Before And After Magazine 0616 Design On A Centerline.pdf

(2506 KB) Pobierz
Before&After
®
BAmagazine.com
i
U
X
Centerline
An image, a typeface and
one line are all you need to
set a classy scene.
Continued
Continued
Design on a centerline
0616
Design on a
Before&After
®
BAmagazine.com
i
U
X
Design on a centerline
For conveying quiet beauty, nothing is easier than a centered layout
The creative brief
Your client is a college whose art
department has given you a small
schedule to design and has a few
requirements. It must convey the
nobility of the school and the artistic
spirit of the month’s events. It must
be handy to use, printable in-house
and cheap. Oh, and please have it
finished tonight.
How do you do a quality job
on such a tight schedule? In the
same way that you do any job—
methodically. The difference is that
you limit fonts and colors to the
basics and your layout to a simple
configuration.
From:
Subject:
Date:
To:
Cindy Holland
August Schedule of Events card
July 25, 2005 9:30 AM PDT
Dexter Mark Abellera
Hello Dexter,
Sorry for the rush here. Copy’s below. We need something we can print in the office and pass out by
hand, so we were thinking maybe they could be cards three to a sheet. It’s Art Month, and the events
are pretty varied, so we hope you can find an artistic look that ties them together and still feels like
the school, which, as you know, is pretty traditional. Deadline’s tonight.
Best,
Cindy
------------------------------------------------
1
At left is the raw data,
which you will visually
“translate” into imag-
ery. Highlight item by
item. You’re looking
for key words that will
govern the design.
(1) Parameters
(2) Title and topic
(3) Introduction
(4) Dates and times
(5) Event title and
speaker
(6) Venue
Summary
Card size
Printable in the office
Key words
Artistic and traditional
2
Delta College Art Department, August Schedule of Events
In an exceptional program that covers the artistic spectrum of the department, August is a month of
the best presenters and lecturers, conversation, critique and beautiful art. Engaging and inspiring.
August 4, 2005, 7:30 p.m -- Dialogues in Beauty, Deborah Witt -- Shima Hall Gallery
August 6, 2005, 6 p.m. -- Slide Lecture, Artist Judy Miller -- Mariposa Hall 2000
August 7, 2005, 5:30 p.m. -- Summer Show, Student Exhibition -- University Library Gallery
August 8, 2005, 4:30 p.m. -- Lecture, Graphic Designer James Rogers -- University West Forum
August 10, 2005, 7 p.m. -- Expand Your Horizon, April Breedon -- Shima Hall Gallery
August 12, 2005, 6:30 p.m. -- A Conversation With Beverly Mills -- Shima Hall Gallery
August 13, 2005, 2 p.m. -- Summer Arts & Crafts Fair -- Main Courtyard
August 17, 2005, 5:30 p.m -- Close Encounters, Julie Packard -- University Library Gallery
August 19, 2005, 4:30 p.m. -- Lecture, Paintings & Prints, James Rogers -- University East Forum
August 20, 2005, 7 p.m. -- Nearly Reflecting, April Breedon -- Shima Hall Gallery
August 23, 2005, 5:30 p.m. -- The Shape of Color, Jason Untalan -- University West Forum
August 27, 2005, 7:30 p.m. -- Peter Kilmer Ceramics -- Mendocino Hall 2100
3
4
5
6
2
of
14
Design on a centerline
0616
Before&After
®
Design on a centerline
3
of
14
BAmagazine.com
i
U
X
Look. Read. Learn.
Next step is to find one image—we have no time for more —that embodies the ideas of
artistic
and
traditional.
Remember that the image must represent many kinds of art.
Look beyond the obvious
When looking at objects, we tend
not to get much past the surface—
“that’s an interesting
mask;
there’s
an old
book.”
But the designer must
look deeper. Put words on what you
see. What, exactly, makes the mask
interesting? What colors say artistic?
What kind of shape says traditional?
What textures? What lines? Pay
attention to sensual qualities like
sound, smell, touch, and the intangi-
bles of history, culture and tradition.
The ideal image not only makes the
right message (artistic and tradition-
al) but has bold physical properties
(line, silhouette, color) that can have
an impact on the design.
Mask
Artistic, clay, warm,
mysterious, emotive, suggests
theater, too human
Books
Highly traditional, rich,
tactile, irregular, desaturated
colors, suggest scholarship and
history but not artistry
Mouse
Cold, hard, high
contrast, used for art but nei-
ther artistic nor traditional
Brush
Calligraphic, lacquered, well used, desat-
urated colors, bold silhouette, traditional; a brush
says
art
to everyone. This is our image.
3
of
14
Design on a centerline
0616
Before&After
®
Design on a centerline
4
of
14
BAmagazine.com
i
U
X
Now relate image to page
Establish a relationship between image and page. Ask, what are the boldest characteristics
of each, and, what properties do they have in common? Work with those.
Centerline
Work with what you have
The page is a
strong vertical line; the brush is an even stronger
line. Placed parallel, they work together; crossing,
they have friction and energy, and in this case the
brush becomes a header, too. The centerline is
the point of highest contrast (below and right.)
What size?
When you have only
one image, it’s natural
to want it big. But pay
attention. In this case,
a bigger brush would
isolate and deaden
the space above it
(below, top). Think of
white as liquid, and
let it flow (bottom).
Low contrast
High contrast
4
of
14
Design on a centerline
0616
Before&After
®
Design on a centerline
5
of
14
BAmagazine.com
i
U
X
Create a simple color palette
Create a color palette made of the image plus one additional color, which can harmonize
or, in this case, contrast. For versatility, adjust the color to its middle value.
Sample, locate, reduce
The dominant color in an
image—here, muted red—
will have the most interaction
with the background color.
Locate this red on the color
wheel (right). Straight across
is its
complement
(green),
which has intense contrast.
Either side of green are red’s
split complements
(green-yel-
low and green-blue), which
contrast but with less tension.
To make beautifully
soft
con-
trast, lighten the complement.
24%
Middle value
Middle-value green
yields the best of
three worlds—a
touch of contrast, the
sedate softness of
old, well-used things,
and visual
depth.
Against middle value,
the dark and light
of the brush come
forward, making a
strong illusion of an
object that’s physi-
cally on the page.
5
of
14
Design on a centerline
0616

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika:

Zgłoś jeśli naruszono regulamin