The document contains examples of design portfolios from Tamara Mitchell. It provides analyses of different designs in terms of effort/reward, theme, use of picture verbs and concrete nouns, audience, and visual context. For each category, there are examples labeled as good and bad. The analyses focus on visual design principles and how well the designs communicate their intended messages.
Design is making visual what is thought. A brand incorporates a name, logo, slogan and design associated with a product or service. A corporate identity represents a company's overall image in the minds of customers, investors and employees, and the communications department works to maintain and build this identity through branding and trademarks to support business goals.
Colour theory explains how colours relate and how they can be used to evoke different moods. There are three primary colours - red, yellow and blue - which can be mixed to create secondary colours like orange and green. Tertiary colours are made by mixing a primary and secondary colour. The colour wheel visually shows how all colours are connected. Designers use colour combinations and their symbolic meanings to communicate ideas and create certain atmospheres.
The document discusses two types of shapes used in art - geometric and organic shapes. Geometric shapes are precise shapes like squares, circles, and triangles that follow set rules. Organic shapes are more free-form shapes found in nature like leaves or raindrops. The document instructs students to create a piece of artwork using both geometric and organic shapes by overlapping them with markers and paint. Tips are provided on using color, staying in lines, and including a variety of shapes.
Value refers to the lights and darks in an artwork. There are two types of value: achromatic which uses black, white and grays without color, and chromatic which uses a color and its tints and shades. Value patterns arrange values to control compositional movement and create unity. A value scale shows the range from light to dark. It can be stepped with distinct blocks of gray values or blended with smooth, gradual transitions between values.
This document provides instructions for a still life drawing exercise using chiaroscuro techniques. It recommends setting up a simple still life with directional lighting to create shadows and highlights. The instructions describe toning the paper with charcoal dust, then lightly sketching the composition and adding darks with charcoal while subtracting lights with an eraser. Finishing touches include ensuring outlines belong to objects or the background and leaving some objects extending off the edges. The goal is to create a naturalistic drawing using the subtractive and additive process.
Introduction To Portrait Painting PresentationFrank Curkovic
This document discusses how portrait paintings can convey meaning through facial expressions, posture, color, surroundings, and backgrounds. Artists may use swirling backgrounds to represent how they are feeling, or include more than just a face to provide context. Self-portraits allow artists to celebrate events or talents, and can show the artist from different stages of life. Elements like pose, brushwork, color, and background can reveal an artist's character, mood, beliefs, or talents in their own self-portrait. Various examples of portrait paintings are provided.
The document provides an overview of basic color theory, including:
1) It defines color as the reflection of light wavelengths and describes white as reflecting all wavelengths and black as absorbing all wavelengths.
2) It explains that the color spectrum results from breaking white light into its component wavelengths and describes primary, secondary, and tertiary colors.
3) It outlines properties of color like hue, value, and intensity, and describes how to create and mix colors using pigments.
4) It discusses color schemes and relationships between colors on the color wheel like complementary, analogous, split-complementary, and warm/cool colors.
The document discusses color theory and different aspects of color including:
- The color wheel which shows the primary, secondary, and tertiary colors. Primary colors are red, yellow, and blue.
- Color values which are the lights and darks of colors created by mixing colors with black or white. Tints are lightened colors mixed with white, and shades are darkened colors mixed with black.
- Warm colors are found on the right side of the color wheel like reds, oranges, and yellows. Cool colors are on the left side like greens, blues, and purples.
- Different color schemes including monochromatic using one color, complementary using opposite colors, analogous using adjacent colors, and
Design is making visual what is thought. A brand incorporates a name, logo, slogan and design associated with a product or service. A corporate identity represents a company's overall image in the minds of customers, investors and employees, and the communications department works to maintain and build this identity through branding and trademarks to support business goals.
Colour theory explains how colours relate and how they can be used to evoke different moods. There are three primary colours - red, yellow and blue - which can be mixed to create secondary colours like orange and green. Tertiary colours are made by mixing a primary and secondary colour. The colour wheel visually shows how all colours are connected. Designers use colour combinations and their symbolic meanings to communicate ideas and create certain atmospheres.
The document discusses two types of shapes used in art - geometric and organic shapes. Geometric shapes are precise shapes like squares, circles, and triangles that follow set rules. Organic shapes are more free-form shapes found in nature like leaves or raindrops. The document instructs students to create a piece of artwork using both geometric and organic shapes by overlapping them with markers and paint. Tips are provided on using color, staying in lines, and including a variety of shapes.
Value refers to the lights and darks in an artwork. There are two types of value: achromatic which uses black, white and grays without color, and chromatic which uses a color and its tints and shades. Value patterns arrange values to control compositional movement and create unity. A value scale shows the range from light to dark. It can be stepped with distinct blocks of gray values or blended with smooth, gradual transitions between values.
This document provides instructions for a still life drawing exercise using chiaroscuro techniques. It recommends setting up a simple still life with directional lighting to create shadows and highlights. The instructions describe toning the paper with charcoal dust, then lightly sketching the composition and adding darks with charcoal while subtracting lights with an eraser. Finishing touches include ensuring outlines belong to objects or the background and leaving some objects extending off the edges. The goal is to create a naturalistic drawing using the subtractive and additive process.
Introduction To Portrait Painting PresentationFrank Curkovic
This document discusses how portrait paintings can convey meaning through facial expressions, posture, color, surroundings, and backgrounds. Artists may use swirling backgrounds to represent how they are feeling, or include more than just a face to provide context. Self-portraits allow artists to celebrate events or talents, and can show the artist from different stages of life. Elements like pose, brushwork, color, and background can reveal an artist's character, mood, beliefs, or talents in their own self-portrait. Various examples of portrait paintings are provided.
The document provides an overview of basic color theory, including:
1) It defines color as the reflection of light wavelengths and describes white as reflecting all wavelengths and black as absorbing all wavelengths.
2) It explains that the color spectrum results from breaking white light into its component wavelengths and describes primary, secondary, and tertiary colors.
3) It outlines properties of color like hue, value, and intensity, and describes how to create and mix colors using pigments.
4) It discusses color schemes and relationships between colors on the color wheel like complementary, analogous, split-complementary, and warm/cool colors.
The document discusses color theory and different aspects of color including:
- The color wheel which shows the primary, secondary, and tertiary colors. Primary colors are red, yellow, and blue.
- Color values which are the lights and darks of colors created by mixing colors with black or white. Tints are lightened colors mixed with white, and shades are darkened colors mixed with black.
- Warm colors are found on the right side of the color wheel like reds, oranges, and yellows. Cool colors are on the left side like greens, blues, and purples.
- Different color schemes including monochromatic using one color, complementary using opposite colors, analogous using adjacent colors, and
This slideshow provides an introduction to graphic design.
The slideshow uses images and examples from external sources. The respective owners hold the copyright.
This document discusses visual shapes and forms, distinguishing between two-dimensional shapes and three-dimensional forms. It defines geometric shapes/forms as those made with straight lines and circles, while organic shapes/forms are found in nature. Costumes, settings, and actors' bodies can utilize both geometric and organic shapes and forms. Forms can change through a process called metamorphosis, as seen in nature and in theater through changes to actors' appearance. Designers may employ morphing techniques to visualize incremental changes between entities.
The document discusses different types of shapes used in art including organic, geometric, abstract, positive and negative shapes. Organic shapes are freeform and curved, resembling things found in nature. Geometric shapes have precise edges like circles, squares and rectangles. Abstract shapes simplify three-dimensional objects into basic silhouettes. Positive shapes are the main subject of a work while negative shapes are the background. Examples of artists like Matisse, O'Keeffe and Johns are provided that demonstrate the use of different shape types in their paintings. Being able to identify shape types is important for understanding and discussing artworks.
The document discusses drawing techniques using shape and value. It defines key terms like line, shape, value and form. It explains how to use lines to create shapes and how shapes combined with values can create the illusion of three dimensions. The document provides steps for creating a value scale and using it to identify values in a drawing in order to shade areas consistently. It also presents challenges for drawing without lines and shading without smudging.
Negative space refers to the shapes that exist between objects. By observing the negative spaces between a chair's legs, tree branches, or plants, unique silhouettes emerge. Practicing drawing these negative shapes helps one better see and establish the positive foreground shapes when returning to regular drawing. The document encourages tracing negative spaces from contour drawings and filling them with patterns using graphite pencils to discover the world of negative shapes, as illustrated by Henri Matisse's paintings.
This document provides guidance on how to design efficiently by delivering messages to audiences through idea and graphic design elements. It outlines 10 key steps for the design process: 1) determining the message, 2) developing the idea, 3) finding inspiration, 4) specifying patterns, 5) determining content, 6) using design software, 7) applying design principles, 8) using color theory, 9) repeating the process for refinement, and 10) contacting the author for feedback. The document emphasizes establishing the message and audience, developing a clear idea, following design principles and color theory, and iterating the process to enhance the final design.
This document discusses the key elements and principles of graphic design including line, color, shape, mass, type, texture, balance, proximity, alignment, repetition, contrast, and negative space. It provides examples to illustrate each concept, such as how color can create focal points, how alignment can change the message of an image, and how negative space can make shapes pop out. The document emphasizes that understanding these elements and principles allows designers to effectively communicate visually and create compositions that guide the viewer's eye.
Value refers to the lightness and darkness of a color, which is achieved through shading techniques like stippling, hatching, cross-hatching, and blending. Value scales can be used for shading practice and to determine if the correct values are used in an artwork. Good art incorporates a variety of values, ranging from black to white. The document discusses value and provides examples of common shading techniques.
The document discusses the principle of emphasis in art, which is the focal point that catches a viewer's eye. Emphasis can be created through various elements of art, including shape, line, color, and space. Specifically, emphasis through space can be achieved by following the rule of thirds composition technique, which divides the artwork into thirds to draw the eye to the subject.
The document provides an overview of Zentangle, a meditative art form using repetitive patterns and shapes. It describes how Zentangle involves making conscious, deliberate marks without erasers, even turning perceived "mistakes" into new patterns. Videos are included demonstrating Zentangle techniques like step-by-step instructions, creating mandalas, sample patterns, and doodling seashells, vines, and spikes.
This document provides an introduction to graphic design. It begins by defining graphic design as focusing on visual communication and presentation using symbols, images, and words. Graphic design was born from art and technology, specifically printing. The document then discusses the fundamental questions a graphic designer considers when working on a project, such as the communication objectives, hierarchy of information, guiding the eye across the page, intended audience, and tone of voice. Finally, it outlines the basic tools and elements - including point, line, shape, pattern, texture, space, size, type, color, and images - that graphic designers use to solve design problems and effectively communicate visual messages and ideas.
Yr 9 Typography Project Intro Lesson June 2022.pptmissfcmay
This document provides an overview of graphic design and the role of graphic designers. It explains that graphic designers create visual concepts to communicate ideas using both computer software and hand-created artwork. They develop graphics and illustrations for various applications such as advertisements, packaging, and branding. The document lists specific areas of graphic design work like typography, book design, illustration, merchandise design, branding, websites, and more. It encourages readers to consider the graphic design elements of everyday objects. It also discusses typography as a communication method and provides examples of creative typography work by different designers.
This document discusses color theory and the basics of working with pigments and dyes. It explains that primary colors are those that cannot be created by mixing other colors, and they can be used to make all other colors. Secondary colors are created by mixing equal parts of two primary colors, and tertiary colors are made by mixing a primary and a secondary color. The color wheel is used to visualize the relationships between colors, including complementary colors that are directly across from each other and contrasting versus harmonic color pairs. Other concepts covered include warm and cold colors, color saturation, value, and applying color theory principles to landscapes.
Teoria do design aula 2 - Estudo das CoresLéo Dias
O documento discute a teoria das cores, incluindo que a cor é um fenômeno físico relacionado à luz. Apresenta as cores primárias, secundárias e terciárias e discute sistemas de cores como RGB, CMYK e HSV. Também aborda a psicologia das cores e seus efeitos no ser humano.
This document discusses the principle of balance in art and design. It defines balance as the distribution of visual weight in a composition. There are three main types of balance: symmetrical, asymmetrical, and radial. Symmetrical balance involves both sides of a composition being equal or identical. Asymmetrical balance involves both sides not being identical but having equal visual weight through factors like size, color, or texture. Radial balance involves shapes and images being repeated evenly from the center outward in a circular pattern. Examples of different types of balanced compositions in various artworks are provided.
This document provides information about still life drawings, including their composition. It defines a still life as a painting or drawing of objects that cannot move, like bottles, bowls, fruit, and flowers arranged on a tabletop. The composition of a still life uses principles of design like pattern, balance, movement, and unity to organize elements. Analyzing a still life involves identifying the overall shape, center of interest which draws the eye, and how the composition moves the eye through the work. Artists often use pyramid formations or contrasting values and colors to emphasize focal points and guide movement.
The document discusses contour line drawings and provides instructions for a contour line drawing project of a snarling animal. It defines contour lines as clean, connected outlines that emphasize the shape without shading. Students will first practice contour line drawings of hands, then draw the contour of a snarling animal face brought from a photo. They will then add "wrappings" to show volume and finish it with ink, colored pencil and marker.
This document contains Lisa Wressell's 2018 design portfolio, which provides examples and critiques of design principles. It analyzes examples of good and bad uses of principles like effort/reward balance, theme, picture words, audience targeting, proximity, alignment, repetition, contrast, emphasis, color, style, type and more. Each section breaks down how specific designs effectively or ineffectively apply the given principle through text and visual examples. The portfolio demonstrates Lisa's expertise in analyzing graphic design work.
The document analyzes the contents page of a magazine. It notes that the page is set out professionally with the contents list on the right side and sections divided by theme. While images are included, they do not detract from the main focus on the contents. The color scheme and layout make the page easy to read. However, there is no title indicating it is the contents page, which could cause confusion.
This slideshow provides an introduction to graphic design.
The slideshow uses images and examples from external sources. The respective owners hold the copyright.
This document discusses visual shapes and forms, distinguishing between two-dimensional shapes and three-dimensional forms. It defines geometric shapes/forms as those made with straight lines and circles, while organic shapes/forms are found in nature. Costumes, settings, and actors' bodies can utilize both geometric and organic shapes and forms. Forms can change through a process called metamorphosis, as seen in nature and in theater through changes to actors' appearance. Designers may employ morphing techniques to visualize incremental changes between entities.
The document discusses different types of shapes used in art including organic, geometric, abstract, positive and negative shapes. Organic shapes are freeform and curved, resembling things found in nature. Geometric shapes have precise edges like circles, squares and rectangles. Abstract shapes simplify three-dimensional objects into basic silhouettes. Positive shapes are the main subject of a work while negative shapes are the background. Examples of artists like Matisse, O'Keeffe and Johns are provided that demonstrate the use of different shape types in their paintings. Being able to identify shape types is important for understanding and discussing artworks.
The document discusses drawing techniques using shape and value. It defines key terms like line, shape, value and form. It explains how to use lines to create shapes and how shapes combined with values can create the illusion of three dimensions. The document provides steps for creating a value scale and using it to identify values in a drawing in order to shade areas consistently. It also presents challenges for drawing without lines and shading without smudging.
Negative space refers to the shapes that exist between objects. By observing the negative spaces between a chair's legs, tree branches, or plants, unique silhouettes emerge. Practicing drawing these negative shapes helps one better see and establish the positive foreground shapes when returning to regular drawing. The document encourages tracing negative spaces from contour drawings and filling them with patterns using graphite pencils to discover the world of negative shapes, as illustrated by Henri Matisse's paintings.
This document provides guidance on how to design efficiently by delivering messages to audiences through idea and graphic design elements. It outlines 10 key steps for the design process: 1) determining the message, 2) developing the idea, 3) finding inspiration, 4) specifying patterns, 5) determining content, 6) using design software, 7) applying design principles, 8) using color theory, 9) repeating the process for refinement, and 10) contacting the author for feedback. The document emphasizes establishing the message and audience, developing a clear idea, following design principles and color theory, and iterating the process to enhance the final design.
This document discusses the key elements and principles of graphic design including line, color, shape, mass, type, texture, balance, proximity, alignment, repetition, contrast, and negative space. It provides examples to illustrate each concept, such as how color can create focal points, how alignment can change the message of an image, and how negative space can make shapes pop out. The document emphasizes that understanding these elements and principles allows designers to effectively communicate visually and create compositions that guide the viewer's eye.
Value refers to the lightness and darkness of a color, which is achieved through shading techniques like stippling, hatching, cross-hatching, and blending. Value scales can be used for shading practice and to determine if the correct values are used in an artwork. Good art incorporates a variety of values, ranging from black to white. The document discusses value and provides examples of common shading techniques.
The document discusses the principle of emphasis in art, which is the focal point that catches a viewer's eye. Emphasis can be created through various elements of art, including shape, line, color, and space. Specifically, emphasis through space can be achieved by following the rule of thirds composition technique, which divides the artwork into thirds to draw the eye to the subject.
The document provides an overview of Zentangle, a meditative art form using repetitive patterns and shapes. It describes how Zentangle involves making conscious, deliberate marks without erasers, even turning perceived "mistakes" into new patterns. Videos are included demonstrating Zentangle techniques like step-by-step instructions, creating mandalas, sample patterns, and doodling seashells, vines, and spikes.
This document provides an introduction to graphic design. It begins by defining graphic design as focusing on visual communication and presentation using symbols, images, and words. Graphic design was born from art and technology, specifically printing. The document then discusses the fundamental questions a graphic designer considers when working on a project, such as the communication objectives, hierarchy of information, guiding the eye across the page, intended audience, and tone of voice. Finally, it outlines the basic tools and elements - including point, line, shape, pattern, texture, space, size, type, color, and images - that graphic designers use to solve design problems and effectively communicate visual messages and ideas.
Yr 9 Typography Project Intro Lesson June 2022.pptmissfcmay
This document provides an overview of graphic design and the role of graphic designers. It explains that graphic designers create visual concepts to communicate ideas using both computer software and hand-created artwork. They develop graphics and illustrations for various applications such as advertisements, packaging, and branding. The document lists specific areas of graphic design work like typography, book design, illustration, merchandise design, branding, websites, and more. It encourages readers to consider the graphic design elements of everyday objects. It also discusses typography as a communication method and provides examples of creative typography work by different designers.
This document discusses color theory and the basics of working with pigments and dyes. It explains that primary colors are those that cannot be created by mixing other colors, and they can be used to make all other colors. Secondary colors are created by mixing equal parts of two primary colors, and tertiary colors are made by mixing a primary and a secondary color. The color wheel is used to visualize the relationships between colors, including complementary colors that are directly across from each other and contrasting versus harmonic color pairs. Other concepts covered include warm and cold colors, color saturation, value, and applying color theory principles to landscapes.
Teoria do design aula 2 - Estudo das CoresLéo Dias
O documento discute a teoria das cores, incluindo que a cor é um fenômeno físico relacionado à luz. Apresenta as cores primárias, secundárias e terciárias e discute sistemas de cores como RGB, CMYK e HSV. Também aborda a psicologia das cores e seus efeitos no ser humano.
This document discusses the principle of balance in art and design. It defines balance as the distribution of visual weight in a composition. There are three main types of balance: symmetrical, asymmetrical, and radial. Symmetrical balance involves both sides of a composition being equal or identical. Asymmetrical balance involves both sides not being identical but having equal visual weight through factors like size, color, or texture. Radial balance involves shapes and images being repeated evenly from the center outward in a circular pattern. Examples of different types of balanced compositions in various artworks are provided.
This document provides information about still life drawings, including their composition. It defines a still life as a painting or drawing of objects that cannot move, like bottles, bowls, fruit, and flowers arranged on a tabletop. The composition of a still life uses principles of design like pattern, balance, movement, and unity to organize elements. Analyzing a still life involves identifying the overall shape, center of interest which draws the eye, and how the composition moves the eye through the work. Artists often use pyramid formations or contrasting values and colors to emphasize focal points and guide movement.
The document discusses contour line drawings and provides instructions for a contour line drawing project of a snarling animal. It defines contour lines as clean, connected outlines that emphasize the shape without shading. Students will first practice contour line drawings of hands, then draw the contour of a snarling animal face brought from a photo. They will then add "wrappings" to show volume and finish it with ink, colored pencil and marker.
This document contains Lisa Wressell's 2018 design portfolio, which provides examples and critiques of design principles. It analyzes examples of good and bad uses of principles like effort/reward balance, theme, picture words, audience targeting, proximity, alignment, repetition, contrast, emphasis, color, style, type and more. Each section breaks down how specific designs effectively or ineffectively apply the given principle through text and visual examples. The portfolio demonstrates Lisa's expertise in analyzing graphic design work.
The document analyzes the contents page of a magazine. It notes that the page is set out professionally with the contents list on the right side and sections divided by theme. While images are included, they do not detract from the main focus on the contents. The color scheme and layout make the page easy to read. However, there is no title indicating it is the contents page, which could cause confusion.
The document analyzes the contents pages of several music magazines. It discusses the layout, images, colors and target audiences presented on each contents page. Key details analyzed include the positioning of images and text, color schemes used, and clues about the implied target demographics based on stylistic choices. The level of professionalism of the layout and how effectively the main focus is kept on the contents listing is also considered for each magazine analyzed.
The document analyzes the contents page of a magazine. It notes that the page is set out professionally with the contents list on the right side and sections divided by theme. While images are included, they do not detract from the main focus on the contents. The color scheme and layout create an attractive yet readable page that would appeal to the magazine's target audience.
The document analyzes the contents pages of four different music magazines. It discusses the layout, colors, images and target audiences presented on each contents page. Key details analyzed include the positioning of images and text, color schemes used, and clues about the intended readership based on the stylistic choices. The level of professionalism in the layout and the clarity or busyness of the page design is also considered for each magazine contents page.
The document provides examples of good and bad design principles, including use of alignment, proximity, repetition, contrast, color, and embellishment/enhancement. In the bad examples, principles are not properly applied, making the designs cluttered and difficult to understand. The good examples demonstrate how properly applying design principles can make visual content more organized, readable and achieve its purpose.
This document contains summaries of several double page spreads and advertisements from newspapers and magazines. The spreads and ads use various design elements like color schemes, images, text formatting and layouts to effectively convey information and grab readers' attention. Color, bold text and ample white space are common across the spreads to ensure readability and guide the eye to important details. Images, captions and column formatting also help illustrate concepts discussed in the articles. The document analyzes how different design choices impact the overall appearance and user experience of the double page spreads.
- The document describes the design of a magazine cover and contents page targeted at primary school students. The cover provides tips and advice on improving schoolwork to help primary students and satisfy parents.
- The cover features a 3D masthead and images of smiling students to convey the message that school can be enjoyable and beneficial with the right motivation and confidence. The contents page uses various design elements and a mascot character to attract younger readers.
- Areas for improvement include making the cover images larger and leaving more space for cover lines, and making the contents page background and shapes more playful and rounded.
The document summarizes and provides feedback on the design and layout of a school magazine called "Caterhiam". It analyzes several aspects of the magazine's front cover, interior pages, and use of images. The front cover uses a simple design that draws attention to the elegant masthead. Interior pages feature high quality images showing the school's diverse activities and modern technology. While some text is difficult to read, the page layouts and varied images provide insights into school life and appeal to different audiences. Suggestions are made to improve the white space and use of fonts.
Kerrang magazine effectively uses layout, visuals, and engagement strategies to appeal to rock music fans. The front cover features multiple rock icons to draw interest from different fan bases. Contents pages prioritize features and use photos to promote articles. Double page spreads create immersive atmospheres around bands. The magazine also partners with other brands for synergistic opportunities and encourages reader participation through contests and feedback. Photos accompany articles to enhance impact. Varied color schemes and fonts help direct the reader throughout while breaking up dense blocks of text.
1) The document is a contents page from a magazine. It uses a grid layout with images, headlines, and brief descriptions to preview the stories inside.
2) The design continues the magazine's style through color palette, varied fonts, and placement of images next to relevant articles. Personal pronouns and informal language create a chatty, friendly tone.
3) The contents page effectively entices readers to learn more about stories through headlines and images of celebrities while also making it easy to navigate with clear section headings and page numbers.
The document describes the design choices for the front cover, contents page, and a double page spread for a magazine aimed at primary school children. For the front cover, the slogan, main image, and cover lines are placed strategically to attract attention and entice readers. The contents page uses bold formatting, images, and colors to visually appeal to children. The double page spread is formatted like a work of art with slanted text and images to engage children's creativity and interest in becoming artists.
The magazine cover has a bright yellow masthead against a dark background that stands out. The main central image is in white and draws attention. Headlines are placed around the edges framing the main image. This busy cover has many stories but is directed more towards readers who enjoy plenty of text.
The masthead is in simple italic font representing sophistication. It stands out against the dark blue background but is difficult to read from a distance. The main shield-shaped image emphasizes the school's representation and success. This basic, formal cover indicates the target audience is middle and upper class adults.
The contents page has faded background allowing titles in outlined white fonts to stand out. The formal school topics show the target audience
The magazine cover has a bright yellow masthead against a dark background that stands out. The main central image is in white and draws attention. Headlines are placed around the edges framing the main image. This busy cover has many stories but is directed more towards readers who enjoy plenty of text.
The masthead is in simple italic font representing sophistication. The dark blue background makes the masthead difficult to read from a distance. The main shield-shaped image emphasizes the school's representation and stands out with white lining. This basic, formal cover indicates the target audience is middle and upper class adults.
The contents page has a faded background avoiding distraction from the titles, which have white outlines. Brightly colored fonts
The document contains summaries of magazine covers, websites, and double page spreads for different magazines including PlayStation Magazine, OK Magazine, and Wildlife Magazine. Key points summarized include the use of colors, images, and layouts that target specific audiences and convey important information. For example, masculine colors are used on PlayStation Magazine to target male gamers, while softer colors attract female readers to OK Magazine. Images, videos, and clear navigation help make the magazines' websites professional and easy to use. Double page spreads employ colors, fonts, and images to set the tone for articles.
The document discusses the layout and design of the front cover and contents pages of the magazine "Gardeners World". It analyzes the visual elements, color schemes, use of images and text size and placement. Overall, it finds the design to be eye-catching and effective at representing the magazine's focus on nature and gardening. It particularly likes how the front cover image relates to the subtitles and draws the reader in, as well as how the contents pages use color and labeling to help readers find articles. The document also provides suggestions for how it might further improve the layout, such as slightly reducing the subtitles on the front cover and filling more white space on the contents pages.
The document provides feedback on the design of school magazine covers and contents pages. For the cover, it recommends using a medium close-up student photo, making the masthead bolder, and including more information on the inside stories. For the contents page, it suggests making the masthead more visible, using consistent fonts, and removing numbers from the bottom images to improve the professional look. Overall, the feedback aims to make the designs clearer, better organized, and more appealing to readers.
The document analyzes and critiques the design elements of a school magazine cover and contents page. On the cover, bright colors and text are used to emphasize an excited tone, while images and puns aim to elicit emotion and humor from readers. However, the text is too large and colors too contrasting compared to professional magazines. The contents page justifies text to the bottom and includes large photos, but it could be improved by simplifying the design and focusing on text and image quality. Overall, the analysis identifies amateur aspects that do not meet professional magazine standards.
This document contains summaries of several magazine contents pages:
1) The first contents page draws attention with its split title across three lines and unique layout. It uses bold capital letters and white text on black for visibility.
2) The second uses a posed model forming a 'V' to represent the magazine title. Pictures surround the contents for background. Page numbers by images aid navigation.
3) The third displays a variety of articles and sections to demonstrate value. It uses repetition of the logo and online link for continuity. Columns, boxes, and limited colors/fonts guide the reader's eyes.
This document analyzes advertising campaigns for several brands. It examines images from campaigns by Barnardo's, which uses shocking images to raise awareness of child abuse, and Tesco Cherokee and F&F clothing, which exaggerate models in dangerous situations to highlight how their comfortable clothes allow you to ignore dangers. Each image breakdown looks at elements like color schemes, poses, layouts, and how they convey the campaign's message through symbolic and exaggerated representations.
This document discusses three main ethical issues relating to geospatial surveillance: 1) concerns over individual constitutional rights and privacy beyond just awareness and consent, 2) how geospatial technologies contribute to an erosion of privacy in modern society, and 3) strained relationships between government and private industry due to restricted access and control over geospatial data. While codes of ethics and laws aim to address these issues, the solutions are complex given the tensions between individual privacy and public safety as well as between open data access and data protection. Continued discussion is needed on ethics surrounding new surveillance capabilities.
This document outlines a lesson plan for using ArcGIS Story Maps to teach English literature. Students will take a formative assessment on Story Maps and then create their own Story Map enhancing a previous report on a work of literature. The Story Map must include 5 pages combining text, images, 2 maps with 3 locations each, 2 videos, and citations. It will be assessed based on a rubric. The lesson is designed to help students visualize literature geographically, historically, politically and culturally through an online Story Map.
This self-paced online course has 5 modules to help faculty develop high-quality distance learning. It covers technical and pedagogical foundations for online course development and facilitation. The course objectives are for participants to identify tools and features for student needs, apply principles of andragogy and Bloom's taxonomy, discriminate between aligned/misaligned assessments, objectives, and strategies, identify accessible content strategies, and recognize best practices for facilitating learning communities and feedback. Assessments include quizzes, developing a course plan, and discussions. Engagements involve matching features to needs, practicing content addition, tutorials, and accessibility simulations. Explorations include videos, lists, and resources on topics like templates, principles, alignment,
Developed this support document as a supplemental document to a presentation for Western University's Healthcare Career Ladder program administrators.
This document may be helpful for others interested in developing badging for community programs.
This certificate of completion was granted to Tamara Mitchell for successfully completing a course on Applying the QM Rubric (APPQMR) on June 7, 2016. The course was facilitated by Rachel Gonzalez through the quality matters program website at www.qmprogram.org.
This document describes the design process for an educational poster about developing digital writing skills. It summarizes 6 iterations of the poster design, highlighting the key visual, textual, and design choices made in each iteration. The goal was to convey the message that writing is critical for careers and opportunities through experimenting with images, colors, typography, and layout. The final design pairs an image of a globe with a laptop to connect tools for writing with global opportunities and emphasizes taking action through strong verbs and nouns.
My Fashion PPT is my presentation on fashion and TrendssMedhaRana1
This Presentation is in one way a guide to master the classic trends and become a timeless beauty. This will help the beginners who are out with the motto to excel and become a Pro Fashionista, this Presentation will provide them with easy but really useful ten ways to master the art of styles. Hope This Helps.
2. EFFORT/REWARD: GOOD EXAMPLE
This business card is low effort and high reward. At one
glance the reader easily locate the main title and subtitle
of the card.
The text is well-grouped, easy to find, and visually
appealing.
There is plenty of whitespace around the text to make
it legible.
3. EFFORT/REWARD: GOOD EXAMPLE
This map is high effort and high reward.
There is a lot of detail on the map, but it is
well-organized.
Pictures are directly connected to locations
on the map.The principle of embodiment
is reinforced through these pictures of
actual places and animal life on the map.
Captions are used to further explain
pictures.
Graphics are used to represent local places
on the map and increase the visual appeal
and communicate important
information.
4. EFFORT/REWARD: GOOD EXAMPLE
This magazine is high effort and high
reward.There is a lot of information on
this page, but it is anchored to a center
image that represents the core topic.
Smaller pictures are linked to regions
on the center image to reinforce
relevant subtopics.
Captions are structured with color and
bolded text to highlight the most
important information first.
There is plenty of whitespace on the
page to make the information legible.
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5. EFFORT/REWARD: BAD EXAMPLE
This sign is high effort/low reward. It
is difficult to read because it relies
entirely on text that spans from
top to bottom and left to right to
communicate with the audience.
All text is given equal importance
by making it relatively the same size.
It is difficult to know where to look
first.
There isn’t enough whitespace
used to emphasize one area of text.
6. EFFORT/REWARD: BAD EXAMPLE
This magazine layout is high effort and low
reward.The text is too close together to make it
readable.
The image of text on a text-heavy page makes
reading the article seem even more daunting.
The black and white images with black and
white text only emphasize the business of the page.
Event thought this quote is in a section apart from
the rest of the text, it is still lengthy and increases
the amount of effort it would take to read the
page.
There isn’t enough whitespace used between
paragraphs and lines to emphasize one area of text.
7. THEME: GOOD EXAMPLE
The theme of a dairy is communicated
through color choice.
The twine is an element induces
historical nostalgia that reminds the
audience of the “good ole days” and
moves the reader from the business card
to the green text.The business card,
with a more modern feel, contrasts
with the twine and communicates a
modern resurgence of country-fresh farm
products.
The earthy, brown packaging materials
used in this advertisement reinforce the
message of an “all natural” dairy.
8. THEME: GOOD EXAMPLE
The title “Fish Fry” is the largest text
making it one of the first things an
audience sees on the page.
A blue, white, and gray color scheme
implies that the fish are fresh from the
ocean.The darker blue color makes the
center text look like its on a sign.
Simple fish graphics are swimming
toward the sign and are repeated to
reinforce the fish fry concept in a
tasteful and professional manner.
9. THEME: BAD EXAMPLE
Using more than two fonts doesn’t reinforce the tone
communicated through fonts.
The flyer is a jumble of fonts, colors, and images. It doesn’t
effectively communicate one theme.
Although a photo of an elephant and heart images can be
effective, the repetition of both is excessive and confusing to sift
through.
A definite color theme hasn’t been selected.A variety of pinks,
purples, blues, black, grays, reds lacks focus.
There is too much text on the flyer. Stronger words could be
used to communicate theme.
10. THEME: BAD EXAMPLE
The theme is professional website
design for businesses, but the color
swatches and pencils make the design
look like an interior design project.
The image of the website on devices
is small, but should be the focus of
the theme.
The words “EstablishYour Online
Business” reinforce the theme, but
they are smaller than “Eye Catching.”
11. PICTUREVERBS/CONCRETE NOUNS: GOOD EXAMPLE
The theme of the sign implies that women
shop and men are the target audience that
make purchases. Although this fact may be
arguable, the words on the sign are
effectively grouped next to pictures.
The sign plays off of the verb “into”;
stating that each group is “into” something
different, but implying that you should get
“into” their furniture. Although the verb
“into” isn’t used only in one visual way,
using the verb in three contexts boosts
its effectiveness.
The concrete nouns “leather” and
“margin” effectively contrast two
perspectives and are stronger than saying
“chairs” and “money.”
12. PICTUREVERBS/CONCRETE NOUNS: GOOD EXAMPLE
The picture verbs and concrete nouns
highlight a single exhibit in the museum.
Since the museum is familiar to the area, it
is okay to focus the message on the single
exhibit to communicate excitement about
new content at an established museum.
The concrete noun “Mastodon” is enlarged
and extended across the billboard to show
its size. It’s also a better word choice than
“Woolly Mammoth” because one word
produces better emphasis.
Vanishing is an effective picture verb
highlighted even further through the
choice of white text (absence of color) on
the billboard..
13. PICTUREVERBS/CONCRETE NOUNS: GOOD EXAMPLE
Picture verbs and concrete nouns enhance the images on the
bottles instead of supplement them. Actually, the words are
placed on a clear bottle, directly on the oil itself to enhance
the connection.
“Infused” is a picture verb that implies placing one item in
another. This concept is shown through the bottle’s packaging
- The oil that shows through the clear bottle paired with the
image of the chili, lemon, or mint is connected through the
word “infuse.”
“Olive Oil” labels the contents within each bottle. The words
are paired with either “chili,” “lemon,” or “mint” to clarify the
available oil choices.The terms are precise.
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14. PICTUREVERBS/CONCRETE NOUNS : BAD EXAMPLE
Since “gifts” is a vague term,
repeating it is ineffective. Concrete
words to represent gifts should be
used.
Using the word flowers on top of
pictures of flowers isn’t as
effective as describing the
impact of flowers through picture
verbs. People buy flowers for people,
not for flowers.
15. PICTUREVERBS/CONCRETE NOUNS : BAD EXAMPLE
Pointy pencils coupled with the
concrete noun “Eye” doesn’t
convey webpage design skills.
The red picture verb “Catching” is
highlighted on the page and sits next
to sharpened colored pencils, color
swatches, and an image of electronic
devices.These don’t seem to be tools
to attract customers.
16. AUDIENCE: GOOD EXAMPLE
The design is simple, but professional.
The shape of Oregon is used to highlight the
action-oriented word “go.”
The Oregon is moved toward the left edge of
the page to indicate movement and action.
The color green highlights the word “go.”
This sign is for action-oriented business
people.
17. AUDIENCE: GOOD EXAMPLE
The sign is targeting Oregon State University
Students.This logo implies that the club is fun and
professional. It uses the shade of orange used for
Oregon State branding.
The image of the video game controller
connected with the university title is fun and
interesting. It’s appropriate for attracting gaming
students.
The Latin words and laurel leaves carry a serious
tone communicating that only those who are
interested in the professional aspects of gaming
should join.
18. AUDIENCE: BAD EXAMPLE
Although the marketing needs to target
business professionals, the colored pencils
against a random blue background seem to
target artists or educators.
The largest, brightest image on the page is a
set of colored pencils.This isn’t relevant to
the topic of website design because it’s not
recognized as a tool of website design.
The computer and mobile device should be
the focus.
Pairing the image of sharp colored pencils with
the highlighted words “Eye Catching”
seems more hazardous than helpful.This
doesn’t engender trust with future
professional clients. It doesn’t convey
competency with web design.
19. AUDIENCE: BAD EXAMPLE
The audience for this advertisement is
parents who purchase ORAcle books for
children; yet, the picture shows a teenager, a
different audience, reading the book.
The word “Your” could be removed
because it targets the reader of the
book instead of the parent who
purchases the book.To target parents
simply say “Get ORAcle” or “Get ORAcle
Today.”
Since this particular book is more of a
textbook, using the words “Engaging
Reading” makes the product sound more
like a magazine than an educational
textbook.
20. VISUAL CONTEXT: GOOD EXAMPLE
This picture is easy to understand at a
glance. Since this is a children’s museum, a
picture of a child heightens visual context.
In this photo, museum is used as a verb (As
in,“My child museums”).The child in the
photo is actively experimenting.
The word reinvented is paired with an
image of a child who is participating in a
scientific experiment.The smile shows
positive results, but the marks around the
eyes indicate that everything is trial and
error.
The red in the beaker matches the red in
the OMSI title reinforcing OMSI as an a
place children can experiment.
21. VISUAL CONTEXT: GOOD EXAMPLE
The picture on the billboard shows the
results of a theft and is relevant to
the topic at hand.
It looks like this particular picture
matches the architecture of a local
park. Similar trees and brick paths are
part of this area in the city. The
relevance of the message to the
area is even clearer because of this.
The billboard is placed in the city
where there is a high crime rate.Visuals
in the environment are part of the
overall message.
22. VISUAL CONTEXT: GOOD EXAMPLE
The relation of the background image
to the magazine is strong. Not only is
this an entrepreneur, there is an article
about him in the issue.
The title of the article overlaps with
the person highlighted in the article.
Visual context could be strengthened if
the background included a picture of
the entrepreneur in action, in his office
or with his company instead of just
sitting and smiling in a random chair.
23. VISUAL CONTEXT: BAD EXAMPLE
Giving an example of the survey
topics and fake answers instead of
using an image makes the
advertisement text heavy.
The image of fake survey answers
are also very negative.They do not
add to the overall design or message.
24. VISUAL CONTEXT: BAD EXAMPLE
Although the images and shapes are connected to the
message in some way, the excessive use of hearts and
images of an elephant do not communicate as effectively as
one centered image. In fact, it may be confusing for the
audience to select which image is most important.
Images should be used to reinforce the message of the
piece. Instead this poster uses a crown to reinforce the
name of the elephant instead of the call to action or point of
the poster.
25. EMBELLISHMENT/ENHANCEMENT/EMBODIMENT: GOOD EXAMPLE
The message of the sign is enhanced
by showing the types of crops that
grow in the area.
The visuals of crops play off of the
words “A Place to Grow” and
effectively enhance the message on
the sign.
26. EMBELLISHMENT/ENHANCEMENT/EMBODIMENT: GOOD EXAMPLE
The magazine cover contains a
rendering of what the Big Bang
Theory could look like. By visually
representing the central article in the
magazine, the message is enhanced.
27. EMBELLISHMENT/ENHANCEMENT/EMBODIMENT: GOOD EXAMPLE
This sign visually communicates
the directions given through the
words on the sign.The image
enhances the image by showing the
consequences of an earthquake on
the area around it.
This makes the sign accessible to
individuals who speak different
languages. For this reason, the sign
may also be considered embodiment.
28. EMBELLISHMENT/ENHANCEMENT/EMBODIMENT: GOOD EXAMPLE
The scientific table of elements is
imitated in the middle of the sign.
Instead of adding information it is
reduced to enhancement.
Instead, the table could be arranged
visually showing elements of good
design instead of trying to
imitate scientific design.Although
the current table is visually
interesting, it’s not educationally
effective. Good educational design
should be both.
29. EMBELLISHMENT/ENHANCEMENT/EMBODIMENT: BAD EXAMPLE
Although the art has for separate
ends, it is difficult to surmise
whether or not the four-sided cross
symbolize the “4 Daughters”.
This is an example of unnecessary
embellishment.The message of the
sign could be communicated without
it.
30. EMBELLISHMENT/ENHANCEMENT/EMBODIMENT: BAD EXAMPLE
The purpose of pink ribbons is to raise awareness for
breast cancer.Turning the ribbon into a pair of legs
is a poor attempt at using a body part to reinforce
the image women. Although attempted, this is
not an enhancement of the message.
The pair of legs doesn’t enhance the message of
raising awareness for breast cancer.
Instead, altering the ends of the ribbon to look like
legs changes a powerful symbol into
unnecessary embellishment.
The white lines curving around the outside of the
sticker is another element of embellishment.
31. EMBELLISHMENT/ENHANCEMENT/EMBODIMENT: BAD EXAMPLE
The image of the tree is
unnecessary embellishment
because it doesn’t seem to
reinforce the message of the
advertisement.
Placing words inside the tree that
relate to the theme of the poster do
not help to make the image of
the tree relevant.
32. PROXIMITY: GOOD EXAMPLE
The “S” connects the “OSU” to the
video game controller to reinforce the
message.
The Latin words are paired with the
laurel leaves to create a border with
the bottom text.
The laurel leaves lead up toward
“OSU”. Grouping information and
leading the audience to view
different informational groups
through placement of text and images
is something that this sign
demonstrates.
33. PROXIMITY: GOOD EXAMPLE
The title text is easy to read because it
is centered and grouped close
together.
The words reinforce the message of
traveling a trail. Each word is slanted
upwards in groups.
The word “The” is intended to be the
beginning of the trail and is grouped
with “Oregon”.
Arrows are placed before and after
“Distillery to remind the audience of
the type of trail.
34. PROXIMITY: BAD EXAMPLE
Placing the image of the beaver at
the top of the sign is problematic
because the sign does not discuss
beavers.
Text could be divided into
sections with subheaders to make
it easier to read.
35. PROXIMITY: BAD EXAMPLE
This flyer appears to be
disorganized and difficult to read
because elements are randomly
placed on the page below the title.
It would help to increase the
whitespace by moving elements
further apart.
Elements could be better grouped
together in sections. For example,
the information on the hearts could
be gathered together.
36. ALIGNMENT: GOOD EXAMPLE
The title text is highlighted by
placing it at the top and centering
it.
The sections relating to content
within the magazine are left
aligned on different parts of the
page.This reinforces the sub-
themes relating to the central focus
of the magazine.
A reader of this magazine would be
able to quickly locate content
because left alignment makes the
text legible.
37. ALIGNMENT: GOOD EXAMPLE
This sign is visually interesting
because the three words are aligned
according to the rule of thirds on
the vertical and horizontal areas of
the page.
Each of the three words is sized to
maintain consistent alignment
on both sides of the text. Since the
middle word is smaller it is
emphasized through the use of a
larger font.This type of alignment
also helps the sign to look
professional.
38. ALIGNMENT: BAD EXAMPLE
The title text is too close to the top of the
page. It should either be centered on the
page or left aligned with the text so it
doesn’t seem to be floating off into space.
The alignment issues in this article make it
overwhelming to read. One issue: this
article doesn’t have enough spacing in
between paragraphs and lines.
The text flows from the top of the page to
the bottom of the page. The text should be
aligned in a way that gives it more
whitespace.
Another whitespace issue that could be
fixed with better alignment:There is very
little padding around the pictures. The
center margins are too close together.
39. ALIGNMENT: BAD EXAMPLE
This sign is difficult to read because it
mixes center alignment with
right alignment.
Center alignment is especially
confusing when trying to
differentiate between the main
header at the top and the example
reviews below it.
40. REPETITION: GOOD EXAMPLE
The sign repeats the name of the
attorney through the visual of the
scales.The visual is carefully chosen.
Although there are a variety of scales
that could have been selected, the
designer selects the scales of justice
to reinforce the message that
Donald L. Scales is a lawyer.
The office name and location is
reinforced by using the same font. In
this case, the repetition of font
choice adds visual interest and
improves legibility.
41. REPETITION: GOOD EXAMPLE
The colors of the beans are repeated
throughout the multi-colored words
“The” and “Vegan” – This is an effective
way to link the food to the title.
The image is visually appealing because
the type repeats colors in the image.
The greens, mauves, and browns reinforce
the “earthy” tone.The message that is
conveyed is one of health through all-
natural food.
42. REPETITION: BAD EXAMPLE
The repetition of the red color isn’t
the best choice because it de-
emphasizes the rose. Using a white
background would help the rose to
stand out.
The repetition of the rose shape in
the alignment of the body text makes
the text is difficult to read.
The repetition of the rose shape in the
space between the rose and the body
text also creates insufficient
whitespace needed to emphasize one
area of text.
43. REPETITION: BAD EXAMPLE
It is clear that the sign is about elephants
and some sort of love because of the four
elephant images and multiple hear images.
Still, repeating hearts and elephants does
not communicate a compelling
reason to participate in the bake sell to
help Prince. It is confusing to look at.
Although the central picture of the elephant
is the most visually interesting, it isn’t
necessary to repeat the image throughout
the page to emphasize it’s equal
importance.
Repeating hearts doesn’t help focus
the audience on the most important
message first.
44. CONTRAST: GOOD EXAMPLE
The word smoke embodies the
concept.This sign effectively
contrasts a smooth white texture
at the bottom of the word “Smoke”
with the dissipating text at the top
of the word.
Contrasting black background and
white text draws attention to the
words and message.
45. CONTRAST: GOOD EXAMPLE
This sign uses contrasting color to
effectively communicate the restriction
on smoking.The immediate image of
the black cigarette with the red line
through it quickly communicates
the central message through
enhancement.
This sign is easy to read because the
large title text contrasts with the
smaller text.
Whitespace also contrasts with text
to make the text stand out.
The contrasting colors, red and black,
emphasize “Oregon’s Workplace Law”
and connect it to a contrasting symbol
for no.
46. CONTRAST: BAD EXAMPLE
The blood red background with a
red rose on top of it does not
emphasize the flower. Contrasting
the flower with the background would
better help to connect the sign with a
floral shop.
There is a difference between
intentionally using different objects and
words for contrast, but the
inconsistent use of the word “and” and
“&” does not help with contrast.
There isn’t enough whitespace used
to contrast the body text with the title
text.
47. CONTRAST: BAD EXAMPLE
This sign is difficult to read because
the smaller sections of text are gray
on a gray background.
The section of white text presents
particular legibility issues when it is
placed against the white shirt of the
background image. This is a problem
because it communicates the
purpose of the issue.
48. COLOR: GOOD EXAMPLE
The high contrast colors add interest to the
design.The colors also help reinforce the
core message of the piece. Black and white
are used around the edges of the card and
on the name “Oregon Dairy” and “Farm
Fresh” and “Family Fun” and reinforce the
idea of country-fresh farm products.
The market, restaurant, and gift shoppe are
effectively connected to the rest of the
design through the contrasting red and
green colors. Repeating green in the grass
and on the subtext emphasizes the home-
grown products. Using red in the barn and
on the words “The Market” again reinforces
the idea of farm fresh.
49. COLOR: GOOD EXAMPLE
This Oregon State club follows brand
guidelines for color. For this reason, color
reinforces brand. So, in this instance,
color connects the club to a larger
organization.
50. COLOR: BAD EXAMPLE
This design doesn’t seem to communicate
sports.The colors selected aren’t’ traditionally
associated with sports.The colors are also
excessively bright.
51. COLOR: BAD EXAMPLE
Although the triad color scheme is
attempted, the designer chooses to use
two variations of the yellow color.This
makes the design seem busy and less
organized.
There are also two variations of the red
color.The different shades of red are more
pronounced.This affects the message
because it looks less visually appealing and
organized.
52. STYLE: GOOD EXAMPLE
This is a good example of font “traveling”
around the sign to reinforce the concept
of the Oregon trail.The typeface is
elegant, but bold.The makes the font
legible.
The concept of the trail is further
communicated by placing the sign on the
surface of the trail.The border around
the logos appears as a trail.
53. STYLE: GOOD EXAMPLE
This design works. High
contrasting colors (red and green,
and black and white) and textures
(smooth wrapping, rough string,
and a raised card) add visual
interest and remind the viewer of
common themes and materials
from farm life. This helps
communicate the authenticity and
value of the all-natural farm
products sold by the company. It
also helps that the acutal gift card
wrapping is displayed.
Round and arched shapes contrast
the straight lines.The arched “The
Market” repeats the rounded
design of the cow spots and green
grass lines and contrasts the
straight lines of text.
54. STYLE: BAD EXAMPLE
This design does not communicate fun
& excitement.The image is
aesthetically pleasing, but the
landscape image without cars and
people makes the city look like a
ghost town.
The text is plane, white, simple, and
centered on the page. The designer
could experiment with color,
alignment, and proximity to make the
words on the page more interesting.
55. STYLE: BAD EXAMPLE
The curled, uneven letters do not lend
the topic “Your Rights as aWorker” the
serious consideration that it deserves.
The bright colors and cartoonish shapes
make the topic seem fun, but
unimportant.There also doesn’t seem to
be a foundation for the color choice.
I’m not sure what these shapes are or
what they have to do with worker’s
rights.
56. TYPE: GOOD EXAMPLE
This button is well-designed.The large,
bold text emphasizes the call to action
“Vote.”The typeface with thick, bold
letters is easily read from short
distances.
The sharp corners on the letters
mirror the corners on the stars.
Straight lines, and no-nonsense edges
are on the font and stars shapes are
an effective way to reinforce the them
of the button through typography.
57. TYPE: GOOD EXAMPLE
The font is eye catching - It looks like
it is exploding off of the page. Large,
red letters emphasize the feeling of
movement by placing weight on the
vertical part of the typeface and
lengthening the horizontal marks on
each letter.
The message is emphasized through
contrasting font types.The arching
title font embodies the raffle ticket
and contrasts with the blocky subtitles
and text.
58. TYPE: GOOD EXAMPLE
The lowercase letters are understated and simple.Yet, the
rounded corners communicate and informality that would not
be emphasized by a typeface with sharp corners and hard
edges.
Imperfection is emphasized through the break in font pattern
and the spacing and slant of the last two letters in the word
“imperfecle.”The alignment of the final word in the sentence
is different than the rest of the letters resulting in an emphasis
on the word. The letters and font are reinforcing the theme of
the piece by demonstrating a that mistakes are easily made.
59. TYPE: BAD EXAMPLE
The typography doesn’t match the mood of the
presentation topic. Using a no-nonsense font is
fine for formal topics. Instead, the designer
could select a typeface with more weight and
rounded letters.The font type and color could
mirror the shapes and colors in the supporting
photo.
Since this is a PowerPoint presentation,
legibility is important. Using a white font
color against a background with white
diagonal marks makes the words difficult
to read.This problem may be even more
pronounced for those sitting in the back
of the room.
60. TYPE: BAD EXAMPLE
Placing the letters within words and
between words equal distances apart
causes problems for this sign.The kerning
should be lengthened between words to
de-emphasize the “F” with the “ART.”
The blue coloring that begins at the black
letter “F” and encircles the “AR”
augments the spacing issue because
emphasizes the connection between the
“FAR.”