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Visual Design Principles Spring 2024 semester
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- 2. Part 1 Warm-Up Activity:Bad Designs, Good Designs
- 3. Which one isa better graphic design? Resource: Garr Reynolds
- 4. Which one isa better graphic design? Resource: Garr Reynolds
- 5. Which one isbetter? Why? Slide A Slide B
- 6. Part 2 PARC: GraphicDesign Principles
- 7. PARC: Proximity ◎ Grouprelated elements together ◉ Grouped elements become a visual unit that makes it easier for your viewer to make sense of your content
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- 9. ◎ When placingelements on a slide, try to align them with another element. ◉Centering can be harder to read PARC: Alignment
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- 11. PARC: Repetition ◎ Repeatcolors ◎ Repeat fonts ◎ Repeat visual elements ◎ Repeat elements from slide to slide
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- 13. PARC: Contrast 1.Size 2.Color choices 3.Useof space 4.Text selection 5.Position of elements
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- 15. Why Are These PrinciplesImportant? Visually pleasing Coherent Well organized learning resources/materials Effective information processing Comprehension Retention Ability to take action/apply
- 16. So what happensif learning resources (presentations, handouts, job aids, etc.) are text- heavy and unorganized?
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- 18. What Happens Is… Information Disbalance results in Cognitive Overload
- 19. Deep Dive intoVisual Design Color Value Dominance Balance Grid
- 21. Newton color wheel Sortyour color chips into piles that correspond to the organization of the color wheel.
- 22. Warm colors These colorsadvance from the picture plane and excite the nervous system. We tend to associate them with action, confusion and energy.
- 23. Cool colors These colorsrecede from the picture plane and calm the nervous system. We tend to associate them with stillness, cleanliness and tranquility.
- 24. Monochromatic color combinations Differentgray values of the same hue are called “monochromatic.” These combinations tend to communicate tranquility and lack of motion. Find several sets of chips that represent analogous color combinations.
- 25. Analogous color combinations Colorsnext to each other on the color wheel are “analogous.” These combinations tend to communicate harmony and familiarity. Find several sets of chips that represent analogous color combinations.
- 26. Complementary color combinations Colorsacross from each other on the color wheel are “complementary.” These combinations tend to communicate excitement and conflict. Find several sets of chips that represent complementary color combinations.
- 27. Triadic color combinations Colorsseparately equally from each other on the color wheel are “triadic.” These combinations can communicate a range of impressions, depending on their treatment. Find several sets of chips that represent triadic color combinations.
- 28. Color schemes (palettes) ◎As a general rule, human beings love color. We prefer color images to black and white ones. ◎ We do not all discriminate between hues at an equal level of granularity, and a significant portion of the population does not discriminate certain hues at all. Color cannot be used reliably for complex coding schemes unless people have the time to memorize and use those schemes intensively. ◎ We identify schemes or palettes (combinations) of color easily and associate them with places, feelings and experiences. Color can be used metaphorically to suggest certain feelings or associations. ◎ Rule of Thumbs: keep it simple (No more than 4 colors!!)
- 29. Value – light& dark ◎ Value is short for “gray value,” and refers to the lightness or darkness of an area – the amount of black or white that is present. Colors have gray values that are separate from their hues (red, blue, yellow).
- 30. Value – light& dark ◎ Perceived gray value is relative … the same literal gray value is perceived differently depending on what is around it.
- 31. Value – light& dark The individual who is color-blind for blue and green, will see similar gray values as identical. Different gray values allow discrimination, even though the colors cannot be perceived. All of us differ in the range of gray values we can discriminate, so when in doubt – increase contrast. Click the link here … Click the link here … Click the link here … Click the link here …
- 32. Value – light& dark For people of all visual abilities, contrast in gray value is the key to discrimination of shapes – and this affects the visibility of text particularly since text is comprised of many small shapes. Highly visible text requires strong contrast between the letter forms and the background. Black and white provide the strongest possible contrast in gray value. Other combinations can also be effective.
- 33. Dominance Darker values advancein our visual perception and lighter ones recede. Thus, darker values dominate over lighter ones in a visual display.
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- 36. Balance ◎ Primates prefervisual balance. Give a baby human or a baby chimp a crayon and a blank piece of paper and you get overall scribbles … left alone long enough, baby or chimp will tend to fill the page evenly.
- 37. ◎ Give babyor chimp a piece of paper with a dominant figure in one corner and the scribbles will appear across the page, creating visual balance – or equivalent visual dominance across the display. Balance
- 38. ◎ Balance canbe symmetrical – all elements mirrored by others of equal dominance ... Balance
- 39. ◎ Balance canbe symmetrical – all elements mirrored by others of equal dominance ... even if everything is not the same color … Balance
- 40. ◎ … orthe same shape. Balance
- 41. ◎ Balance canbe asymmetrical too, and we are often drawn to this form of balance because it is visually exciting or interesting. ◎ White Space!! Balance
- 42. ◎ When thebalance between “heavy” and “light” elements is off, you have difficulty focusing anywhere except in the heavy part. Even though there is a lot of white space counterbalancing the dark areas, it is not enough. Balance
- 43. ◎ A smallchange can make a difference … the impact of a small light value rectangle is amplified when it appears in the middle of a dark area. Likewise, a small rectangle of dark can add a lot of weight to the lighter area around it. Balance
- 44. Grids ◎ Most designerswho are creating materials that will contain more than one display use an underlying grid to help organize the layout of those displays. 1. Grids support the consistency of the visual rhetorical for a display – information of the same type appears in the same place on each display. 2. Grids allow for variation from one display to another without opening the design to chaos. 3. Grids produce displays that are judged to be organized – and therefore easy to “read” -- at the pre-attentive level of perception.
- 45. Animal Science Careers Economic Education Citizenship Communication s Expressive Arts FamilySciences Foods, Nutrition and Health Leadership Plants, Soils, and Entomology Science & Technology 4H Online Workbooks and Study Guides Swine Project Workbook 2b: Raising market animals page >> All Animal Science Workbooks Parts of the hog You need to know the parts of your hog. To keep your hog healthy, you need to examine it and talk to a veterinarian about it. When your hog is judged at the 4-H competition or sold at market, the judge or the buyer will look at specific parts of the hog to decide how valuable it is. Some of the parts have names that you will recognize easily. Some of them have special names that farmers use when they talk about pigs. Print this page and study the names with your Project Buddy. Pay special attention to the parts with unfamiliar names. head neck shoulder back loin rump tail stifle joint ham hock dewclaw belly teats snout jowl elbow knee cannon bone pastern foot (toes)
- 46. Animal Science Careers Economic Education Citizenship Communications Expressive Arts FamilySciences Foods, Nutrition and Health Leadership Plants, Soils, and Entomology Science & Technology 4H Online Workbooks and Study Guides Swine Project Workbook 2b: Raising market animals page >> 4-H Home All Animal Science Workbooks Parts of the hog You need to know the parts of your hog. To keep your hog healthy, you need to examine it and talk to a veterinarian about it. When your hog is judged at the 4-H competition or sold at market, the judge or the buyer will look at specific parts of the hog to decide how valuable it is. Some of the parts have names that you will recognize easily. Some of them have special names that farmers use when they talk about pigs. Print this page and study the names with your Project Buddy. Pay special attention to the parts with unfamiliar names. head neck shoulder back loin rump tail stifle joint ham hock dewclaw belly teats snout jowl elbow knee cannon bone pastern foot (toes)