Unique Thematic Visual Schema)
• Elements: selection and assemblage of
text/visual elements
• Pattern: determine underlying pattern
(harmony or gestalt) for consistency
• Arrangement: how individual elements
arranged within the underlying pattern
32. Bibliography
• Lohr, Linda (2003). Creating Graphics for Learning
and Performance. Upper Saddle River, NJ: Merrill
Prentice Hall.
• Smaldino, S. E., Russell, J. D., Heinich, R. &
Molenda, M. (2005). Instructional Technology and
Media for Learning. Upper Saddle River, NJ: Merrill
Prentice Hall.
Editor's Notes
Visual literacy – related to dominance of visual culture/televisual and mediated reality (RL and VR)
Visual culture – expression of consumer society and inculcates norms /values/rituals
--- children/adolescents spend average 6.7 hrs day in screentime - infor overload – ADD – amount of time spent engaged in visual culture - identity formation -- “ideal images of women & anorexia/bulimia
== need to adopt strategies to negotiate visual culture
Communication – support effective teaching and learning – principles of graphic/visual design to insure effective communication of visual messages – very important to teaching
-- connection between communication, meaning making, language and perception
Will begin by examining the connection between visual imagery, sound, memory and perception (mind – cognitive and senses – affective domain)
Begin by examining two approaches to understanding how memory works
Information processing theory
Dual-coding theory (A. Pavio)
Info Processing Theory
-- to secure successful learning need to move info (sensory) from short term to long term memory
-- Sensory and Working Memory – executive process that manages and manipulates information – visual and auditory sense data are understood as one channel in this model
sensory info is unlimited – take in much information that is unconscious
Working info is limited to 7 plus 2 bits of data and the duration for its presence in short term memory is very short
-- through process of selection/organization transfer info from short to long-term memory via procedures of chuncking and rehearsal (repetition)
Long-term memory – information is anchored with prior knowledge - build on existing schemata of LTM
Notice that LTM works in such a manner that the categories of data transform from “visual & auditory” to “visual and Language”
Dual – Coding Theory
(A. Pavio – 1990- Mental Represenmtations: Dual coding approach)
Distinguishing factor is that there are two separate memory sytems or channels for different types of information
Verbal – language sytem of auditory/speech
data moves from sensory memory to verbal processors
Imaginal – (sensate impressions – picture,sound, tastes, nonverbal thoughts and imagination)
Data moves from sensory memory to visual processors
What does this mean to learning?
Concrete vs abstraction --
Use concrete words easily visualed (e.g. people/place) to stimulate nonverbal memory (imagery in the mind)
Abstract words (emotions/ideals) less likely to stimulate nonverbal memory and less likely to be remembered
A picture of a cat vs abstract ideas/emotions (e.g. fickle)
When presenting new information – a picture has a stronger effect than abstract idea
Avoid overload:
Animation & narrration: best
Animation & text – overload of info
-- learning & instruction: balance between aesthetics and “what works” in terms of clear communication
-design visuals to support cognitive processes of selection, organization and integration
-choose colors, typefaces and visual symbols
-use visual design principles of figure/groud, hierachy, and gestalt
--ultimately, create resources that are legible (readable – do not overload page with text that is unreadable by students in the back of the room – for every 10 feet of distance between viewer and visual, increase font size one-half inch or 36 points –eg. 10 ft one-half inch or 36 points or 20 feet= 1 inch or 72 points
choose visuals that support effective decoding processing in order to enhance active engagement and focus attention (visual culture – use of pictures/graphics)
For instruction – use generative strategies used by students to generate or anchor meaning in long term memory – outline content, organizational charts, mental images of association, analogies –e.g use of alphabet as organization of information or categories/sequence – all support process of chuncking info during process of selection/organiation
-- using PPT – problem of using a stream of similar bulleted pages - lack of variance of visual cues – loss of attention
-- need for visual orientation cues for better instructional effectiveness
Edward Tufte – expert in statistical graphics –working with a two-dimensional surface –n flatland – and escaping this flatland is the goal of “envisioning information” in terms of how one can effectively convey abstract information via graphics
Thus, the idea is to use basic visual design principles to help students
organize information via the principle of hierachy
Select important information via principle of figure/ground
Integrate information via principle of gestalt
Hierarchy: The perception principle that communicates the relative importance of elements in a display
Chunking groups of related information using visual cues
Imaginary vertical, horizontal & diagonal planes
Visually stratify layers of information
-- related to organiztion of information
different degrees of contrast creates hierachy
Hierachy and visual stratification
Chuncking information into categories and the creation of visual cues
Layers of information within this illustration depicts these principles
Shows range of visual realism – verbal communication to the abstraction of written language (think of oral culture’ s use of imagery to communicate ideas – pictograms versus use of abstract symbolism of alphabet)
In order to decode the word “covered wagon” need to have learned the process of phonemic awareness – how the image of the letter “s” for example equates to the sound of “s” – the abstraction of oral communication to symbolic visual codes – very complex process that is not “second sense” as in the case of oral communication - reading/literacy is work
iconic imagery such as the a photograph or drawing communicates information more effectively
However, the pictoral image of a photograph is more exacting, in terms of how it depicts the specific characteristics of a “covered wagon” – but its iconic power is such that it presents a “complete picture” and thus can arrest imagination
Studies show that children who are heavy viewers of electronic media imaginative thinking reflects the world of media – thus limiting the possibility of their own imagination to the given televisual world
Also, greater immersion within televisual culture and its relationship to growing difficulties in teaching literacy -- Marshall McLuhan’s prediction that we are moving away from “alphabetic man” to “sensate man” - and total immersion within the televisual Matrix of the image is becoming normative
The flatland of the two-dimensional page can be devided into a space of thirds
-- image a grid of intersecting lines that create 5x8 proportionality
--creates a “golden rectangle” – a sense of harmony and balance
-- use this proportionality to place imagery/text within frame of page
-- intersection of four points that create center rectangle are the key focal points within the plane of the page that you work from
-- notice how the images are strategically placed around this central rectanble and create a sense of movement – reinforced visually by the arrow cues
-- the movement also signifies change or a process of change in time – which in fact is part of what the illustration is designed to teach
Could have presented this information as a series of bulleted lines of text but would not be as effective instructionally
Edward Tufte uses this illustration as a good example of illustrating statistical data in a visual manner
-- Challenger Disaster –expert used to analyze data – experts had access to correct data but manner in which it was presented important factor that led to making erronous decision
-- thematic catography designed by Charles Joseph Mindard
Napolean’s march on Moscow in 1812-1813
Variables illustrated: tempature/time/distance/number of troops
Grey band: left Poland with 422,000 troops and upon arrival to Moscow, 100,000 troops
Black band – retreat – left Moscow with with 100,000 and arrived in Poland with only 10,000 troops
Principles of Perception &Visual Design
Figure/Ground: The perception principle that describes how the mind seeks figure and ground distinctions
Figure: Information that stands out
Ground: Information that recedes or supports
-- relates to how we perceive space and movement
-- the eye focuses on one stimulus at a time and rests on the figure -- that which comes out from the surface or approaches versus what we perceive as receding
-- this perceptual process occurs unconsciously
-- related to how the mind attempts to simplify complex information
-- here is visual that examplifies the principle fo figure –ground
a graphic designed by M. C. Escher
Geese/fish – each share background/foreground-figure
What advances and what recedes?
Next three examples of visual design.
Careful attention to the balance between the graphic and the text
how is the space used in terms of white space and that occupied by visuals?
What is the use of the principle of hierachy – rule of thirds
figure/ground --Where does your eye rest?
Which graphic creates a sense of balance and harmony?
Which creates greater sense of visual drama that supports the content of the text?
Which one do you think is best in terms of effective instruction and why?
Figure ground
Figure-ground
Principles of Perception & Visual Design
Gestalt:The whole (a total learning environment) is greater than the sum of its parts (successful design and integration of all visual/instructional elements)
A/symmetry, balance, proximity, similarity, contrast & contiguity
Closure: mind’s tendency to seek completion
Contrast: achieved when two elements are very different if not it creates conflict not contrast.
Proximity: association of image/text by location
Group items based on closeness to one another
Balance is the psychological sense of equilibrium
Weight of elements in a display is equally distributed on each side of an axis either horizontally/vertically or both
Formal/ informal/ imbalance
Formal: balance repeated on each side and is highly symmetrical and can be boring
Imbalance: jarring – dynamic but can be distracting – best to avoid
Informal: (like the three little bears – soup not too hot or too cold but just right)
-- preferred – suprizing but not distracting or jarring – rough equivalence of weight but use of different elements adds surprize
Traditional color wheel illustrates relatiionships between various colors
Color blind confuses red/green – sees mainly in shades of blue and yellow
Do not juxtapose complementary colors - red/green for example, eyes cannot focus on both at same time and thus creates vibration between the two
Be inspired by art and nature
Explore color palettes of templates
Use psychological associations (color and mood/meaning)
Red: passion, bloodshed, power, zeal
Blue: serenity, tranquility
Green: growth, hope, disease, terror
Warm colors of red/orange/yellow are active and signify advance
Cool colors of green/blue/purple/ recede and signify calmness
-- cultural differences – death signified by black in USA – in china red is used to signify death
do not use red lettering on green background – because of color blind
Also not high contrast as are complementary colors
Wash out – brown on green or yellow on clear white
Use of colors to create a visual scheme –
Red arrows as visual cue– direction and flow – leads the eye – principle of contiguity
Figure/ground - what comes forward/stands out as the figure
Hierachy – rule of thirds – golden rectangle
Gestalt/closure - use of color/symmetry/balance/contrast/contiguity
Aesthetic sense: blue as coolness of science red as high contrast to direct eye
Arrows show flow of time/change of metamorphosis and stages of development
-- closure/gestalt – how visuals match the content of the information –how do the visuals tell the story of the information/content
-- denotation of the imagery – connotation of the story of the life cycle of the flea
Sparce use of novelty to gain attention
Use of sound/movement
Typeface can communicate a sense/feeling and use of typeface as a visual metaphor
Does the typeface match the visual? Maybe better to use gothic typeface
Gestalt – whole greater than the sum of the parts
several layers of figure-ground
Dinosaur’s eye as landscape
Nested images within image
Extremely complex visual image
Try to make conscious your process of meaning making – how do you make sense of this image? What do you notice first? Where does you eye rest in terms of figure/ground? When do you finally notice the images of the dinosaurs within the eye of the dinosaur
What story does this image tell? How does the image communicate the narrative that it signifies – Jurassic Park?
Gestalt -- term used to describe how we attempt to bring closure to an image in order to make sense/meaning
Process of Visual Design(Unique Thematic Visual Schema)
Elements: selection and assemblage of text/visual elements – graphics/font
Pattern: determine underlying pattern (harmony or gestalt) for consistency
- how use color –hierachy/figure-ground/chunking
Arrangement: how individual elements arranged within the underlying pattern or gestalt
Nike symbol – signifies sports – endurance
Barbie – beauty/ideal image of female body – how image is related to codes – complex narratives or stories
Icon – images that signify/communicate meaning/cultural norms
The sign/symbol of Barbie/Nike signifies specific codes within cultural context – but their ubiquity indicates cross-cultural meaning that supercedes specific cultural norms
Eport visual schema
Technology – technoscience and science fiction 0or innovation
Body metaphor of cyborg
Techno control over society
use of color – calm and soft – in contrast to mechanical/artifical hand
Eport visual schema
Depiction of mathematics in relation to the use of patterns
Eport visual schema
-- use of historical figure – Abraham Lincoln to indicate one’s interest in social studies/ specifically the life of Lincoln and his signification with social justice
Thematic of social justice is the “story” that you communicate about your interest in teaching social studies
