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  • 012

    013

    ConSIstent use of colOf. Iypogf;lphy, .-md ;Ippl,U,tlOllof thedorn l'S logo .ilO'oss br;lndp d

    print communic.atlOl'Is create au",I,~ p.e!ot"fl(l!'for.l bU 'ilnenl'nlll~ lh.;ll will be idtlll, "~usily among ,1$ CompetitOf$.

    .'

    Make all rbe p,lft:; talk 10 e h other ..in tilt"same language.Takea look.1l!!V 'Ything, from the big picture down to thetiniest detail. and. sk yourself. 'DOt':;everything relate harmoniously to everything else?"Gooddesign assum . that thevisual language of the piece its int mallogic is resolved 10 address all its p.ut 0that they reinforce. rc tat .nnd referenceeach other, not only ill shape or wlig,hl orplacement. but conceptually as w II.As:.0011 CISone clement seems out of placeor just alefto....cr that hasn't been given anythought. it disconnects from the others,and the message is weakened

    Speak withone visual voice.

  • " ,

    ... '1. \ .- , ,&:.11 ..." _ _ ~ :o:..I" , I'~ :' .:a. ..

    Choose typ efaces for specific purposes.lu doin g th.u.you'll need to defi ne whatth e pur poses arc. and you're likely to findthat the re nrc on ly two or three pu rposesfor text in .1 project. Because it change intype fam ily usually signals 3 change inmeaning or fun cti on-restrain yourself !A single type family wi th a va rie ty ofweights and ita lics shou ld he enoughII hy itself; adding a second is nice

    for t turc but don't overdo if. Too manytypefaces arc distracting and self conscions and might confuse or tire th viewer.

    Use two typefacefamilies mazimum.OK, maybe three.

    I

    ::.:'::':;'::.:...,...._ ~,,-_ ....

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    (J 1\1\IL'irn I' IIIJC;ll\\1

    :::"',;:- .. ._..-"';";.:.::"6

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    Viewers arelikely to see thistheat er poste r's tnle treatmentfromthirtystrides ;lW"y, Fo llowedby the theater'snameand, in asequenceofdecreasingcontrast,weight, and size, the rest of theinformatio n. These ty pe treat-ments,alongwith the movementcreated by the t itle and thesupportmg shapes, help movethe viewer's eyes frommostimport.lllt item to len t irnportant.

    014

    0 15

    Use the one-two punch!(~OCl1S viewers'attent ion on one importantthing first, and thenlead them throughthe rest. Onceyou capture the audiencewith a bigshape. a startling image. adramatic type treatment. or a daring color,steadily decrease the activity of each lessimportant item in a logical W;lY to helpthrill get through it This is establishing a"hierarchy't-the order in whichyou wantthem to lookat the material-and it isessential for accessibility and caseof usc.You're designing the thing to grab theaudience's attent ion, to get themt heinformation they need, and to help themremember it afterward. If there's no clearfocus to start with, YO_I've already lostthe battle.

  • Pick colorsonparpose.

    Don't just grab some colors from out ofthe air. Knowwhat the colors will do whenyou combine them and. more important,what tbcy might 111C

  • Thi~ is J riff on all adage left over fromModernism , sometimes known as the"less is more" theory. It 's not so much.m aesthetic dOg\11

  • 8Negativespaceismagical-create it,don'tjastfill it ap!

    +BritishRedCrossJhel UJI,I

    first aid trainingfor the workplacebe s Ire '()I IS8.TP rl' Ildc .

    II's oltc 11 said Ih it III g,lIivc5p.\lt 0111, t 1111called white Sp.llL' (lWI1 tho ugh then- llil"htnorbe any whitt, .uouud] i~ mort' imp"n 111\

    I han tilt: stuff that's in it. For ti le Illl) 1P 111,lill l true.Space call .rn ution to coat lit"P r: tes it (101ll1l111 lall d cent lit JW\ll1,1it

    and gives till' !':yt''i.1 !lSIl11~ pl. ,Nt 1\rei just much shape !lilt you I

    d .11 with ill I"011lP' it; 'I I I ill Pwheth r pi... lilt'S 01 I pc. WIWll ,11 d II t .11

    with II ,II all ueganv pel d I IJi connected om tI vi II. I n IHIound If ill SI Itt' et III cd r hILI

    n0l'prc \1; It t I non I II II ill... aut to deal witl A 111\(" 1'1 I Itoverwhelm IIICOL 1I:>

  • Treat the typeas Image, as

    though it's justas important.

    OIR

    0 19

    Boththe stylt-bold, ~lllJPPf ' case, SilllS ~Ilf--.nd pbct~nlof the type help complrl l! thecompos'tlOnof this poster,Thetrtle don dooblt' duty as I;r,nd-

    ing stnp inc! idffll:l f ~f; Ihe logoItself appears U;ln .lllrpl.3.>le(w,th the bowloI llIe nlllnt,,,,l s(ruM , Its plopl'l ler); the ;I.Il8Ll-l.;It qU;l~l y ofth e numtr.alsISplaced indJlC'(1 COI'Itr.. r.tWI thIhe curves of Ilwo cloud fOfms;and the Slll.llU11! ~I ;IIt the topdraws Ihe d';lgon;ll motion01the ethe r clements upwardand OIcliv;lte s th e SP;l(l!;I [ tbetop ct the pester

    C G IIln,'~ J,

    A d OIHIll 111' llllyp r lh~ I Vi thlllllo I flit d 111 11" rard: 11ith unuu '11\.I[ I) l'J1I .H..:J lr 1

    phi Ill. r ph\ in I notorio I c d I 1picturerbodv cc ly If I 'v ~l I I

    'ulll (Jlllll lunglhe, IIXl,!)'c rs II II lSltl",dy PI 11.1110

    unagcs. i 1 quirky ',pd undc IIassumprion tb.u il it' btg audon rop othe photo. it's illtq.:ntld. rim lor H litvcbcck'Typc is visual m.nc rial 111,It"ie upoflines and dots ,Ill l l ~h"p s .uid texturesthat ner-d s III reLlll' compositionally IIIt'\cryth in~ else included in the design. 110rn.utcr how d iffl" l\,t1 t they Sl'l'Z11 10 be,

  • Type is onlytype when it'sfriendly.

    infonumion. nack WhUI typography ".ISrrcau-dvery rigidly and always in gnodtaste, Beatrice w.ud, .111 English tJllc criticlikened it to J crystal wine goblet .1 transpJrelll vessel designed fnr utmost clarity,not for looks. Beatricemight he dead ,111,Jhel crystal gobler might ha\il' been replacedby the far less stuffyjelly jar, but thejelly j.n still lets you sec what kind 01 Willeyou're drinking .

    M,lkc it legible, rc: dnhle.or whatever j0(1want ttl call it. It shouldgowithout ~.lyillgthJt type thai can't he rc.ld has 111ll'llrpll~;

  • I 01

    II v i I

    UGLA Summer Sessions 1SS8

    Coe otthe 11"~$Oru ~Otl l,kl" th l!>poster '>0 much IS that ,t speaksto our(a mmon knowledge sodearly; It feels atmcst as ,li th.lsn't been designed Ahot -tolored ( Ir

  • 8QOl("G~91~ nn:'YDNl.lOf'fW fQUU COM

    IInEl1lC. ' J1 8~9Il(KEHJ COM Al}

    CO,t~ II""I:.l ~

    " ... GI-St I \Jl-:>IGN V1No:.. f l-Rml

    LIGHTING Oo'Mlt N COOPfRCOSTlJW\ lENNlf f RIRwIN.

    MilNe ~fYMOiJROEArlVl AS~OCIA,l[ ....."' f1 ~F~"IDN

    Elit ry "" ,Ut ill th Is po lJ l!'f IS ~different $i~t; every elementlus .aunoqu!" ftL;at ionstup wi th

    ~ry Od~f, Some m.lttfl.l l isdense and Iinur ....Mt otherareas are open and roundAngles,Ut J Ult.l~ tensel)'....rth CUI, wgt mnsn .... ,t h~tl The' Hul t IS,1seqeeec e01V1SW11

  • Soft, l ippling uans.nons fromdeep hlark to luminous blueprovide a Sensuous backdropfor the bright, sparkling typo-gr.1phyin thisposter.Bych;l.ngingthe sues ol lyped usters,.15 well:15 the spaces between them,the designeralso 15able to rntrc-duce nanuttcns in v.llue thatcorrespond to sl,nlla, tratls,ti0115in the image.

    "A "

    1',1KC:l Sllg~CSLiill\ from the world 01phlllogrJph). make 1>\11(' thl'l c's u wider,lngl' nf tonal V.1JUC, Renowned landscapeplllllOj'r phcI" Allscl Ad.l11lS advocated .1nine WIll' system of tonal value, ~llggl'sl

    11\. tb.u .lIl} 111I{)t()!:I.q>!l without allnineunc dIJl1"{ 1J.1\ll'lllHll'h, .II1J thcrclon-

    didn't II','. lip 10 its potential Purrhcrtuorc(Illil spread nut till' tonalr.urgcall overtil

  • " " \.QU , 0' ~, ...., u~.

    01ramllln of People WIth Dlsabilltl6u o "'~(1I""' ''r. 0 .... ( 1,I" 1 ~ 1 t .... l l f ..G( ~

    WIO(l~~IY.I"'" S. 20.~7:00"9 '00 p.m.

    Be decisive.Do it on purpose-or don't do itat aU.

    thy 1II......1a1Urlill ,la.Uniftrwht Sotlt!:y]&0

  • At I 0'1,':

    TtlI'fO\lgh, Y'SUf.ll! qLl.llity 01th,s p.llgt sprud behes ttlt pur-poseful p1.l1tement of IcemsThe deSignerhas veryobjl!ttlvl'lyperceived the visuill presen(f'-wel,ht, texture , lI1OYernl'nt .lIngul.arity, t riln$p4fellCy,wntour-01t .1{h etemem .lind h:a broughtthem into .llignment and reta-nonstnps th.llt ate h.1 fJnO'1I0 Ll $and resolved.

    ,besonde.. alles

    s a h nunferbrochenroc n , "hI,. hi all W le nac ensc "Illolken Rug9 und hallen

    ~I riH bisweilen, en

    Measurewithyoureyes: designis visual.

    tI 1.111 111111

    I I. l~ 1I11 ' ..lppt.11 I .1\ III ha (, I be ju ted

    III PP\',11 IIh I d I rom [\)p toI I l in-ular r01ll1~ atwavs IL1(lk :,Ill"lk'rI 1 '111,11, tonus tll.1l ircnuthcm.uicallv

    th 1I11I'h~lght.Mllll(VI11l111lt'!;11('d,1hili, I I ','1" [h,m the :-'\]ll,llt' 100l11S 10 ,11I1'l.llh 1111(' lZ". M.\kL dcci tons on b luuct

    vc II lld,'nl,:!\rl'lhl'I\.I 'lk \1 II tlu-I 11 I til torn! tl h ll~ h,

    "

    InIII IH

    02 clearly flat and fail to offer a ens, ofmovement 01 spatial interaction, statethat is relat ively easy to achieve. theviewer's brain is likely10 b uninterestedenough III hang out and sec wha t themessage is, Static compositio ns ,~dY.You've figured me out so walkaway,

    nothin g to see here.

  • By~pprOflfi~tinl the cea-se,shghtlyw~shrd-.oullm~ge/)l

    01Communist p'op~g~nd.postees, bill ~d) uSIi"1 theC10pplflg and . d

    The design of the past has its place. It'sinspiring and important for a designer 10consider how ccmmunicatlon srraregicsand acsthetics havechanged over I imeand to uuderst.md how his or her ownwork fits into till' continuum 01thought;111.1 practice. Evenmore useful is the re,,1izmion rh:usomewhere ,1I11llg the W,ly,

    another design...r faceda similar problem...and solved it. To slavishly reproduce ap.ut il ll loH period style because it's reallycool or worse.because the clients thinkthat th eir "el lcus Party" invit ation shou ld11l0k like an lltl.(, wood tYlw poster is justunacccpt.rblc. l earn [rom the work ofothers, but doyour own work.

    ThiS(Overfora relssuf

    M~rp 0

    I~

    utu~\sr

    11\-FEsta

    F.T. ItICJrinett

    h L l ~

    0 28

    029

  • Symmetry is theultimate evil.

    "Ithougtl the bl.d ftgule e s~t ia.!1yjsuntered in the fOlTllJlt ,II pa.r1KipatU in

  • r, -r III rUIIIml .p 1(1

    II, III

    o III

    uttu 5 I ,lnt I

    C I I 1

    \ "', ,

    03 0

    031

    Chapter 1

    I am convinced that abstractform, imagery, color, texture,and material convey meaningequal to or greater than words.

    Katherine McCoy~ 1 I II I I'l

  • There is no longer agreementanywhere about art itself, and underthese circumstances we must goback to the beginning, to concernourselves with dots and lines andcircles and all the rest of it.

    r I Hoff nc I"

    n

  • cellular,and a totality, Asquare,conversely, has angles andsides that are equal in meas-ure, and IS stJ.tic.Asquare istherefore .1llalytical,matlte-matkal, unnat ural, and hmte.

    111l.11111 Ou Ililill' 1:-> th [mil nlthllll' to Hklllify I 111 lhc [til 1SI:' wh rlcil(l [lit Illpl,

    til riuc trv toid 11Idyil:Sllll, fI,\ 'I 11rh III I' Ill, Noon (J['1l11:-' l1y

    I 'It Jl1 I 1l1llLltil1' h I ny th II lilt! III j(r1Ji:. ritic.rlifit'sro

    l'll1111s~:1 't' III

    i ltli, 1 11 Ill' !h;1t Iorm , beautifulP) ibl 1 \'1 II lcv.u d igl Illg b(vritl~l pi I P 1, ItdrilllrolH I ( 111. tldiL'11(and It !till,' ln n pick through It likehy11;1, 1111111it1~, ( I rl dismember d care S.Till I III h\ uu 111' Ius n host olm inings, dcp. I ding Oil ontcxt: IIIrc , wvr rno! t lkiug about be.uuy In mean 'prcuv

    Everyform, no mailer howabsuacnt appears, is mean-ingful. Acircle,forHample,rs a ccntrnuousline,and Itsroundness IS a "'try specf!trau. ACircleIS thereforeendless, organiC, rotational,

    Theidea offormal beautyish igh ly subJ e ct i ~e , Both theseImages call be consideredbeautiful,"e ~pi t e the fact thatone IS Sl'nlUOUS and "dean"and that theother is aggressiveand "dirty."

    Fir st Thing s First II 'l'l[1l1il Lll' I'll,111 illll >l: III Lil1',IL"H,1 .S o[ III diumOJ' il t 1 11 1 III )I!I u I I ' fo III

    It I que. lion (J 111 11' 1lI to look Itunl or '.lI1lzin' II ( 1,11 itlooks rood lidhelp r 01'11 III In 11(1 110t '\I I whalthr-vre Lll1g,llWll il

    fell tlu-m 'fa II 1 tli1111l'~ textures. ~\ lid nc L1[01111 tlld! is chosen ruude fOI whatever

    purpose. should be LUI idcrcd a nrcfullvts po siblc.bccau ccvcrv fonn.n matt 1how lbslractol'sl'L'1l1ingly impl camcs

    FmmIS stuff- Includingallbuds ofrmageryand type.

    c ltegoll('of Form

    Pllltlll'Stlill

    11110 Sp. CI!

    l fllll)l II un.rl

    Str 11 II"

    Seeln,Formand Spac.

    A I,lilnd 11011101 11 run

    032

    03 3

  • 01 " t It'll ' l [ r \ ,., uuu rb tJ[[ {ul , r[ lent. -cdi I .1 '"po h t' 01, 0 u

    " .1 1 ....til l iv

  • cellular,andJ totality. Asquare,conversely,has angles andsides that a ll.' equalm meas-ure, and is static.Asquare isthereforeanalytical, mathe.matkal, unna tur al, and finite.

    Every Ienn, 110 matter howabs trac t It appe ars, I~ mean-illgful.Acucle,for example,is.l conuouous lint , and itsroundness IS a v~ry sPI'C1 f1ctrillt. A circleis thereforeendless, orgallic,rotational,

    Form I ~ st llff- -includmg;tllk i l1Cl ~ of i mag ~ ry and type.

    The idea of tcruul bea uty 15l1illhlysubjective. Both theseimages (an be consideredbeautlfyl, despite the fact that0 11 1' rs sensuous and "de an"and that the other is Jgg resSiveand "duty."

    First Things First I ~1 pIll 1 I: II111 ill1.1g( 1l1:l!(11l '. r ' rdl 11 dium

    J inlc nt r nIl.' I 1 \11111 [,11 J I fOJ 1It

  • i I II I; , ,, , I , II II

    I 'I u 1'1 II pl!

    , ,

    , ,11 III

    nuifnl:,II ,

    'I l till

    ", , to ", , I '" '"If It b ItI , , , Ion pi

    01 " I, rI , " , I'I r

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    r t '1\ HI Jell ,Itt ir "vI n111 1l.1l.ld '11 \

    III hi r Ill' W( IlJ~, d III II litH I

    W od \J11}p~ i b uuifulugh 1Il1,lg~ c 1 Jl1'II 1 I til J

    h 1I 1 11 I (IIII II I f I

    (,It loth I

    Inc 11 01

    d f rn

    MOPI. onEN OYIIUOO" I;;

    IHYI.NTl Vf UH 0.

    lINl, MAU, ANO T1llliA

  • u: ,MICHAEL MALT ZA Nf!.;Jttm:aI'!l!l:IiJ

    IiII.

    I"Till \l t RlICf

  • --

    f H l 1l011.l1 0PliTIIl J Ilo\ l"l

    _ The Shap e of Space ".Is1111 III pi 1 11,\

    wI,

    , II

    , ,II

    AstNll lOt'm.1t cmh.;lI'I(uthe presence. or.lpp.uent mus, of an elrmenl; a l.v ger form.ltdecreases the presenceofan elementwrthtile ~me phys'ul sue

    r , " , I, ,

    I. 1 I rc I

    Till SQ.Uo\'U CIl -1W M r "H

  • DYNAMI C, A NIO UL"1I

    Apos,tlVe (blackllorm oo.llnegative (white),roulld , andthe reverse , retains us identity;IS positi'te ifthere IS no oth~formor s~l,a! break to defloe

    II .lIS.lInythln'else. Nole .lIlsohow the white teemon the buckN(kground;\P~.lfS I.argtfth.llr'llis UtM'SlZH bI.xk COUr'lI!:'rP.lIrt on the white field.

    and, evtntu.:llly, might J.ppeJ.rto be pcsit lve (white forms)tothe cce teu of.llblaek held

    1 I,1

    VAII II O CONTII,un 101

    As;\ bl,uk(positive) formbecomeslargefwith", J.neg.ll nve(white) held,Ihe teftcveenegalr.e spaces becomesmaliN

    "

    t I I I

    I"

    SlngForm andSpace

    C.llt II(! nnn

    _, .:.:3~6.37

  • --Positive a nd Negati ve torrn is considered

    .1 positi v til III -nr , :\ solid thing or object.Sr.H1'i con id. It'd n g.lliv~ not in abad W.IY, but ,I!, the' bscncc. or opposite.of Ion I Sp ( I Ih 'ground" in whichtonn b ',I,m. ~ rgurc.' The relationshipbctwccu I rm an p. H', or figure mdrroui ( complcrn. \lIar)' and mutually

    d pltlt nt: II' III I sibl to 'lit r one andncr tllt other. The c mlrontation bet ..... ccnugur .md n ILliG defines the kind of

    visual IV t 1)\ II nt, and sc lSC ofthrcc.di n ior olJilY perceived hy theVI('\o'o'C All rhe qu lilies arc Inherentlyrommumcat VI: rc lying the relation

    hlp betwc n !lgurc

  • 1,1 n I " I I n I -hr I ull, I " , , I, dh ." ill I n rt th

    111 tv I' I (JIll , n II I l \1 t '" "It " h'tv '" , , rhror gh V

    III liP u"

    VIII , " htpIt rc t 17.< (II etv , V, '" nI , , n ,I It , , 1'1.1 , , u ittv rb-u '"

    " ,d I , , wu t I" 1 iii) II ,, I ill" n n ,It ", ,

    " u i ", ,

    1 d II It)l " , , , ", " " , ,d I'" "' 'I', , , ' " ,It tct I , r ou" ,, , .0 on

    " " '00 a , vc, ru ,

    SeeingForm and Space

    111I rwc M UlIO HUOtlM SHM' H

    , ,

    , "II,

    "

    0 ,"

    0 39

    Il H P IlI Till ' ''CT fll/IT

  • -

    Laminar

    Comparisonofan active IlgLltelground relabcnsfnp(left}wllh an il1Jcl ivl' f,gllle/groundretauonslup (right) hints atthe poten tial for !I1l'.l lll n g tobe perceived even til such .1fund'1l11enl.l. ltysimple,abstr,lctenvncnmeot. Compare thesepOlUS 01sunple, opposing Ideas

    --

    tilL PoUiA,llVt. A.ROWS

    -between the two e~;I,m p les:loud/quiet; aggressive/passive;ncrvous/\e date; (omplex/s!mp le~e lle f!l el l (/wea~ ; andliving/dead ACE

    r OMTIYl AN " M GA II VI

    " I

    ",Sshown u rller, cropp,ng largcforms WIt hin a smallcr sp~emolY Somerale the percepnon ofn~ fOfIll S thilt beccme poSi tive,.1simple uample of "!lurelglound tt ve.sal

    The IfltruSIOll 01a l'l'1all sJ,;apeof extenor negatIVe space,rela tive to Ille pcs uwe form,(.lUStS the neganve spaceto lake on the qU;l.I,tyof a poslt lll t whi t. formwhl l~ stili;lllowing t h ~ eye10 perceivethe black form as cos.nv e

    oYtr~ 11. ThiScomplufigurtlgrou nd revHSJoI pl~~nts nchopticalpossib.lit,es If! composi-tion, even among 1t'I~t lv!!'ySimpl!!.or r!!I~I ,v~ly ,_. formelements

  • CO "' ~ 1Il 1 R uell UUHNT

    Ills 1'Ih.:lI't .lPPUf$ to beM.lkedlsions.:about formsbased on I~II .app.a',lnu,.llh., tholln on ,nltncltd tlltttor, WOf~. mt>.lSUfemtnts

    Form ISOf'l,c.lllydC'( (' pt~..nd so m~st be luds:td accord-ins to what ntooks IIkt ; th,sIS,111 the v.ewtf wIll bave togo on .ls .... ('11 . In Ih,s eumple,tht th ree sh.lpes--

  • -Clari ty and Decisiveness R nlv d r !I III It llpl1 Hl II~ t It:I .1 lIII Y 1.11 lIdl I I I'

    (Inpu 1101 I It ,I II lsi 1 intid I h

    m " O'It II d tn lilt,,' '" 1 II JI t IhI' I h '" I. .Fir

    n I , I ,, , I01 wl II i 1 h , n

    " I ithtIll ral r I rh , ,r n .lllh d

    i om

    I' n t ~ to d, , ,, , ,",I on or 'I lite , h r

    n r I lOl, a tv I 1 r np I lor Illi p ru ,n

    " I, " I. the. t,

    A.n ,m.lgf"Sdeg,r e 01rr lmll.'m,:-nl.r lr.s to now much 'I ,s likeIlSflf, how (IfoJr and und,stu.bNbyd,st,.aCllngQ' (onlUc.l lngelements-. ra ther t hJ.n how~dun " Of " f,nish('d- ,t mIght

    Jpp tar. Shown bere, h,st , ISJ form tholt is not yet relmed,its inltrn.;al , t1,ltionships ateund U l, SOflltwl\.lt '\wkwJ ,d orumt solvt d. Sloght .,Idjustml'ntsrefmt ,ts Inhe uml c.h,luc.le llS-

    t K S so th,:lt they are morePIOnourk td An O\I .-dJYof theong,n.11 (gI.:IY) and relmedfcems p'o~i~s J. d..tarled com-p;l.r1son of the-Sf' alteraucns

  • Van Lan l ch ol .1,~ Oftn ld .. ro

    . ... ..

    . . .TIl E IlO T I'''''H II IN H.\RC HI I FS

    , I

    .. . :" .

    ..... ... . . . . : . . . , .............. .

    ... .. . ,.. . . . . ..

    .. : :: : : : : : : : : :. .......~;.;,,;,;.a:-:.;.:.;,' ...:L . ..

    I '''' CONTIIASTSt , -!

    J"

    I I

    '"

    1111 '.III znt r 'If'

    Categories ~of Form

    PUlllll' tuff11110 p.nc

    ~ 'l(1fFoun met Sp. r c

    A Jill 1 I I III1 Mr- 11111

    04 2

    0 43

    I

    "~ I

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  • r Each of These Things Is Unlike the Othe rIht;lt ire ~ vcralkiudx ot hl lI!orJn,.lllnt' II h dm SOllll't!lI11g difll[l'llt. R tlu-r,the eve uid the br tin perceiveeach I iudof'fonn us doill? ~O\lHthillg different..IS II IVing it~ OWI1 kind ofid '11111'1 J hperceptionof tlu ~l diffcrcu. t. aud 1111Wrhcy ,1f(I.'{'\ the fonu S intcrnrtior with,p,1 e .1I1d nth r forms around it. of differIllg ilkntltil'S, is wh It rouxutu! 'S theirP(rceivcd 1l1['.llling. The context in which,I giv(11 JOIIl1.1(lpCarS tlll',S113Ct' Dr gnllindit occupies ,lilt! its rclationship to adjacent

    Illlll1 willcl"lIlgl lis pcrrl'i\lld III ,[ling,hilt i1. iunin: II" idllltil) andopticaldfed "1,,, IVS remains ,H1l\lldC1IY"l{! trllthThe most basic tvpcs or foI' III Jr, till.' dot.lhc line. uml till' plane OJ lhl"~' th,line and the pi lilt' also can be l uo,;gnriz d.1S geometric or organic the plan ,11Ill' lit hcr flat. rcxturcd. or .1ppt, r 1,1 I wethree dinn n'lpl\,11 voluuu- or Ill.l

    III

    rr's T IlU I', l'tIIlT T Il IS IIllIl K

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  • dc mmates Ihe space ~ ,oLllld It,.;IS It movt s hom [he centerthere rsa shift in domln.;lnCt-the background ~sstrts ltStlfand tensrcn .1nse'!.

    The dot breaks the spaceIn ~neutral w;"Y. beingweightlessand Inle rn ~lI y balanced, bui ltnIlght ~I rt.ldy eate nonceabted l "er~nc~s in spall,ll a r~.u IfIllS placed offcenter.The cen-Ir"Uy located dot ISsettled,eomfort.ll.Jte , and stauc, but rl

    The Dot I'll(. it! ntiry \11 dol IS III t ota nu " n I III d v , dftl at lire d I 011 H Hill W),llpoiut of fccus d lIrlllioll: Iht' do simul ,

    "

    , Jill In , u '" It 111 ULI Iy onrra I illWll am I, di ItI , I' " II an nnrnedia terel,ltiom hlpwlIh tbe space,the proportion of the dot toIts SllrrOllndlng ~'u IS themost important eonsider;,.lion:~~colld rs Its re l,l t l~ e posrhcnto the edges of the s p~ee .

    Introd~ rI\g a second dolshrlts atte nt eon .1W~y from therelanons jnp of tbe sp.J.ce toI" t l ll tt r~CIIon of the Iwo dots.T1lC'y rele' to each other ,l"dimplya st ,uC lll'e--;lnm~ l sr ble,conn('(I"'1 pat h th.At spirtsspace apart

    As dots approach each other,the tension between themin(l e.l5es. If t be space betweendots is Illst "bollt zero, us pres-erce assumes mort rmpcuancet h ~n tbe dots Ihemselves,.1ndt'Vt'n ""ole .mpcu ance re!.;Itive

    10 ....nyo ther sp.lIl .... l l nt('f~al.If lilt dots~rlJp , eSp

  • S' '111~ 01 III urt pac

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    financial information.

    Categoriesof Form

    Put II IffI '='>pl

    rn I 111 11 1

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    Worklng t Og~l hef. dots (rt'.ltf,tllendlessv.Mil'tyol.llfr.llngt'm~IS.li nd l"cr US,"! (omp lulty-a slngll!vertnal 0' hOlllOf1l .l1fO\v. rotated rows, anisol.lltldo t in cont rolSt to a group,

    progltS~OfIS tn mlt",;!I, or~rtd

    10,,"$ In .1g'ld structuee, .loginand Itom~n( patterns, ( urv6,and soon

  • NU l "I I /l O TS "RE(l RC\J 1 UH

    It.I ::: i! .,

    T Iff . C1l1 HI R Of cots

    The neg~tive dot 1$ (luted inreverse hom the convergen

  • The Line I... J Ill. '.'i~ I II d l h II Itll I i-,ouc uf rouncctiurui unucs I within.1 l II 'I1t) Iii iu. This (~...",,,"..~".,,.... ,." .",.n...~_~d'., .o ,~'h"~"" "" . C" ,I .....'"........

    ",... .. "" ." ..p.,,~.~...............,.. '~ " T1" ._., ,....". ,~.....,,",.,"

    Bod e Sound Project

    GAL NAUER ARCHITECTSPAST PRESENT FUTURET01~l CO(lfCTlONOf 10 UIHHNA1IONA( f n ~JICT' OUICNIO~ T GAl. NAUI RARCllItl CT SDIJI1IUC1111 TlARSl'OOO 200~ IOllION "0. 1.0 WWW,(~.MCHITfCT. COr.l

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    ,a . 1,......-

    e>n b filley

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    f ll kU n AlIC lI NI S

    A line t ravrling .lround a lned ,mviSlbte point OI l an unchang-Ingdistance becomesiI rircteNote tholt a cude is a line,not a dot. If the bee's weightISirICttJsed drilnlal icJ lly,.1dot appears In the cumer ofthe circle, andeven tua lly t i ll 'formis pt'rce'Yed .15 a while(neg.\hve)dot 011 top ofa I.lrp,el,oos mve dol

    A spi raling lme appeilrs tomovesimult;u~sly mW.lrdan d outw.:l.rd, rt--creal,ngthe \/isua.l lorcn inherent Inasmgte dol

    Athin, single ltne11.15no centerandno mass, e~p,es5 ing onlydirection and an efleet On theSp.l et' sIJflounding II

    Achange irll'l'e ighl ilmongagroupof lmes,as "' I'll as achangeIn the mtesvals bereeenthem, eates the illulJOII ofsp;aU,a! dept h linn th.lt arecloser together exert tensiOflon uch other ,lndadvance

    Breakmgthe hilt ecreasesIts surface oKt ivltywithoot dis-tracting from Its movementand duecuce .

    in space. "'hlle tbese furtherapart recede, If any oIththnes .are rotatPd to cross theuUlI.mtefpa,ts. tht perceptson0' spatial depth IS enhanc:~and tvffi moreso,I tntit' ...~ts.llso are d,fft rentl.1tPd.

    Several thinlines togethercreate J. texture, su rular to thateared by a dense groupingofsimi(,u-sizPddots

    Altl1oug l1 .l thin hne generallywiU ;lppta r to recede against ;lthtcb r b"l!,t~ mind tsc.lp.1ble01beingcO""lnctd that thethin hoeis crossing 111 front 01tht thicklint

    Sep.ltJ.unllthe noes incrt.lstSaueetlcn to t l1Clr IndlviduJ.1Ide!1llties. It alsocaus attentionto t he inlt fV;Ils between themand what, II any, V.lri.ltion therermght be

    Twoheavylmesthat are~closetogether u ule;l third_fltpllYt-Une betweenthem.The opncal ellett of thenepl"'e white boe IS tholt ofa ccenve element on top0I;l smg!ebl.lck element, evenlIthe oeg.lUve lmeJOIns optnSp.1CfS.lt either end

  • Two lint s JOlrllng uutt an.angll!. Thl!jolnl between two~nu becenes a s ta ltlng polntJOt two d!rt {l lona l movemtnts;multiple 10lnts between hiltscru ll! a sense of alt ered

    d lll!ction in Olll!tl\OYtrl'll'llt .All ulltmtly acete anglemighl atsebe pft'CtI Vl!(j ,n.arap id mcvemenr from oned l r~tion to anct ber

    uoes that both enter and leavea fer mat remforce the senseof their mcvement ;l.long thedlreetlon In whkh Iht )' do so.II tht bt g," n,ng 01 t ndllli poifltS01the lines are ccntamed

    within ee format, their duec -tlOr1 ;1.! fY1O',l!ITll!f1t ISchangtdfrom conuncc cs to spec:if,, ;the ruult is lha t tht" ltllsiortw,th sUlfoundmg spaCt OIlormsis increasedgrta ll)' as the t)' tis able10focus on the pomta twhICh they star t or stop.

    Wh,tl! (nl!gat've) lints (r O\SlngIII fronl of (.and behllldJ bbck(posltl\lt) l,~s Clu lt 1nc:l l'.l$lnglycomplu spat ial .l!l;ltions h,ps .

    SC('II\F01111 (HI Sp,n

    Lmes together product rhylhm[ Q\laUy sp.utd,.a set of h iltsp,od LKtS an e ve rt, . tl .ahvtlystat tt mpo; dlllt.tllctS ,nspaceplOOUCta dyllaml(.

    Syn

  • "..0 '1 t H IS IIMOCltLRI SPltl"D

    A

    ~...o

    l ,llts IIllght breakor joinSPoloCtS""llh,",1 form.lll. In brt.lkmg or",mlng mese Sp.lIctS,linf'S mightperform .lIcldllion,t1 functionsrtl.lll lvt!to otht, IOlms wlth,nthe u.mt 1000rn.llt. (A) The lmt'proteds tbe cifeul. , form.

    IU CAlist I l lIrjU /I,Rf(B) The- whIt t uneJOins botllIOlms anon.ill bamer. (elThelint olftrs COI'1tf,1.st to the form,but Rlpports It . (D)T~ hrwolOIns two sp,aU!s.

    ~ c

  • Plane and Mass A ph11l(' IS simply illsthig dot whose outer contour the' < llSe ufit s .hapc-bccomcs au impona III ~t t rihutfOreX,l1T1ple,lh,1t itmay he ;lngltIM, l'

  • --point where ,I plane obj t enlarges withina format so that its actual Sh:1PC hlgillsto ;111'(,'([ tlu- shapes ofthe ucg.uivc P.lll'around it. the character l1f iIs QlItcr contour. ,IS well

  • S{'CII1~(

    Fonu and Space

    Geometric Form Asthey do with allkinds of form, our brains try [0 establishmeaning by illt"lllifyillg.1 shape's OlltllCOI\[(lUr. There are two general categoriesofshape. each wIth its own formal rindconuuunicauvc char.rctcristics that havean immediate effect on mc:-,:-,:'\gil1g: geemetric form and organic tonu. Ashapeis considered geometric in nature if itscontour is regularized if its externalmeasurements Me mathematically simil

  • --lr',rtill" I( 1. ,I' I srou hdWCl'r Ilill ditics aud till illt" III "" Il,lll11'I1I;\lh "IAltho I 11 1I rruy 01 t,I' ,Ig omctn h, '''''''''''11.

    llJh 1 ;lrlyorcllri' 1(' andrr-lmion~l'Olll trir shap, C~l\~(ltll~'l,.lhc message

    thing niuci 1 ly" l~ th.u of .ll, ouuived M1111( .or syuthcuc.

    the,lrregular ort llel f anaug gJnic quality ofement s 'relatlcnsluos [B 1!1 1rregulM

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    Arrancel11ents Iterms in g 0 geom etricmat.cat ~p'~lm', lnc, or nu the-

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    , " 1.1 relattAl andAl l lonsh lpsare contrasted by

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    "Il AM e 1i.O,"~II I I I TR IC f OItMS-

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    11,11 hUll rom 11 pan of tlu- urtac1(1 IlltlHl,lkl II thi mil 1'1111,111

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    Surface Activity I j){ qu lilly 0 '>111 III

    .mivitvh II \1 di ct nti.nir tnrm11 I h hit I ifinbl

    l lIlt rr ,t I nil I \ Id 1 h Jildll ,I ( Iqu It I

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    f r1 I , It! 1I I

    lIy till 1111 I loll. u ", ''llJ,lily 1 r t. llu I tll',l

    II lit I 111 lnalnu. 'IIlid ,plwllIl..,1I CJ'~. III II,UII

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    A

    he SOlllClhilll' that is IlotOlg;jllic: they

    ;11"1' .~11111tthing synthetic. mechanical.mathematical. at mass produced . Whenconsidering texture. it's import.uu !1l1l0[

    ov rlock the "election ,Ind m.mipul.nionof P,IP~'1 stock this, too. CTC.l((':> surfaceactivity ill a layout. A cn.ued p.lper 1111ghlIll'glossy and rctlcctivc. or matte andrelatively 11011 reflective. Coated stocks arcexcellent 101' reproducing color and detailbecause ink sits up on their surfaces.rather than ht'jt\g partly.rusorbcd by till'fibers or the paper. 'I Ill' 1"l,'1,11 ive slicknessof roared shCCI~, however, might comeacross as ('old 01' impel'sonAI hill also :l.~refined. luxurious. 01' modern. Uurcatcd

    stocks. 011 the other hand. show ~I l";1ng(01 textural qualities. Irom relativelySIllOO! h 10 vl'"ry rough. Sometimes. flecksof cth r materials. such as wood l hips,thre.Hk Ill' other fibers. arc included for

    added effect. uncoated stocks tend 10 feelorganic, more personal or hand-made

    andwanner. Tilt wl'"ight or tr.msparcncy01,1 paper also will influence the overallfeelof a project. Lxplcitinga paper'sphysical properties through folding,cutting. short shcrting , embossing, ,111\1rearing creates SIIr!;ltC activity in

  • TI n. IIHl c ,o,n (;I.O."~ V,o, 1tN '~ 1l

    110 " ''-' 110 u,. "I , r,,1

    tid 1'1' rli Iii..., "lit Ii Ilr ra-n

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  • I (IKtpll h'l II il~\'.vcu It' ch It I III 1.\1 thc r n

    \t . 51 d I t I I d I'

    iii Breaking Space "1' II>, ,ro""d 0' ';c1JIII I orllpll ruon i.11 \ 11"11.1110 ill l!iVt,

    un il tis l 1 I Ion turhow do,Ild I III l!::IH It .mo wh,u

    h, PPl I II 011 ,ht [y '1 ill

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    .... unu itII lilt'

    brc,HIIO! IlIPlilHS"tl ,I sl w p.trc

    lhe arc I urrounding Ihl form. t-achclement brought into III pac delromplc uv Jill) crease theliteral;111 1111 I I P It' n t r Il ItW

    I l 01 P,ll I III i II I til unct:;1 I" IhJl111 an II d Ilw Ic 11 like the11 ( P I he let h) ddn

    co sidcred fl h;l integral to hit vm 10w round the

    nu c mcms. ,I w II 01 ordermil nih throng! It compos lion.

    WIWll the hap S IZ propOrll0nS,

    .U1d dir tionaltlu Is t th c sp c

    AsSOOll ~s ~ formenters a giVi!n space,tbespaceis ch;lngcd ;Ind structureappe.ns-.stmpleas thiS111lght be. Ihe re .lll! now twoSp.lCU elu ted by tbe form's loc.ltion 111 thecentee01the Iormat-eac h semlarillq U.l li t~,shape, andvolume .

    Sl IJlI'I Drill .1IIelSp r'

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    Putting StuffInto Space

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    , 1 I I

    TH t t ORMS O l THIS

    iid in.::--...:....;.

    062-----0 63

    ".-, ' . ",: .,.... ::.. --.,r,."v f"

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    Without c~ngtng the form-e(ceptlor.l minor reposition,ng-the volumes,sholpts.;lnd Qool hClcs inherent In theseaees surround,ng the form;lIe maded,llelenl fromuch other.

  • -xhibit t h',lf ft'I,\li'HI~hil)'"with till' II filllcmcnt rll V surround. tht} become

    rc .olvcd with the form .rud with the compoxitu 11 ,I~ ,\ wholeStat ic and Dynamic I hI pIoporticu, ofpositive 1110 l1t'g nvc rnialu he gelltl lJy. t: tit: 01 f:t:llt:l,tll~' dyu.uuic Ikl,IU,t: liepil 11IIl )11.111t: is ,illr.' lei}' _111,11 cuvinuun. nl

    wheremovement nd dcprh rnust br arcn ~,

  • Arr anging Form Vv, II t11 t a I 19 I }pl~

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    \ tether.

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    (II ex.unple ... i Ilate I IIr t.i I II)

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    Lin u k round nu'wnII U u I} II tl

    11 I r l I I bac un 1 {f II' ucnuatically pp I 1 til

    torcg ound Ove lapping form III WtV roptic ,lly pmiti,JI]s Ihl'\1111\:1JTI or 11l11h~1

    Ov~rbpping Allow"" ereform to cross in I.ont of ...nether,even if both are the urne color,WIll crecte the illUSion 01IOlt grOlind ...nd background.Introducing siZtchanges ...moilSforms thJI overl:ap, .ls well ,ISchanges Inthen relative VJIU1'5-or,for that matter, pl,wn gnegative fOlms on top of posi-tive-willgrutly l'nhOlnct the,llusiOl1 that the forms t m tWi thin threed,menslonal spau

    -

    - II--- -

    Aligning Crut",g edge reta-tlonshlps between formete-menls-ahgnmgthem to eachothrr fromtop 10 bottom, ltftto right, makingIhl"ln p.u a"tt ,and soon-might reeate gee -metnc SUpt lStru

  • .IW:1Yfrom the viewer. The designer mayincrease th is sense of depth bychangingllll' relative valuesof the tonus byJl1.1killgthcmuunspurcn t and increasing thedif-fcrcnccs in their sizes.Placing forms that.\1'(' reversed made negative, or the santevalue

  • CO NH NT IS AlWAY ~ III

    .1.1 II< " II)'.j '''1 " I 'I " h I1'1'[\"( II ,1>1, I)

    , II tit' 'I' h I u' ,,01 [( I I","It,. rl lt I ' II I I

    [1110"'11'1' hi,, 11 II! ro 1I'hn b ,dUll ''''I'll'I"lll, III h ,/U" " " '0111

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  • Symm etry and Asymme try rbe r(,~1111of making all the proportions hctwu:1l rindaround form L'knH'llb in a compositiondifferent is that the IJll~sibili(y ofsynunctryis minimized. symmc tty is ,I compositional

    state in which the urr.mgcmcnt uf [ormxresponds to IIll' Cl'l ural .rxi s of IIll' 1onn.u[either the horizontalax] LJI' till' vl'l'tic.11axis); the forms might also be :trrallgl'd inrelation to each otln-r's ccntral

  • Activating Space OUTing till prot"('~s of

    composing form within a ~iVt'li SpOlCCportions of space might b Will disconncctcd from other pOl t 0 ~. 4. 'c Imight be separated physic II Jf blo ktaoff byalarger element th c f 0 none edge o( the fo mat to the 01 or, it

    might he optically separate 1be \I aII of forms aligning in ucb way that

    the eye- is discouraged (rom nav ling pastthe lignrncnt and entering into the space'b v nd. I cu ing th major iry of vi ual

    uvity ruto one area ofa compr r 011

    mpl . h clusterin I ,11 C llcntway of crcatiu mpl is and J ontrasrin

    r or rest But this strategy n ig: It Irc lit III p. that fe J ernpt) I tedrom this activity. In Ils eh ( tl

    Sf'f'Hlj.J

    FOIIil .md Sp '

    C ( on01 lim

    Thedi~gona(l ine in the tippercomposit ionsepalatts ~ man-glliar space from the remainderof the formJt; this space du-connects from the ccmpcnno n.ll'ld is de.lctivated. By endingthe h i'll' short of the formatedge. even minimally,the eyeIS encOll r~ged to revetoptically.lfollnd its endingpo,nt andJoin the two spaces together,utrv atmg and ret~ting them toeach other.

    In thrs example,a lineonce~galrl intersects the format,but, becausethere Isanover-lap ofshape conn~c tnlg thespaces on ~ I the r side of theline,both spaces areactivated.

    .,,;

    Becallse the;l, rrangement ofthese forms creates all optiC.l(a llgnm~n t that, while opento the soace at the top of thecomposition, stops the move-ment ofthe eye begun inthelower part, thi5same spacenowappears Inert. In ecnu asr,a simplr shift ofone elementbeyondthiSirlvisibte ;ahgnmerltIIlVtgor ~l e5 t h~ formerly inac-ttvf'sp,}(e

    The degree of 5p;lli~1 acnvattonin varlcus p,uts of this compo-sition differSbecause of thechangmgproxllnityand tensionbetween forms.. . as well ~ 5from differences m how thevanc us forms confront eachother-some overl;lppingand droeasing tension, someaorrsslvrlyopposingeachoth In directionor contra~tlngcuoe and ~rlgll:.

    ON TI n TUT SInF. 011111 I II

    ard, th ~p.l( ,.1'I tl d", h COII"'"I 0

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    Sp.ICC Call ht called "inert"or "inactive.'1\11 inert M inactive space willcall :1!I('1llion to itsclfFoi this very reason. it doesn'tcommunicate with the other :;P~ICl':; ill thecomposiuo. Til act ivarc these SIJ'Kl'~means [0 uscthem to cuter back intotheir dialogue with the other Sp:lCCS in thecomposition

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    In this composition, the edgerelatronslnpscuer0 '11' kind oftensionWithin the space, somemore .1ggrtssiveand ot herstess so. At the S.lme time, theedge relationships ofangularforms create tenstcn relative

    to the open, sweepingformsofthe curved erce eots: a similarchange in tension occursbetween the lineelements -whichare themselvesangular,but in the foreground- andthe angular plane surface-whichappears as a background

    element. Bothangled planeand lines contrast with e.lchother in Identity and apparentspat ial position, but ccmple-rnent eolch other's sharp, gee-memcqu~h l ies. Thisattnbuteis yelanother type 01tension.

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    CompositionalStrategies

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    The sensual ple asu re s of warmth i'l 1l(J t1l!' x .." 01II 1,, 11'1 .. ,-, 'e " ,>" wJl ',II" "'tI",~ ( .. "' I', .... , ......

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  • Compo sition a l Contras t Crc;.Iti ng :l1"-'\S

    of differin g presence or quality- areastha t contrast with each other is inherent in

    designing a well resolved. dynamic cornpos ition. while the term "contrast" applicto sp cific relationships (light versus dark.curveversusangle. and dynamic velsus..tat ic]. it also applies to the quail I)' ofdifFerence in relations hi ps among forms rindspaces interact ing w ithi n a form at togerhCT. The conflue nce of varied states of cantras t is so metimes referred 10 as "te ns ion.

    A compos itio n wit h s t rong contrast

    between round and sharp. 'lllgu l:l Tform sin one area, opposed by another arr-where all the forms are similarlv Jug ular,

    could exhibit a tens ion In angularity: acompos ition that contras t areas of dense.

    cnvc line rhy thms with are as that arcgCI crally more open, nd regu lar mightbe characterized as creating tensionIn rhyt h m. _ I'hc term ten ion can besubst ituted for contrast when descr ibingind ividual forms or areas that focus on

    particular kinds of contrast lor example.ill a situation in which the corne r of an

    ang ula r pL1J1c' comes into close contactwith a fonu.u edge at 0 11(' location. hut isrelativelytree of the edge in analher, thefirstlocat ion could exhibi t more tensionrhan that of the second loe: l ion

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    11Pro port iona l Syst ems Controlling the9t."5 movement through. and creatingharmonic relationship" ,llllong, form elcm nt whether pictori-al or typo p-aphi( cc I ag 202, Structure: 111(' Grid System]might be facilitated bycreating a systemof recognizable. repeated intervals towhich both posit iveand negative clementsadhere. A designer might approach devcl

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  • -opi ng thui(' propor tions 11\ 111 intuit iveW:lY moving mau-ri I .SIS for Its sp;atlal bru hThegridsystem shown In the u cond

    example ISa system based on repeatedm;athtm;atl(;a l irltervals wllh;a commonprime numbel, ) ,A th,,teenthcent lll)'ltahan mathem;a t.(i;an, Lto l\.1 rdoFibonacci, dlSCO\lf'red a natur;al pro-gr..sslon 01numbers In whKh I!'achnumber IS lhe sum 01 the precedingI ....o-Ior example, 1:1:2:) :5'8 :1):21,and sc on. Comcident;ally, th iSsameproportlon;al r..l;ahonshlp is whatdrives the Golden Secncn .

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    The Golden Section Aprcpornonalsystem first implemented In;adeSigncontext bythe Gr....k sculptors andarchitects Ph,dlas andlctmus, theGoldenSection focuses on th.. r..u -tlonship ofa square and a rectangle.Drawlng;adl;agonal lille Irom tho!square's upper left (orn..r to the midpoint of tho! bottom side-and thenswing,ng Itupward so th;atIt is in lineWith that sidt-dtterminu the widthof ;arectangle th;a t ISbUilt 011 thesqUOlreuOl bast .

    Oddlyenough, diViding rhrs new rec-tangular area by the width of Its shortstde eates a new square and recran-gle Irl th.. same proportions ...s theoriginalsqll;are alld rectarlgle. Dividingeach new r..ctangle irlthe same wayproduc..s the same relancnshrpover.:lod OVer ;again In dl!(ru sing sileo Byconnecting the corners of the sqllOlrtSwith eirclll;ar ares, the spiral th.:lt ispr..sent in the lorm;ation of nautIlusshells is mag,cally revu[ed

  • E SeeIng Is Bellevtng wlu I Ih, rcsulr nlIII this form and space injrl;H ling? At this

    11W:-.\ fundam ltal Itvel, the result is meaning. Ah tract 101111 I: Iff)' mcuniug becausetbcy ar H o~lIiz blydifferent f om C~l\ hother wh tbcr line do 01 plane(and.'1')(: if ally, wh t dud 0 -lanc] A beginIlill!! lO ntm vin [( un crstand whatit' cing.fbe min nab: cornpanscns

    between Forms to sn' how they are dinercnt and whether this is important. 111l'nlSwith similar shapes or sizes arc linkedbythe mind :.

  • Identit y and Difference There all IlUllH'1ous str ucgics for ere uing comparisonsbetween glOlipillgs of form or amongparts within 1 group. The degree of dillerencc between dements c.ut he subtle or

    dr unau .. and till designer can implydiffer. t d ~rn' of me, In~ by is l;lt none group or p,lfl mort' subtly. whileexaggerating the difference between other

    I3..cause nuv adjusuncuts In form ar easilyper .ci vcd. thl' diller n..c between eachgTllllp an be vlry pr (isdy cunt rllcd.Of course. whichstrat 'Y to employ willdepend h wilyonrh kind t m'SS g,thl'dcsi u.-r mu t{'IIV v.na rc llll,'l hdisrn non lu l r he will me tvr IIfer nt ~ -rception 01 III I ill by l:Jr,1in compcnc 11 'P Iti IIv, ,I. ppo (I [0rrl-':JllIl~ J S( sc of m Vl 1 I Lll (rnp(}11 -nts by rOI [ing th r101 chan in' IIIsize In II fir t inst n th iiff c

    1I1ay be perceived 'Hi .rmcs agl' about i.~Ol,llion and nav iuuodu l' anxiety; 111 t! c sc,and ill tuucc. [It change III y be pcrcci... das at mdic.rucn of rowth. chan C 111

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  • If you wish topersuade me, youmust think mythoughts, feel myfeelings, and speakmy words.

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    Yourpremiumbrand had betterbe deliveringsomething special,or it's not going toget the business.

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    ::- ~=:,,"::::;7'::'-: ~::: :"N ,.__.....~ ~""' _." .. -~.-..-.. ...,.__ -.~. ' -_ - ~ - ~._ - , -- . ~ -- - ...._,~ ... . ._~.. ~ ~=:....t: _.... h ~. __ 'Planning isbringing the futu reinto the prese ntso that you can dosomething about itnow.

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  • _ Interplay Makes a Message Formsacquirenew meanings when they rOlf! icip.ne in:.p.IlLd rclationships: when they share 01oppose each other's mass or textura l char

    nctcristics:and when they !l;\VC relation-sh i jJ.~ becauseof l heir rouuion, singularityor rcpctit ion, alignment. clustering, orseparation from each other. Each state(ells the viewersomething flew about theforms, .ltlding to the mc.ming that theyalready migh t have established. Forms

    that ~lPPC:lr to he moving. or energetic,because of the way they arc rotated oroverlapped, for example. IlW;\11 somethingwry different from forms that are st

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  • \I

    The h it nlit yorColor

    ChromaticInteract ion

    Color Svstnm-,

    Emotions 11

  • If one says "red" and there are fifty peoplelistening, it can be expected that there will befifty reds in their minds. And . .. all these redswill be very different. Colors present themselvesin continuous flux, constantly related tochanging neighbors and changing conditions.

    Josef AlbersArtist. visual thcouvt and duenor, fromInteraction or Color Yale Umv itv Pr 5

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  • A

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    COI .OR rl.An I Mr O RJ A"l'r ,

    Hue Ad l~tm(tlon bl!tween (OIOf rdennnes as defined by t he" wavelengths

    Sa tura tion The relative dllllou $ Of brightness or ill color

    Tempera t ure A ~olor'$ P'l"( C'IVC'd w.armt h or coolness

    The Identityof Color

    , "I I

    Value wt1el~r ,) color appears light Of dark.

    A$Ingh' colO4' Ii deFmrd bylourl!'ssenll.alquall ll~ related 10Our pl" l u 'fl t lOn of lis rSSenll;l1nJtlJlCO.U wavcos~ light.

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  • 'rhcrear f rw visual stimulin pnwrrful 1lOI01; it I profoundly useful COlllJ111 !l1(Hitlll tool 11111 the 111 I ing tr msn ittc iiy rolor.bccan nn ultsIromn-flc I d

    w v IrJI suuucd thr ue 1 IItp It: C) 1> 10 Ilit II l>ril t IS (I prottlhJ vc lilt l.lllllll P

    men II \ r 11, mong 1 I \'\ IYo do .... i h I 11((' we e i 11 [u.thill,' II 'dhr,J.ll .uun I I I r ut

    11 01 nn i ntinn de n-n Itndin h wits ootic lqualin bch, l

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  • 11Hue 'l'his term refers to the idrntity of,1 color fed, violet. (lnllg ,,1lld o cn.Thi id nritvistbc r ult ofhow w perC IVt light brill rellc t d fron bj ct

    t p nicular frcqucn. C W I wegreen C.H, wi .11 w 'n- U'I tsu tthat is actually gu' n: W JI [wave reflectedoft th CH .11 v rv pe tcfrequency while 311 other fr 'qwnarc absorbed. Of color f ur irurin ittribute. the xr I'll n of hue h

    Whtm light is split byoilprism,tl1e sepaeate wavelengths.areperceived as individual (01015.The same Is true 01light thatIs reflected byan object thematerialof the object absorbs

    some w.weltnglhs iU'l1 reltectsothe rs; thl' rel1t-

  • most absolute: wesec a color ,IS red orblue, lot example. But ;lllcolor perceptionis relative. meaning that a color's identityis really kno......able only ...... hen there's;)11I111wr color adjacent with which it canbe compared. Some hues weare able toperceive are absolutes of a sort, what wec.lillhe primary colors. Thl'SC colors red,blue,

  • Saturation 1he cdor satur.u n d s{rib(,~it intensity.or luilli nee As;1lllt,lt dcolor is very int I C'or vibrant. l 0101 til II,II' dull srt ',lid to [u, dl s.llttr,llt'd, rnlur-,In which almost tll hue i visible suchas .1 warm gray ora very dull hrOW11 .HCsaid to be neutral. A with hue. the uppurr-ut II uratiun of;1 clor wi!l changc ifIt C,1lI be compared to ,111 adjacent color. Bringing togdher hues th.u arc ,ISdifferent from each other in frequency aspossible. lllc.tlling dose I' to either (Ifillc

    opposing primaries, will cause tile iutcusity ul both colors to increase JI';IIll

  • --

    On,l wlnte background, primaryyellowwillappear somewhatIt SSintense- white is t he ulti-male In saturat ion- but on a

    blackbackground, the sameyellow willbecome extremelyintense. Against a middle valueofgray,the yellow decreases in

    saturation unless the surrOl.lIld ingvalue (darkness or lightness)issimilar.

    TI lE Il AC KG RO U NIl O f

    Thr- same violet is presented,lg,l l1lSt three Ii('lds ofvaried"!l ensil y, Against a similarly"licilse violet of slight lydifferenl hue, the base color ap pearsdnalur,l led. Ag:" iJlsl a neutralJ(rJy, the base violet appearsmodera te ly mlense.

    "

    ]uxlaposlJIg the base vroletwith a field o f a very dille ren thue, but one that is of similarvalue,again increases the baseviolet'sap parent salu ration

  • UK~ A PI1 0 TO GUA I'H th.itW"~I'1. fed I. 'd, 'II I. I WIIe~III IJlts J Ilf! It de II "I v lu'eli.mgt ~ lulllJllg 110n dr c~I ldow ,I I r " I I ~ , h . [(I' I \I,nllll!)"/ 'J[ "llddl" 10111 UIl\lOlltli ,1 1m, 'Ill hl!ihhr:hl 01wtlll! HmvP",,"1 Iii v.Ii." It'1

  • --Va lue A color's value is its intrinsic da rk-ness or ligh tness. Yellow is perceived asbe ing ligh t; violet is perceived as bei ngdark. Again, it's all relative. One color canhe considered darker or lighter onlycompared to another. Yel low,even. appearsdarker th an wh ite, which has the lightest

    possible value ofany color. 1\11 extreme lydeep blue or violet appe ars quill' luminousagainst d maximal black. which has thedarkest valueof anycolor [black beingtechnically the absence of :lny reflectedlight). Lighten ing the value of au intenselysatura ted bue tend s to dcsaturmc it.

    . .. Offlu , 020 7 116 11 1000

    Darkening the value 01anroderatcly tointensely saturated hue will initially imcu-.-;i ly its saturat ion. hUI if the v;IIII1.' ls clark-cued loa much, the hue will become lessvibrant. Placing any color Oil a darker((1 101' will make it seem lighter.ns willincreasing the amount of ,1 color. Ifyou've'ever had the unfortuna te experience ofpicking OUI ..l paint swatch fur yuur livingroom onlyto find that it's three U I fourvalues too light OlKL' you pain t un cntircwall, you already know this to be true,Bringing two hiles of the S" IllC valuetogether, rcgardl('ss of thei r relat ive inrcn

    si tics, creates an odd "bleeding" effect rh.umesses with our abi lity to xce

  • .,_ Temperature Thctcmpcraturcot l J!OI

    is ,I subjrc tivc quulity th.HIS Id;1lcd Iexpcnc no-s. Colors con: id 'ltd W;III11such .ISTed or orau t' remind us o! h -at:LDrll colnrx such it gr' 11Of hili remindus I)f I Did objcc r Of cnviromncms. uch.IS in'. Colors of a particular ll.'lllpcr.Htlft'remind us ul thor specifickindsof objects1'1" sUbsl.lllu's lxcausctbos Ilhsl.1111CSrcllcvr similar wavelengths (If light. ThL'temperature of ;lily color will be thrownin one direction or another if COlllp.1H'

  • --(~ () (~ ~A 1 (~~) ,) ,)(~ 1 (~ (~ 1 I),) ,) ,)I) I I~~~I Irill II~(~~I j.\1::1 ,.., "Ill' ,..,~D ~\ ' ~3 t\ ~A 1-\('~ I ~) .. 1Il"".' .' " lJL . . ~~ I ~ [)"11"\ ' !tJ(' ~i. 'Jt/ ' 0 ".~ ~~ ~oo~ 1.\~~

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  • 11Color Relation ship s since 'he Iiftrcnthcentury. artists and scientists have beencreating methods fur orguniziug color pCIception in visualmodels. A color modelhelps a designer Sl'l' these fll

    ,Red

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    Value

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    ... .....,._ ......:Chrom.l

    . ..Yello w

    " Yellow -Green

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    :Green

    ....Blue-Green "

    Blue .

    Violet

    Red-VioLet ,_

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    The IdenLity01ColO!

    Co lor System,>

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    ChromaticInteradlon

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    Relationships bet,.... een colors aredefined by their fl"I.Uilie po ~ i tionall till' Munsell cotur wheel. Thevarious hues-cditlerenres in lightw.welengths-e~h,b lt a value(darkness or lightness) and a

    chroma, also calted sahlrOi tinnorbrilliance, These attnbutcs arcmapped along dlflcrellt axes inthe model diagram at right

    Val ue

    Chro ma Saturationor Inlemity

    Saturated.or Intense

  • -in 1')01. Iloth moods focus all hue ;l bcolor' definingaspect. radiating at tulluu II i round the olll~ide of a circular11 III n decreasing ill intensity towa rdth l ntc r. In [Hen' phcrc. the dccrca l

    i 1 jl I I siry toward the center ctrh solid,lob s rh result of mixing hues that

    itu d oppo ite ch other (as they aron MUll 11 0 101' wheel) ,md results in it

    .Iledl., It toward a neut ral. Thescolor mod ls were developed to describl ow ) works with refracted light, but

    lor the mos t part, graphic designer workwith \1101 dnivni from mixing chcrniralpr m nt pnuu or inks The I f lativc colorrei tionships dcscrib d hy lhest n odl'lsIIOWtVtl work III 11111 II tll\ 'i;lI111' W.ly withmixed pi I u -nt the diffcrenc IS 'implyhow rh r l.uionships H Il I vcd in Iphy It 11 I' .c Whenwortin~ WIt inks( page 1(8). the Iyp of ink being usedontributc to the mer s onsider I 1

    of color r lat onships If the inks heir ecmbir c re ;olids h h mil 11 color

    relationships ,11'(.' much Ilwr, direct andhavea more .lggr -svivc cttcc 11 each otherwhen addedtogether tllty .... illd lilll liltccondary and terti try (,10l hy virtu 0

    their prilltin' on I p l f a 1 t cr. If oloris being produced by b rildup pill 1 rycorer usin procc ITt IV rmnn

    ",mitr r. ngc ofcolor. p si JI

    TH l~ CO ~OIt STtJPl

    A B

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    In .l subtracuvecolol model.such as thai wh,ch defmes In ~midures 101 p"ntlng shownabove, successwe l.lyersor ,nkresult ind,lfker, moresaturatedccloes, to a point. OfIct thein~ ~yels no l(lI'Iger pelmlt asubstan tIalamount 01 light

    to rdl

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    Hue Relationsh ips DI:-,i Inmtcr.r uo I I, (WI I'll din 1

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    . ,.'. .... ,'An;llogous Cotors .lIdj:Kentto e,l.ch oth~r on l he colorwhtfl .llre s.,atd!O be (lllOIotOUIAllhough not l(ubly dlllerentIrom one ;looth" . the rel.lhon-shIp becom es more .lboutternperatwe d,llererKe Above,lor el .lmplt, .l VI~r WIll note,l.ccu...cnon 01grl"t'n hues 01v':lIy'ng w.lIrmth.

    ComplementV)' Two colors.lppt.l llng opposl le u ch otht!"on!~ (OIOf ..beetare comple-ments of u (h other. Theirml.ture resu lts In a ne utr.ll!tone. or neulral. With lIght,the ntut r.liI IS.ll mednsrn g' .liy;wIth ink it 's ,l dull brown.

    Tri4ld ic Somet ,mes ref"rtdto as spl'l t ompltltltnls, 41colo' t".lId inllOlvf'ltmee (olors,11 u o intef"'l.ll is f,o m e,u hether on the color whrel. Onecolor Is compkomenting tiletwo colors eqUld,SI,lnt ho mits true complement

  • OI.IH-c.RUN ANII YIOLU

    COM PI f'll ENT It.II' COI.O II~

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    Extensio n The relativ e vclurneof one color to ,lIlot htor,!>O thJteach ~eem~ to hOI1ft' t he samepre~enr e. i ~ a rel J tlon~h l fl ofextension The volume or Jglvl.'n (0101needed to supportanother colo, as equal in pres-eoce d"'flt nds on its WJyf"!engthandIntensIty; nu rly lWlce thevolume of yiolet is required tooptiCil l1y u tlsly the ceese eceof il glytn illllOtllll of ytllow.

    IISimult.llneous Contr Olst ThIsoptlCJIIllUSIon IE-suits in J perceived (1l':lOgE- orone colo"s idf'ntl\y when It (ames Intoconl.llctWith othPfcclcrs In Ih,s example,the s.;Jme blue appe,lfSsurrounded b)IFIelds of d,lIt fent WlOIS, bllt Its apparenthue IS dlllell!'Ot 'n each case.

  • " t:H "'~(;E I'" VALli E f Ul1ld.ukIn 11;),111 111 I1l'lll IYI ',h rI1 'l~,tulunu 1111 11111< r~\'" "iwhltr 1111 on" pond I" tli,v.ll\l~ rll. IIf" III II W/}I1l. 11 ~h~ dllllil"I'III't(}l~r"ph

    11, ~~. rlll Slwhns I, I I /{,,~d 111'

    ,;YffY.Yf4YfYYYYYYYYTYfYTYY4Y?f 9+Y4 Y r-rTIle Identityof Colur

    ChromaticInteraction

    Colm Systems

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    jllll~ ,'''' u~l'd to I"l:ilh~.h'"'IllO,I.H,I, nnlcul .tnd rlar,iy1I"vi;:. t oum L'"sl'"b,,.~

  • Rhythmic E ~ t en5io" Aseriesofvalues, lighter and darker,I>considered rhythmic IFthereare recognizable jumpsbetweenshades, relat ive to the exten-sion orvolume ofeach shade.

    Analogous In a st ale hornlightest to darkest, two (010f5are considered to have analc-gus value If they I'xhibil thesame (Of very similar)darknessor lightness, relative to each

    The result 15an opticalproper-tioning of valuesimilar to aspatial proportion system, butdependent on dark-to-lightdifference.

    - -other- regardless ofsaturattnnor hue, As (010r5approacheach other in value, the abilityto dist inguish their boundary isdtmmnhed.

    11Val" Relatlcn shtps Regardless01theirspecific hues, the colors selected for apalertc will have rclationships of darknessor light ness. I ~y varying th e num ber 01jumps from value to value, or hy howdramatically the values J l1l0ng the colorsc!l;\llgc,

  • its base hue, its complementappears to be present becauseofwhat iscalled the "alter-image" ellect.-a opneahltu -non in which the eye is stunu-fated by the satu rated color 50rnl./Ch that It t rifl'WSthe per-ception ofa "phantom" of itscomplement .

    Diametric Oppositi o n Similar10 hue complements, butexpressed III terms of 'kllur,} 'lion, this relat ionship concernsthejuxrapcsttlonof themostintense and almost completelydesat urated versions of thesame hue. The result of thiskindof pairing is that while thedesa naated component retains

    Analogous Ancolors, regardless01 hue , tempera tu re, or value,th ~ t exhibit the same intenSityor brilliance, are said to exhIbitanalogous saturation.

    ltH:rl"l I( Of'nH

    II It (11 I11 0111

    ChromaticInteraction

    lJ!r (, t I'

    n,, ,

    OR'-''''- - ,-,

    Split Opposit ion The mostintense verSion Of .1 g iven

    ector in relation 10 the neJ.r1ydesana ared versions of Itssplit complements creates arel.lt ionship of spl it opposit ion.

    Phil

    The split relattonshqr (.In alsooccur between the dcsaturatedhue .md the most Inlensc ver-siam of us spht complements.

    Extension juxt,l positiol1s oftwo or morecolorsof SimilarIntf'nsity, but ,n dllferent vol-umes, create effects ofSI IfIU ItOl 'neouscontrast and after-imageJ II~ la p oSlng a 5111,1 11 volume01a desalurated colorwuh 01largevolume of .111 intenselvsaturated coloreates hue-shifting; the intense volumeacts 011 the desatwated colorto skew it toward the uensecolor's compl(" lll'nt.

    TAX ,~ "REVOLT

  • Saturation Re lat ionships Sli'lIlsht ) .JILII ;lll 11I 1 .lIl.l)' ~k III III iq), ndcntlv III11 I I,ll Ion hlp, but willu \I.lIly havr

    dl~ll 011 value cu t -mpcrature. Alnu IS lil' IlULll, d Ib I III Y lppl,lr to

    nnu: .i.ukl'l Idj.ll"1l1 to IdiCl, rrnt l'!'l:llu I nn~ I ur ru 111 but nm \\ ilso

    P' ',I I h c J11 to 1\(1 i I d!II is warn t ll',11;l'U1

    (lor ( r 1lpm' anal 19 J l.

    1111 of sirnihu- 11111.'11 ity I, I .II ' 1.1 1.1ll! IIIll' Illll'llsityot lIlt' w'lI . '

    ill 11m 11 ,I I .' I rrc.uca rich, l Y l

  • Looks

    Under the Run?Chlllout

    ,,,..,'1._._ 1.. _ ...... I.I~NIIl OOl-_.__._~;,:;::::-=.:::.----_...~ -~ ...-~:;..::::::-'..:.:.~_.....__ ----- -_....._ -...............__._...---...-.._--_..._--.....__... ......

    Th"ld nutyr Color

    ChromaticInteraction

    C lor Sv tern

    I no 0 I d,

    LOOKUP

    .~AV~

    Analogous Any sequence ofcolors that are adjacent onthe colorwheel so longas theyare Slrnlt.1r\ywarm orcool:red/or.lnge/yellow, lorexample,or ydlow/yellow-green/green,bet nol of.lnge/yellow/grecn.

    TH l AN-'LO(,;OU$ 'I 'I'

  • --

    n M n n lH URE RELATI ONSHIP S

    Iher C11 h p;l!:" rlllhf~ m I.,p" ,1(1 (,Ioteth, !ll(.,I I(1t1S llt

    , .11m r g l " ' ll ('letll~(Its) ;!nil" te rtemrl1 l~ IIIti,l' hlera

  • , ,I

    [II 1

    I' non'"

    I I

    Il,11 I

    r hi .1

    t ( I rII II

    I J I It h rchill .1 ( 1

    ""

    an

    III

    , I

    I PIII I

    ( I rc

    i.

    III

    "I II III

    II P I III k ,Ild Yo 111.11 I ip in

    ition III 'ht I

    , P I Illt d pp I

    d'plh\\ till I (omp Iii II \ II 1

    'III i .1 1\nc (lit Ior 1

    rav101 01

    l AO I CO l OR -

    at ~ nuddled l ~t .1n c r and seemsto sll on thr ~u rlo1(r 01thepctere plane, nerther rn Ir ontofnor behmd it Blurappewsto recede behind th~ picturepl;anr. whllr yellow .appu rs toaevaoce.

    (01011.5 O f SI IoI ILAR VAl UI.

    OUfoptlC~1 ~y~tf1" (ty~ ~ andbr.1lnl perceive t h~ t h,er pn mary corers ~~ u lslrng at dif -reenr ~pth~ in space, ~ june-t,on of how OU, beams ," trrprrtthr w~vrl r ngth~ 01tbese colOr~. R~d .1ppur~ sl ~ tlon~ ry

    ChromaticInteraction

    ,,,

    -.. ',~,.3

  • -

    mtl1110whl{ h 1.'.1( 1'1color i\applied. The l.'fll.'ct beceuesevenmort d,amatl< whl.'ntheb;l,(~ground also pafticlp;llt\ 111the colol swap.

    .llch)'. IIIthiSstudy,(',lch formelernen t- rl!gardless of Sil t 01,:m Jngemmt-i$ made 10 res's-ttl in tbe foreground, then them,ddk> g'Ound, and then thebackgrcund01the compoSitIOn,merely by alte rnJ ting the ele -

    11 1 1 fu

    ,.

    ) IIprn

    '", ,

    The result orcorer's appearanceal drllerent planar location!> canh

  • I!!Color Stories: Cod ing with Colo r WithinJ complex visua l en vironmen t. colo rcan helpdist inguish different kinds ofin fommtion, as well ;IS create relation

    ships among components or editions ofapublication . f\ designer might develop.lor example. a pale tte lor gra phic and

    typographic elements that helps readersdist ingu ish between specific text compo

    nents (headl ines, su bheads. and body)or between r-cuons of informat ion. Or.

    a designer mighl 1l.~ C OJ general palette fO Iall clements that is based 011 the color orthematic content of photographs. Perhapsthis pa lette has a consistent base, like aselection of warm neutra ls that remainsconstan t, while accent colors change. The UM.' of colors can be coded assigningcolors 10 identify sections or components-or no t. Color codi ng is one option for using

    co lor as a system. 10 be effective. colorcod ing mu st be relatively simple and mUSI

    _.. ..._. _..._.__..- -..-.....~.._..~-_ ....._._ ..__..-- '-' ..-...- ..._.--..- -_._...-~.- ._--

    Vhit

    --I-,- II ,"~~~-=

    Midt own

    on. .. . . , , . , ~." l~ .-.t .'''''4 _ .h_IO . 1 " _ '. ' >.0,., I h t , . , _ """' ''". '

    -------COLOR Aen AS I NFO R.....ATION

    II I !

    N " ."rr Ih.W 1 I

    I) ".' tth," I, n ,I til"m.p, h tlk I III Hilil

    k" t . 11 t ,.[,. I ,til telltllp \nblerl (Lit I 'Ily 11t II("I r 'II > 11 I'" lm I.,.., IIIJ ',tI, 1.1 ,d t 'I .1\ >'11'11

    tll,>llll' (,1,1 VI I to til tI",. t Ill' ,I '1'1.1~( d Inl lor

    11101001" ~tc. l\ h tat thr rlilin

    My,,,,!!~I~ Ch,lIIl1" h""i

  • Ill' easily idnl liliablc. lJ!'>ing more colorsfor coding creates confusion. as the vieweris forced to try to remember which colorrelates to which information.Colorcodingwithina rela ted S{'! of hut's a deep hlue,an aqua blue, anda green, for example-(an help disting uish subcategories ofinformat ion within an overall grouping,hut ensure that the viewer is able to

    -,-

    perceive I he Jiffcrcurcs ln-r ween I hecolors. Pushing llll' colors further apartin relarion to each other might helpfor example, the deep blue might beskewedtoward tilt: violet while yellowis added to the green.

    I e:;rupB,

    ...:.~.::....::...:~ .::... ......:.::::.............::::-,:.::.::-........_.-

    ..:;.:..:... ...-........::: -.::... " .......~...~:

    .:::. .:...... ..-

    PHILIPB

    IN ADD ITION TO

  • Color Proport ionin g I I til co II> lllPI

  • ,1:-l( ; L E \'ilR l il l~ I.E ,\'liTEM ,

    Hue Vallie, soturation, ofld temperature ol1alogou~

    Value lhre, saturation,oml fel11perotll re onalogouS

    Sa turat ion Hue, temperature, andvallie onologalll

    Temperatu re Hil l", lolllraHan, and~ olu e analogous

    M UL l' l r L E VAR lilllLI=; SY~ l' EMS

    Hue and Value Saturation and temperature onalogousHue and Sat urat ion Ternperotllre andvoill t olloiogOll1

    Hue and Temperat ure Vallieond salurariM analogous

    Temperature and Value HlleondlOtura!iOIl analogous

    Temperature and Saturat lOll Hue ondvo/ueonoiogOUl

    Saturat ion and Value 'Jul" andtemperalllrl.' onolagous

    A simple propcrnonalsystern15shown here as the basts fordifferentcctcr-codmg relation-ships. Theintervals wtthln the

    composition remain the samethroughout; the criteria for thecodmgsystem changes Fromseries to series while,withina

    single series, the colorcmnpo-nents one-rotePOSition amongthepropontonat Intervals

  • limited Color Syst ems while a grcutnumbcr ofprojects call for full color-process. or CMYK imagery, choosing 10use specific COI(lICd inks instead called"spot" color offl'rs exciting po sihilit ics.Spot color need not he limited to mallrun or low budget projec ts. J palette ofeven two houghtfully selected colors mayCOml1l1111 C Ire just as powerfully and

    furthe r un ify materials. This app roac his particularly useful I'm brand ing. wherethe interrelation 01 inks can be used toclarity different publications in a literat uresystem while reinforcing the identity ofthe brand. _ Wilen .1 designer is W{)I king

    with only two or three ink colors, choosingcolors with dynamic chromatic interactionIS of greatest concern Printing J job with

    UN"'I'''",I('rd~m) Dt~Ir.ller

  • -two complements as counterpa rts, forexample. is all intui tive first possibility.Their comp lementary nature need notbe exact. (0.11 IS, as wit h blue and orange:skewing th is relationshi p C.1Il createinteresting combinat ions bur reta in their

    inherent con trast: a blue-violet rind orange.

    forexample. Mostprinting inks arctranslucent. so d. designer has the optionnot only to pr int each ink at full st rengthor "tinting . them to lighten their valuesbut also to print the inks on top of eachother. diller at full strength or in combi

    nations of tints. Printing one ink Oil topof ,1I10the( is called "snrpriming." and ere.uc new colors because of their overlap.

    Such new colors will vMy in hue, s.uuralion, cud value, depending 011 the baseink colors selected: usually the resu lting

    third co lor (and tinted variation ) willbe da rker and less saturated. If the baseinks ar "cry intense or pure however,the surp int color .....111 also he relativelyint n e. _ Photographic images. Of illus

    tranon with varied tonality arc xccllcntmaterial with wh ich to explore ink col

    oral ion: ~1l1 image llJight he printed inone.two. three. nr rnon spot "'-0101 ,withdifferent portions ofthe image' ton Irange acted upon by the ink .If ditf rentlevels Such options give the de ign -r ,I Iopportunity to custonuz rm g( rclient. nrich the dialogue ofco I m I'images, type nd oth graphic clone Houd to bringimagc into c vi II I irneut with bromo r It d cok m .(

    a

    Becarefulwhen tinting a colorthJ.IISbt'ing used 101' type,HpeClally " It's relativelylight10 begin Wi th. Getting a printerIIIrun ,1 press proof to tes t theefleet0' hntmg on type andimages W ill be an additionalcost. but in Ihpend it's worth itlu see e~actly what's goirlgtohappen in the ac tual pIUSrU11 .

    '" J~ ,.,..,... .." ... ""~",,-..I '

    FREN C H COUNTRY

    .~JIl.tJ.~,rr...."

    Colo r Halftone Also called amonotone, an image prunedusillg a Single illk color is called.1 color halftone. Till' lop imageis printed directlyena whilefield; In th.... hcttcm image, thecolor halftone is shown U05S-ingover a supporting color,which changes the appearanceof the halftone's color,

    A T1IRU - COI (l l'l PALl TH

    5T1MV'!i C , '1- hCMl

    Duotone When an imdge isprinted uSing two mkcolon,the result is;l ductone. Theimage at the top is pnntedusmgtwo 511111 1011 color illks toenhan ce Its overall tonal r;mge;in thl' IOWN exam ple, the illlJ.gl'ISpunted uSing two Inkcolorsthat all' verydilfl'rrnt.

    Tritone Similar to a dualone, aInto ne results from printilll': animage using three d l lfe r ~t1t inkcolors. Beth rrucnes abovesh.lrl! two inkcolors, but differin their use ofa third inkcolor

    Byusing unage-mampulationsoftware, the amount 0 1.1 givenmkcolor applied to specific1011.11rallges in an image canbe

  • lin!' or.rves A N lI l' ROWN ,~

    ",

    ColorPsychology With LOll I IIlt'.lvan lv 01 psychological I1r~,,~ "II I.ml. U" dWIlltll III II (.'11 both

    una ervandth. v rb I n'l Ill. l\rO,'lphy hi" 11)0 ional l11]llll1 I ,11 I)

    IS ttL I I c nncct d t human Xp('J I lieI In III mctuat

  • -"

    might I 1 rdd ion l r c 11 1df 1'1 I , h, ,t ,

    I ",

    ) II J ""r. ,

    ri

    ,t \I 111 '[II n!ir r 1 ( I.1 1 J (If l I

    h w r L I II

    , I

    uoknowabte and extreme,bl.n.k is the strongest color in1111' vrsrble spectrum. It s density,1Ild ( ol1 l r.lst Mtdon,it1.1 lll,hut II SN'ms Illjlht ,! to recede11m to advance In space. Itsmdetertmnate quality [('minds

    vre....~ r s of not lungnl:'ss,outerspace, and, mWI'SlNn culture.dea th. Its myste ry is perceiveda lorm..l andexclusive,sug-g,'s ting .1utholi ty, supe rionty,and digni ty

    I N w l.~1TnN ClI l.1'lI IU:.

    I\l V t : AN I' " . U f - VI O I IT

    In il subl',l(l~CoiOI model,..... hue rtp lesenls the p'esenceof~U colol w"...eleng ths; In.111~,tlve Illlldtl, ' liS l ilt' abseoceofcolor 80 th of these rnoddsht lp form th e b.1StS lor whil t 'sJu lhon tJ llve, pu le , Jnd .111 toncomp.1ssing power,As thtm"! ure 01.111 (olor, of I'SN ,It C(lflrtOl l'Sspu ituoil who~ntssand pcwer. Around ~ rus ofcolor .l(IIY'I ~ In "compl)\ltlon-~spioil ly "round bl" ck. lis ultr-1I1Jle wolr.sl - wholl' J ppt.:lTSrest ful, sl .:ltl'l)', and pvte .

    dohCl""~~l leema:9-=I

    r oU l WlH OW, YU tOW' ORA Pj(;f ,

  • Changing Color, Cha nging Mean ing

    Because color so stronglyevokesemotionalresponse, its effect on imagery bothabst ract and rcp resentntionaf- is of greatconcern to the designer . First the issueof tlocalcolor' in subject mal tel' theempirical color of objects comes intopl.ly, influencing emotional responses inthe viewer. For example, a corporateexecutive in a blue su it is approachable.but in a dark gray suit. possibly arrogantor shady; wearing a striped green tie.inexperienced, hut wearing a solid red

    one. commanding andassured. Second.manipulation 01 t!J( ovcrull tcnul balance

    of all image warm or cool. intense or dull.greenish or blueish will usuallyskew animage's feeling in 011(' direc tion or ano ther.List, in consider ing color application totypography or abstract Cormdements,'he designe r must anticipate the powerfuldi rectness of ,my associations created asthe color is embodied by forms that themind is auemptina to interpret.

    --

    Colorforcefullychanges the fl!'e1i ng ofwords, someumes tnhanc ing I h~ 1f meaningand sometimes oppo ~i ng the meamng oraltenng tt. Subdued colors, especiallythose that are [001 ordesaturated, enhanc ethe meaning of the word "qulc t," nuerest -1I1gly, the word's me~nmg is Intenselyappreciated when set in a vibrant color.

    ' IOjk w.... O Nct'K I'l' h

    "

    I " '~'

    LIUI hDU Walk

    mtsugt will t'l!'l ttn'mtndOU!forceon percepnoe . Cornp.lr,ngthe dots .lbove, guess whICh,s~Ing pr,,~ttd as.l sun, ~ndwhich the earth.

    In,lHempt,ng to identrfy~ fOfmand tht'rt'by .lssign ,t somemunlflg. "',_s will IlX USoncolor after they apprelt..ltl!'tht IOfm'ssh.lPl!"--but the two~ss.lges ~re ne.lrty s,mult.l-oeoes. As.l l('sult, the color

    h Iii~ I f II I,v

    RIOI u P.... (OIORATlO~

    " ,

    EmotionsandMessages

    Thl'lell'lIlltyul Color

    Cbrcmatulut eracuon

    Color S.,....tCIIl

    113

    112..._---

  • --A B c

    o E

    M~nipulat i l1g the overall colorOf color balance of an imagewillchange a ~I('WN'S leetingabout the image's content.When the original image (A)

    I hrs image has been mamou-lated on press by raisingandlowering thedensity of thefourprecess inks to (orrect andenhance the color balance and

    Similar to d llOtoll ing Of tn-toning in spot color printing,an image might be color-zedOf toned overall III four-ectorprocess, orCMYK, printing-cililed quadtoning

    is presented In black and white(8), it becomes mere documen-1MI';printed in il duotone01intense colors (e), the im.lgetakes on a surreal and illustra

    saturation:original image;cyan decreased and yellowmrreasad; cyan increasedagain, yellowdecreased, and"1ageflta increased; yellow

    Because the image is beingproduced uSing the four processrotors (cyan, mcgenta, yettcw,and black), tin."posslbte colorvariation within a single Imageis endless, as indicated in Itus

    twe qUiltity; skewing theimage's color balance makes itrefreshing (0 ) or somber (El

    increased slightly, blackincreased.

    example . Further, differentimages within the sameproject can be quadtoned IIIdillerent ways.

    When altering the color111 rmagesthat include people, consideringthe effect on skin tonesbecomesextremely importa nt. Whilesome color alte ration s will addcilergy or seem fun, others mOlYunintent ionallyadd negative

    '" GIU F.NIS II llI.UE H AlE n.1'1111 111"llp

  • --

    Typographyis what language

    a B O0 SIIIG looks like.Ellen Lupton411D ~;:;>;:,r,: ; ::~~,::; ;:.. ~: .. .,M:ll f {It Ji r It,

    Str urturc.md Opncs

    l s slll' ~ R, 1.1 11'dt o Style

    Texture andSp ice

    Typlntorm.rt O il

    How Colo rell. f1 Typ

    "'115

    Chapter 3

  • -

    The typographer's one essentia ltask is to interpret and communicatethe text. Its tone, its tempo, itslogical structure, its physical size,all determine the possibilities ofits typographic form.

    The typograph er is to the text asthe theatrical director to the script,or the musician to th e score.

    Robert Bringhurstvpo}'!n 1 I I I pc t from I book

    n 11 r I (11) r ph j V, I IH 1 tl tv rk I 1 OOS

  • The Nuts a nd Bolts Th(: letters of theWestern alphabet arc built from ~1 systemoflines with intricate visualrelationshipsthaI are nearly invisible. With letters at astandard reading size. the ~Yl' perceivesletters to be all the same weight, height,and width. This is the most critical aspectof type: styli... tic uniformity JiSCOllf;JgCSdistraction Juring the reading process.

    When the same type is enlarged. minutechanges ill character height, stroke width,,InJ shape become apparent. uccorningsensitive to these optical issues and understanding their effect on spacing, organize-tinn. stylistic communication, legihility,and composition is crucial.

    eO'

    LcoporBowl

    --:.:,.....Descender

    ::::::::::::::::::::::::::::::::::1:::':Ascender pOint _.J.

    Main StrokeDrStem

    Vertex

    Wedge Serif Serif rTllltle

    ~ Shoulder::::.:..----- ': .----- ---- ----.".----.-- ---- .::.::-l' :-::::: :., :::.:..:.:..::..::: ::.::: .I

    L,g

    [clnt

    Spur

    ISecondStory

    Crossb;lf

    Eye

    Bowl

    Tail

    :;.l!>......~_ R _ ~ W . ~C~~ ... . . ~ . . . _.. . . . . . . _._. .. . .

    Descender I vertexI BodV..........~:~~~~:J ..

    Descent Line

    Baseline

    - : : : :: : : : : : : : : : : : : : : : : : : :F~:~:~~::~e: :::~~;: ~: : : : : : : : : : : : : : : : : : :: ;.~ ::: : : : : : : : :: : : ~~::~t:~:~ : : : : : : ::: ~.r.o.~~~~.r, ._ThinStroke01 Thill Bracket

    MeanLine

    C;lPLine

    Ascentline

    ~=_ .

    Typ ,ISlulorrnauon

    Issues Relatedto Style

    Toxtur u.dSp.c

    MI'(h,lIlicsof l('~t

    How ColorChanges Type

    11 5tr~~tu re

    ~ptlcs

    .'..~.-!2!11 7

    ~II

    TerminalStn! X.Height

    CapHelght

  • -

    II

    I

    TIn I NTI .RRI I ,o\tlO '\l\lU r

    --

    uuuUUU

    I~

    dentm a ~fgt settmg. d i~ppear m a text-sued setting.The tame IS true ofcorrectionsfor weight and Width in a familyof typefaces.

    ~ () ) I

    ~ I I.- I I

    '--~: ( JLS;j C; I.~

    EnLlo rglngleiters r~1Js theIiny adjustl'l"lents madebyt~i ldesigner to cverccmeoptiUll(h;l,r~ctenshn;l,1ld unify them.DlffeFing .lngles.strob sh;p;pes,.lnd ove,J,!1 Silt (h.lngu, e~i

    'Vo.... .... ~ I .

    ,//

    I (+ '--- - - J)

  • ---Form a nd Counte rform: The Optics ofSpacing 'rhe spacing of letters In words,sentences, and paragraphs isvital to createa uniform gray value for minimal readerdistraction. Every typeface II,IS

  • At the other extreme. letters that arc set100 loosely become singular dements,divorced from the line .nnl recognizableas individu 11 fonus. making the appraisalof words difficult. evenly set sequencesof I tters shown consistent. rhythmicalternation (If black and white-form andountcrform repeating at till' same rate

    from left to right. _ Tht' primarydifficultyi. achi vin~ evenly spaced type is thatthe letters are 01different densities. Someletters are lighter or darker than 0Ih('f5.

    Added 10 this phenomenon are the dirertional thrusts of different strokes and thevaried sizes and shapes ofthe ronnterforms.Some .in-very open, some arc closed, Andsome arc decidedly uneven in relation to

    the distribution of strokes in a given letter.To correct fer these disparities. digitaltypeface arc programmed to add and

    subtract space from between differentpairs of letters. depending on what thecombinations arc. These sets of letters.

    called "kerning pairs. provide for most

    circumstances oftcncrfonn C{111111in.1tioll,butnot all. luvariably, d dt':;i~ller will

    need 10 correct unusual spacing that thecomputer's software is unable to addr ~SS.

    Ty TyLIQUID To To

    LIQUID.Alw.1"s tVJ.(lJate thesp.lcingneedsof a type: component on

    case-by-case basis.Someletters III a p,articul.tr word .:uegOIASto cause enresolvableproblems, t ither because oftnelldramaticasymmetry,deepcounters, or overalldensity.When presented with J word[orphrase 01re.:l sonabll' ll'ngth),tJke time to correct the spac-Ingthroughout basedon this

    worst-case sc, n.ario. In thisword, nothingreally (

  • Trips Tri ps Tri sThesame wordis set here Ir'!three Iaces at]6 points . Thealdstyleserifappearssmallest;its lowercase letters havea

    propertlonally small.-helght.aecause the sans-serif lower-case teu ers are larger In pro-portion to the CJp height, they

    appear IJrger; the same is trueof the modern serif to the right.

    72

    60

    MM

    Spacing must change at different sizes.

    Thesame words,set first at14 points in sue and again at(;points. Uncorrected, thesp;;Jcing in the smaller type isinadequate for good character

    recognition. Adding spacebetween lette rs greatlyimproves t heir legibilit y andtheir look.

    48

    36

    30

    MMM

    Typecha nges when printedpos it ive or reversed from color.

    Type changes when primedpositive or reversed from color. 24 M

    I Pf(~Uy I' n'. "n~lI l Yaumight ~ll

  • Nott the'di~p~.rlty in WIt between~i.~nl l"umpl rs (Ieo lt (olumn)iltld !trr,l n~mplu (right (olurnl1)of the U.mf point Silt A'w~ys~~llU1C' th e OIoppC'.;\r;ul(t' of ty~ .set In a ~rtICULaf typefO/.cC',lcdrtC'rm," 1!' I"

  • I Str~~ure~ptltS

    flU nl GMU or UlULATION,

    n IJ I "I

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    Iss ue s Rela tedto SlylC'

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    Mecha n.of T Jt

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    I How ColorChan' Ylll'122

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    ''''Nt'U\l

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  • Visual Variations The lcrrcrforms in alltypefaces vary from their archetypes inonly six J. .~pl'( I S : ra se, weight, contrast .width, posture...md style. Type designers.referring to historical models, subtly alterand combine the variables Inthese sixaspects 10 create individua l type stylesthat, although appearing remarkably differcur.nll ['Ollvey the same informationabout the lcttcrfonns in rbc alphabet.Different approaches to the drawing oftypefaces haveevolved, become popular,or been discarded over time; JS a resu lt,the forma l aspects of particu lar typefacesoften c;1rry associations with specificperiods in history, cultural rnovuucnts.and geographic location-some typefaces

    feel "modem" or "classical," while othersfcc!"French" or "english." More impor -tant, the drawing of a typeface will oftenexhibit a particular kind of rhythm, orcadence, as WlJ1 :IS provide a distin ct physical presl'nce in a design that may connotefeelings fast or slow, aggressive or elegant,cheap or reliable. _ Consider that not allviewers willperceive the same associationsill a given typeface. the designer mustcarefully evaluate his or her typeface sclcction ill the context of the audience for apart icular piece. Additionally, mixingtypefaces that arc incongruous with thesubject m.utcr 1'01'example. using .111archaic Roman capita l in a flyer promotinga concert ofRlectronica-will often addsurpr ising Ltyl'f"~ of romrnuniration.

    Further, the drawing characteristics oftypefaces affect their function al qualities,making SOIll C more legihll' at certain sizes.or affected hy color in particular ways.lZt'cognizing and understanding the sixfundamenta l aspects of a]plmbet variat ionis an impo rtant firs t step in being ab le toselect and combine upproprintc typefacesfor il project.

    ................,Al: ' ''II ' I' N ~ I' n

    AaAa.. AaAa..RII M AS nA ~ l (;

    .Aa ~Q A ..A.A.1 \ 1;\' ~ R S h O Il Llll V Ii NEU1" R" l" ""YI. I /, ~_ n

    A M IXTU R E ur C LAS~lCA L,, ," ',ll lvr ( I lpt II, 11'1It 1

    .~ II I I\ .I ~" ~lt'li l ( 0111 1

    I 11"'1111 hi IIb l II. t....111 llit ',lIl 11111: I rI,,1 1Y

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    I iii

    Width The proportionalwidth ofthe Let-re-sea typeface Is basedon thewidthDrthe uppercase M. Facesthat are narroweraresaid to be condensed,whtlewideronesaresaid to beextended or expoil nded.

    Posture Romanlettersare those whoseverticalaxis is 900 to the ba~dj r.ei theystand upright. Itahcletters, developed byhumantst schoLars during the Renmssance,slant 12 to IS" to the right, mimicking thestant of handwriting"

    Style This termIsused to describe {l)thetwo majorclasses01type-serif(havinglit-tle feet at the ends ofthe strokes) and sansserif(havingnosuch fret); 12) the historicaLperiod Inwhichthe typeface was dr,,"wn;and (J) the relative neutralityDr deccranvequaLityol a typeface. Typefaces that areneutralare dcsest to the baslcstructurewhite those with eu ggeratedcharacteris-tics are said to be styhred, idiosyncratic, ordeccratlve.

  • Detailofseufshape Terminals

    Oldstylex-hetghtlor companson witi'llater typefa[es

    Legandjointshapes

    ~~grt'l." of a~ls

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    lyp,lulouu. non

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  • is a modern san scrif fuc sh fill' ch I uten t cs ,I sOCI ltd witl oldsrylc crillYJcontra in h ol W rght 1)1 t II 111

    01 wei within major srr c an I t 1x 11 a ho... f rn d ... rc g.

    1\ 1\ unb r 01 y ell f I. i VII' I P1 'It I n Vt OJ cd dur I III 1.1 Icv raid l~ T rs thcnlassifications 01 I h l~C

    Olds tyle Ch,u,lcte,ized byorg,lntetu st of weight In the st,okes-from

    bNsn or pen dr,h ,

  • TH f WOR D -A R.OGAiU LT H APPLARJ tn a L If

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    Telmina ls, Spurs, and Serifs The shapes that the lerminals oI lhe letters wlthm.. typ"' ace e. lubll COf'trlbute tothe typelOlle's ..pparent sh..rpness Olnd f1gidily. wh,ch mayhOlY(' Implic..IIOrlS10' Its peerepncn .)Sbelllg more C.;lSU.;l!01ngoflJUs. olderor newt r.or morecomfortong or more .1US-tere Tl"rmin..ls mIght end In 01 cut-

  • Know What and Why:The Details Selectinga typeface for its feeling or mood is utricky endeavor that often comes down[ 0.1 de... igncr's gut rcactiun to the rhythmor shapes inherent inn par ticular style.Some typefaces. fur example, feci fa... tor slow, heavyor light ; these qualitiescall be quicklyattributed to the interplayof countcrspnccs. st roke weights andcontras ts. joints, and so 0 11 . M:ll1Ytype-faces also conjure associations wit hcultural motif... because of their common

    usc i ll advcrtisiog Of other pop culturevenues for specific kinds of subject matter :gothic blacklettcrs or tcxmra faces. forexample.e01l1J nonlyevoke horror or f:lIl t.ISYbecause they ,HI ' tied to certain historicaltime periods and because they have beenused widely in posters and advertisingfor movies and books ill this genre


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