EFTA00282789.pdf

Introduction Typography is not only verbal information but also lines of tex- ture within a composition. These textures create rectangles of tone on the page. and the relationship of the positions of these rectangles is critical to the perception of order and unity within a composition. The duality of the two roles gives the designer responsibility for both communication and composition. This typography protect enables the designer to focus and explore the role of composition within a system and a struc- ture. The Structure is a simple three-column by three-row grid system. Although this is a modest system. there is enough flexibility for variation and thorough investigation. The 3 X 3 grid system also corresponds to the law of thirds that suggests when a rectangle or square is divided into thirds vertically Architectonic Graphic Design and horizontally, Y. the four intersecting points within the composition are the points of optimal focus. The designer uses placement and proximity to determine which of these points is hierarchically the most important. GnOK< 0".nommt The example at left is a simple composition of six rectangles Amery 7403 and a small circle. The elements are in proportion to each /101,•/// \bon other and are grouped and arranged in the grid so that each •••• • rectangular element aligns with at least one other element. The interior alignments. proportion of elements, and placement in the format result in a unified and visually satisfying composi- saw. fmlu/4 •••••••• tion. In this example. the gray rectangles have been replaced by lines of text. There is an obvious hierarchy in the content of the message. via text size and placement. and an alignment axis at the left of the format. Analysis of these three samples Architectonic Graphic Design shows that the Compositional principles related to typographic messages are the same in all. An understanding of the composi- tions abstract elements Of texture leads the designer to a deeper GenaiK Onogn Deporunoni understanding of the role of the compositional principles and visual forces of design. This project is a case study of a method- January Z0/11 Ji••••••, /001 ology used to teach these principles and visual forces. Jruse/ * lea/ This book, and others in the series, is indebted to my students • for all they have taught me and is intended to share with others approaches and methodology that may prove useful. Design O/Q./ *In./ te4I/21.nd 0..///// education is a fluid process that constantly evolves. Designers and design educators are invited to share the results of their ex- periences with me for inclusion in later printings of this work. Kimberly Elam Ringling School of Art end Design DONIITTOM 0/ G/I0/1/C end inierestive Cornmuscason Sarasota. Fonda EFTA00282789 Project Elements and Process A three-oblumn by three-row structure is the format for exploring The circle is the wild•card element in all of the compositions texture and composition. This simple grid system provides 8 Even though it is very small, it has a tremendous amount of wide range of variation for exploration within a contrcaed system visual power. This is true of any circle. any size. in lust about any of organization. Because the format is 8 Square, visual attention composition. The human eye loves the circle and embraces it. will focus on the interior composition rather than the shape and The contrast in form to the rectangular elements provides visual proportion of the format. interest, in addition to the inherent visual power of the circle itself. Its position in the composition is less prescribed than the Six gray rectangles. which will later correspond to the type other elements, and it can appear anywhere. sizes of the visual message. are the compositional elements. A small circle is also used to provide an element for balance, visual The student explores the visual principles of composition, control of the composition, and Contrast. texture, and interrelationship through a series of exercises that became increasingly complex and dynamic. The grid system is three The composit,onai elements The compositional elements Lines of text replace the columns wide by three rows are six gray rectangles and a are arranged within the grid gray compositional elements deep, welding a total of nine small circle system. (above) and yield a typographic visual fields. composition (below). Architectonic Graphic Design 7:00 pm, Library Free Lecture Series Graphic Design Department Ringling School of Art and Design January 7, 2003 January 8, 2003 January 9, 2003 EFTA00282790 Constraints and Options Proportion of Elements The format, rectangle elements, and a concise series of rules Since this is a formal composition project. the constraints are This progict is designed to present considerable potential for grid is three columns wide. the length of all of the elements are are given to the student: important rules for creating a cohesive whole. Elements must success. There are a number of reasons for this. First. the stu- in the proportion of 1:2:3. This proportion is pleasing and logical • In the horizontal series. all rectangle elements must remain on remain on the horizontal in the first series and will Occupy other dent is focused on selected issues throughout the project. and in a simple compositional structure. and is as important as all of the horizontal. In the horizontal/vertical series. all rectangles positions in later series. It is important that all elements are the decision-making process is directed toward these issues. the other visual theories in creating a Cohesive composition. must be either horizontal or vertical. In the diagonal series. all used. as each bar corresponds to a line of text from a message Second, the square format serves to focus the student's attention rectangles must be on the same or contrasting diagonal. that will later replaCe the rectangle elements. All elements on the elements and composition rather than on the proportion The circle. too. is in proportion to the rectangular elements. It is • All rectangle elements must be used. are sized to fit in either one. two. Or three visual fields and must of a rectangular format. Third, a hierarchy of size exists and this approximately one-fourth of a unit in diameter and this diameter NO rectangle element may extend outside the format. fit, left to right. within the grid columns. hierarchy is present in the proportion of the elements. Since the is roughly equivalent to the width of the longest rectangle. Rectangle elements may aimost touch but not overlap uary 7, 200 uary 8, 2003 • • uary 9, 2003 Yes Ali rectangle elements No. Elements must remain No. Elements may never No. Elements must fit within are on the horizontal and all on the horizontal for the first overlap or extend beyond the the god columns elements are used. Elements series. Later compositions will format perimeter. do not extend beyond the work with vertical and diagonal format or overlap. The circle elements may be placed anywhere in the format but may not overlap other elements. • • • • • • • • • The circle may occupy any The largest rectangle must fit The two Second largest rect- The three smallest rectangles position. It is a wild.card within the square format. left angles must occupy either the may occupy any single column. element in the composition to right. II can take any position two right columns or the two They can take any position top and need not necessarily top to bottom. left columns. They can take to bottom. correspond to the grid lines. any Position top to bottom. EFTA00282791 r Perimeter Edge and Axial Relationships The Law of Thirds Use of the perimeter edges of the format is critical in creating Placement of elements within the grid structure creates axial The 3 X 3 grid system corresponds to the rule of thirds that An awareness of the law of thirds enables the designer to focus cohesive compositions. If none of the elements is near the lop alignments. When an axis occurs in the interior of the composi- suggests when a rectangle or square is divided into thirds ver- attention where it will most naturally occur and to control the and bottom edges. as in the Perimeter Edge Relationships tion, strong visual relationships are formed that give the COmp0- tically and horizontally, the four intersecting points within the compositional space. Elements do not need to land directly example below, the white space squeezes the elements. sition a sense of visual order. Axes On the left and right edges composition are the points of optimal focus. The designer uses on the intersecting point as Close proximity draws attention and the composition is ungrounded. When the elements of a help to bring order to the composition but are considerably placement and proximity to determine which of these points to them. composition move toward the top and bottom perimeter edges weaker visually. A single element does not Create an axis. two is hierarchically the most important. of a format. the white SPaCe is optimized. and the composition or more elements create an axis, and. in general, the larger the appears larger and more SCiaCiOus by visual expansion. number of aligned elements the stronger the axis. Perimeter Edge Relationships 10- 4 0 4 A Weak Perimeter Edge Relationship Stronger Perimeter Edge Relationship Since there are no elements touching the top or By allowing elements to touch all four sides of the bottom edges. bars of inactivated white space format. all spaces are activated and the format squeeze the top and bottom of this composition expands visually. Axial Relationships • Weak Axial Relationship Stronger Axial Relationship The red tine indicates the left edge axis .n this The interior axes in the center column are visually composition. This relationship is weak because tronger because more elements align on each of the interior alignments are minimal and the left these axes. edge position moves the eye off the page. 12 EFTA00282792 The Circle and Composition As a wild-card element, the circle can be placed anywhere in In all compositions the circle becomes an accent and an element On this page all of the compositions are similar with only the becomes a starting point. Placement of the circle in between that contrasts the rectangles. It can be a pivot point. an element Placement of the circle changing. The black colOr Of the circle lines of text separates the lines and organizes them into indi- the Composition As the circle nears lines of text it draws attention of tension. a starting or stopping point, or it can contribute to calls attention to its position because its placement very clearly vidual groups, with a result of additional emphasis given to each to them and modifies the lines. Placed in between lines Of text. visual organization or balance. It is a tool for the designer with Jtanges the way in which the viewers eye moves throughout line. Placing the circle so that it is surrounded by white space it separates and organizes the lines. Placed away from the text which to consciously control the desired visual response. the composition. frequently causes the circle to become the pivot point. Trapping elements. it draws the eye and controls the visual flow during tne circle tightly in between text and an edge results in both viewing. and has a tendency to balance the composition. Each Placement of the circle near text often results in emphasis of visual tension and an emphasis of the line of text. different position changes the way the composition is viewed. that text. This emphasis changes the hierarchy aS the circle Mr's, •:w longser 'Oa Potential Circle Functions: Maar. 200:1 M..," II no, .4.•••• • 2503 ?omega NO • Space Activator • Pivot Point • Tension Dadaism' • (" Ph. Dna. Dammam C".. • Starting or Stopping Point roam sameis miM agle. bead OM oft. dap liftrogine WIN s. Dewy. • Organization • Balance /Wpm Limb, ?q••.% Latin • Architectonlcaraphic Design Architectonic Cr. hic Desi Architectonic Graphic Design mphasis Placement and Emphasis Placement and Emphasis and Tension Placement ...tatting Point Stopping Point nry soar s ..solw•-• • nal Joeulpre $ 101) Balance Placement and Pivot Point Space Activator man A 704.1 nOI J.Maloy A31 When the circle is placed in predictable When the circle occupies a postion within a • alignment to the grid. a sense of visual balance confined white space. the space becomes O. Onign D•por Graph.' Masi [Spielman' Graph.. OeInt. Disortmint is achieved. The circle is also a pivot point as activated. A stronger sense of asymmetry is •••••••khot el 4,1 oft, Donn imam miss it an ay Gunn • the eye moves around the composition. achieved in the composition as well as more visual interest. • )4 On lbw, Of W.. lota, ••Y Architectonic Gra • hic Design Architectonic Graphic Design rchitectonic Gra • hic Design Organization Placement Emphasis and Organization Organization Placement Placement .4••••ry k Z043 • lona., a AU ....•••V All Meas.,. NS) • Grapluc Dnign • Odsiat 041.0rtneril Grans Lamm tissinmis •• ..a— ▪ a An and (oir imms sass aN *is cmai • Tension Tension When the circle is placed very close to the other Placement of the circle near a 90° come- rchitectonic Graphic Design Architectonic Graphic Design Architectonic Graphic Design elements a visual tension occurs. intensifies the contrast of shape and tense" °lance Placement Balance Placement and Balance Placement Pivot Point 14 is EFTA00282793 Horizontal Composition The first in the series of exercises is the most simple—hori- The strongest compositions are refined in large scale. and. zontal composition. Compositions are first developed in 8 finally, lines of text are substituted for the rectangle elements. series of small thumbnails as the visual principles of grouping. Those compositions that are the most ordered and compelling edge relationships. axial alignment, and circle placement are in the abstract version are also, invariably, the most interesting in investigated. It is during the thumbnail phase that the visual the typographic version. principles begin to emerge. A visual hierarchy has already been built into this protect by the A seemingly very simple task becomes more complex as the assignment of each line of copy to the rectangles in the given designer becomes increasingly aware of and sensitive to the grid structute. Further unity is achieved by employing a single nuances Of composition. The initial compositions consist of face and weight of type for all lines in the composition. More the most obvious choices. Later evolutions of compositions than any other factor, the position of text and proximity of the are more interesting in that the designer begins to explore Circle will determine the hierarchy. heyond the obvious. 17 EFTA00282794 Horizontal Composition Organizing the Approach to the Project Long Rectangle in Top Position Thumbnails At the onset of the project, the student is inclined to create The longest element. the rectangle that spans all three visual The Long Rectangle in Top Position series of thumbnail compo- • Grouping thumbnails rapidly and intuitively. This approach has its merits fields, controls the Composition. Therefore, the three major sitions will use the longest rectangle only in the top position. • Negative Space in that the most predictable solutions to visual organization approaches include: Long Rectangle in Top Position, Long touching the top of the format perimeter, or very near the • Perimeter Edge are inevitably explored. However, there is a strong probability Rectangle in Bottom Position, and Long Rectangle in Interior top. Compositional emphasis is on grouping, negative space. • Axial Alignment that one or more of the three approaches of top, bottom, and Position. The thumbnail compositions are divided into these perimeter edge. and axial alignment. Experimentation is enco- interior position of the longest rectangle will be overlooked. By three groups. In addition. each set of thumbnails will focus on uraged as the student begins to understand which, and why, • organizing the protect from the onset, attention can be knowingly specific compositional aspects of the project. The change of specific compositions are the most pleasing. focused on the three major approaches and to the key issues of focus of each of the first two series provides the student a composition within each approach. limited range of visual ideas to master. The third and final series brings all of the Compositional aspects together. Emphasis Horizontal Composition • Grouping • Negative Space Series L Long Rectangle in Top Position The primary focus is on lb-- • Perimeter Edge Emphasis: • Grouping basic aspects of composition. • Axial Alignment • Negative Space • The Law of Thirds • Perimeter Edge • Circle Placement • Axial Alignment • Leading Series 2, Long Rectangle in Bottom Position The primary focus is on Emphasis • The Law of Thirds COmPOsitional control a?".1 • Circle Placement enhancement. • Leading Series 3. Long Rectangle in Interior Position This series brings all of Emphasis: • Grouping the compositional aspects • Negative Space together • Perimeter Edge • Axial Alignment • The Law of Thirds • Circle Placement • Leading IS 19 EFTA00282795