Era: Old West
Name: .45
Flavor: Root beer
Thursday, November 24, 2011
Thursday, November 17, 2011
Establishing Hierarchy
I have always been taught about hierarchy in my design classes and have heard it repeated by many of my fellow designers throughout my education in graphic design; yet I still feel like I need to learn more about it. Reading this article has really helped my understanding of it.
One thing I learned was the importance of contrast. I didn't realize it was so important to creating a successful layout. A layout with little to no contrast would be boring and uninviting to viewers, and would appear static. The intended message would not be received by the viewer. However, by creating visual differences on the page, such as changing type size, juxtaposing negative space to a bold image or headline, or changing colors, the viewer is invited in to the page. Their eye should be led around the layout with ease in a logical manner.
Another important element I learned about is scale. Scaling different visual elements on the page should be done with purpose; it should make sense and support the design to establish hierarchy. If done haphazardly, it will only confuse the viewer. Scale changes should relate to all other elements on the page. They help to direct a person's eye around the layout as well as create hierarchy.
Finally this article made me think about the quantity of elements on the page. I had always thought about repetition being used to create hierarchy on a layout, but never really thought about quantity. I've found through a process of trial and error that oftentimes, for me, at least, it's better to reduce your layout to the bare essentials. I love negative space so this approach appeals to me a great deal. I've tried the additive method of design - intentionally adding the amount of visual elements on the page to better communicate the message I'm trying to get across. However, this often ends up with still too many design elements being added, resulting in a cluttered-looking composition. More negative space and less visual elements on the page just appeals to me far more.
One thing I learned was the importance of contrast. I didn't realize it was so important to creating a successful layout. A layout with little to no contrast would be boring and uninviting to viewers, and would appear static. The intended message would not be received by the viewer. However, by creating visual differences on the page, such as changing type size, juxtaposing negative space to a bold image or headline, or changing colors, the viewer is invited in to the page. Their eye should be led around the layout with ease in a logical manner.
Another important element I learned about is scale. Scaling different visual elements on the page should be done with purpose; it should make sense and support the design to establish hierarchy. If done haphazardly, it will only confuse the viewer. Scale changes should relate to all other elements on the page. They help to direct a person's eye around the layout as well as create hierarchy.
Finally this article made me think about the quantity of elements on the page. I had always thought about repetition being used to create hierarchy on a layout, but never really thought about quantity. I've found through a process of trial and error that oftentimes, for me, at least, it's better to reduce your layout to the bare essentials. I love negative space so this approach appeals to me a great deal. I've tried the additive method of design - intentionally adding the amount of visual elements on the page to better communicate the message I'm trying to get across. However, this often ends up with still too many design elements being added, resulting in a cluttered-looking composition. More negative space and less visual elements on the page just appeals to me far more.
Tuesday, November 15, 2011
Poster Research
While doing poster research for our third project, I came across a ton of great poster designs. Not all of these are for musicians or bands; some are for movies or TV shows too. I'm going for an almost minimalist approach, with a simple color palette and basic shapes, patterns and silhouettes to make up my poster, so finding these was a great help and inspired me to make my own posters. I love how simple, yet clever and effective they are. Hope you enjoy them!
Clever, simple imagery can make a poster very effective
I really liked the basic shapes and silhouettes
Love this color palette/scheme
I liked the simple hint at a holiday theme without being obvious about it, which may be something I'm going for in my poster designs.
Love the negative space!
Very clever and amusing. Definitely something I'd like to achieve in my poster series.
Basic shapes illustrate the power and legacy of Lady Gaga as a pop culture icon as well as a musical artist
Love this pictogram!
I liked the typography and how the type locks up so well here.
Basic shapes and a limited color scheme tell a story.
An interactive poster series in the physical world. The viewer is invited to shake the poster and make noise with it; crinkled paper for the fire icon poster and aluminum foil for the thunder icon poster. I thought this was really neat and a really cool, different way to draw attention to your poster.
Friday, November 11, 2011
Portrait Typography
Again, I'm going to make a post about typography (can you tell how much I love it?), this time about portrait typography. I think this is absolutely amazing. I've always loved using and manipulating type in an interesting and aesthetic format; but this is taking typography to the next level. I'd love to attempt portrait typography some time, or even include something similar to this (creating shapes out of type) in the next project. I've included some amazing examples of what others have done. Gives a whole new meaning to the word 'typeface', doesn't it? Enjoy!
Thursday, November 10, 2011
Intuition: Trusting the Inner Voice
I was so glad I was able to read the article given in class about intuition. This is something I am always working on, to be more trusting of my instincts and go with my gut more often, in all areas of my life, and not just in design. Reading the article made me re-think how I approach design and the beginning stages of concept development. I had never really thought about using your intuition in designing; I would always just use rational thinking to develop concepts. I would even over-think my designs until I'm not sure about them at all anymore. I didn't realize that being so analytical could actually hinder my designing skills rather than improve them; I can now see how important and influential trusting your instincts can be.
Another thing I learned from reading this article was that it's okay to trust your instincts. Going with your gut doesn't mean your design is thoughtless or careless. It means you are going with your heart rather than your mind, which can make your designs all the more stronger for it. You cannot rely on it by itself, though. You must stay focused on the project and still be able to take constructive criticism from others. Rather than relying on one or the other, both intuition and learned knowledge must be combined together in order for the designer to release their inhibitions and be truly fearless.
Some things I am taking away from the article are how to nurture your own intuition and help yourself feel more comfortable with trusting it. Having an OCD-type nature, this is going to be difficult to temporarily put aside rational, analytical thinking and just go with the flow for once. I'm going to keep telling myself to not be afraid to take risks. I'm going to keep a better ear out for that inner voice, small and soft as it may be at first. I'll take periodic breaks to help freshen my mind and come back with a clean slate to work with. But more importantly, I will seek out inspiration. If I feel inspired by something, the feelings resulting from that inspiration are so strong that I feel the need to express them in some way, either through visual means (drawing, photography, design, etc.) or otherwise (singing, dancing, etc.). If I can incorporate such strong feelings of inspiration with my intuition, and combine that with learned knowledge like I mentioned earlier, I know I can have a really great design and concept!
Another thing I learned from reading this article was that it's okay to trust your instincts. Going with your gut doesn't mean your design is thoughtless or careless. It means you are going with your heart rather than your mind, which can make your designs all the more stronger for it. You cannot rely on it by itself, though. You must stay focused on the project and still be able to take constructive criticism from others. Rather than relying on one or the other, both intuition and learned knowledge must be combined together in order for the designer to release their inhibitions and be truly fearless.
Some things I am taking away from the article are how to nurture your own intuition and help yourself feel more comfortable with trusting it. Having an OCD-type nature, this is going to be difficult to temporarily put aside rational, analytical thinking and just go with the flow for once. I'm going to keep telling myself to not be afraid to take risks. I'm going to keep a better ear out for that inner voice, small and soft as it may be at first. I'll take periodic breaks to help freshen my mind and come back with a clean slate to work with. But more importantly, I will seek out inspiration. If I feel inspired by something, the feelings resulting from that inspiration are so strong that I feel the need to express them in some way, either through visual means (drawing, photography, design, etc.) or otherwise (singing, dancing, etc.). If I can incorporate such strong feelings of inspiration with my intuition, and combine that with learned knowledge like I mentioned earlier, I know I can have a really great design and concept!
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