DESIGN FUNDAMENTALS - library.umass.edu

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portfolio design - carolina aragón

DESIGN FUNDAMENTALS

VISUAL COMMUNICATION

Carolina AragónAssistant Professor

Landscape Architecturecaragon@larp.umass.edu

visual hierarchyportfolio design - carolina aragón

DESIGN FUNDAMENTALS

Gestalt

Visual Hierarchy

Page Layout + Grids

Typography

Carolina AragónLandscape Architecture & Regional Planningportfolio design - carolina aragón

figure-ground

proximity

similarity

continuity

GESTALTvisual perception

Carolina AragónLandscape Architecture & Regional Planning

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Carolina AragónLandscape Architecture & Regional Planning

gestalt

figure-ground

Carolina AragónLandscape Architecture & Regional Planning

gestalt

figure-ground

Carolina AragónLandscape Architecture & Regional Planning

gestalt

figure-ground

Carolina AragónLandscape Architecture & Regional Planning

gestalt

figure-ground

Carolina AragónLandscape Architecture & Regional Planning

proximity

Carolina AragónLandscape Architecture & Regional Planning

gestalt

proximity

Carolina AragónLandscape Architecture & Regional Planning

gestalt

proximity

Carolina AragónLandscape Architecture & Regional Planning

gestalt

proximity

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B

C

gestalt

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continuity

source: http://www.scholarpedia.org/article/Gestalt_principles

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

continuity

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

continuity

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

contrast

proximity

repetition

alignment

?VISUALHIERARCHY

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

contrast Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high. Like a dia-mond in the sky. When the blazing sun is gone. When he nothing shines upon.Then you show your little light, Twinkle, twinkle, all the night. Then the traveler inthe dark. Thanks you for your tiny spark. He could not see which way to go. If you did not twinkle so. In the dark blue sky you keep. And often through my curtains peep. For you never shut your eye. Till the sun is in the sky. As your bright and tiny spark. Lights the traveler in the dark. Though I know not what you are. Twinkle, twinkle, little star. Twinkle, twinkle, little star. How I wonder what you are. Up above the world so high. Like a diamond in the sky. Twinkle, twin-kle, little star. How I wonder what you are. How I wonder what you are. Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high. Like a diamond in the sky. When the blazing sun is gone. When he noth-ing shines upon.Then you show your little light.Twinkle, twinkle, all the night. Then the traveler figure-ground

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

fonts

contrastTwinkle, twinkle, little starHow I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

In the dark blue sky you keep, And often through my curtains peep, For you never shut your eye, Till the sun is in the sky.

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

contrast

size

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

size

contrast

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

negative space

contrast

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

contrast

colorfrom

Infographics: The Power of Visual Storytelling

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

color

contrast

from Infographics: The Power of

Visual Storytelling

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

color

contrast

from Infographics: The Power of

Visual Storytelling

similarity

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

clouds

proximity

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

proximity

clouds

proximity

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

proximity

clouds

cumulus

cirrocumulus

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

alignment

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

1 2

Supernova

Twinkle, twinkle

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

alignment

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

1 2

Supernova

Twinkle, twinkle

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

alignment

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

1 2

Supernova

Twinkle, twinkle

continuity

proximity

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

repetition

A Natural History of the Screwdriver

little star

One Good Turnfonts size

page layoutA screwdriver is a tool, manual or pow-ered, for turning (driving or removing) screws. A typical simple screwdriver has a handle and a shaft, and a tip that the user inserts into the screw head to turn it. The shaft is usually made of tough steel to resist bending or twisting. The tip may be hardened to resist wear, treated with a dark tip coating for improved visual con-trast between tip and screw—or ridged or treated for additional ‘grip’. Handle are typically wood, metal, or plastic[1] and usually hexagonal, square, or oval in cross-section to improve grip and pre-vent the tool from rolling when set down.

Philips head screwdriver

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

repetitionA Natural History of the Chair

little star

Take a Seat

A chair is a piece of furniture with a raised surface commonly used to seat a

single person. Chairs are supported most often by four legs and have a back;[1][2] however, a chair can have three legs or could have a different shape.[3] Chairs

are made of a wide variety of materials, ranging from wood to metal, and they may be padded or upholstered, either

just on the seat or on the entire chair (e.g., with a La-Z-Boy chair). Chairs are

used in a number of rooms in homes (e.g., in living rooms, dining rooms and

dens), in schools and offices (with desks) and in various other workplaces.

Marc Newson chair

A Natural History of Lemonade

little star

Have a drink

Lemonade is a lemon-flavored drink sweetened with sugar among other

sweeteners. In North America, certain European and African countries, and

most Asian countries lemonade is usually made from a basic recipe of lemon juice,

water, and cane sugar or honey and is often home-made. As with other citrus

products like orange juice, it can be characterised as regular or home style,

the latter indicating the presence of pulp in the end product.[1] Lemonade can

also be partially or completely frozen, or added to other beverages like iced tea,

hot tea, coffee, and beer and used as the base for cocktails.

Glass of lemonade

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

repetition

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

Twinkle, twinkle little star

little starlittle star

twinkle, twinkle

A

B

visual hierarchyCarolina AragónLandscape Architecture & Regional Planning

repetition

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

Twinkle, twinkle, little star, How I wonder what you are. Up above the world so high, Like a diamond in the sky.

When the blazing sun is gone, When he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night.

Then the traveler in the dark, Thanks you for your tiny spark, He could not see which way to go, If you did not twinkle so.

A

AP1

P2AB

B

B

B

B

organizing text & images

PAGE LAYOUTS + GRIDS

layout

visual flow

reading gravity

the grid

layout

layout

empty page/screen

layout

layout

divide into thirds

Rule of thirds

layout

layout

happyuncluttered

negative space

Rule of thirds jelliesThis is a paragraph pretending to be text supporting the jellyfish images. Aren’t they beautiful?

figure-ground

layout

layout

Rule of thirds jelliesThis is a paragraph pretending to be text supporting the jellyfish images. Aren’t they beautiful?

layout

layout

negative space

jellies This is a paragraph pretending to be text supporting the jellyfish images. Aren’t they beautiful?

layout

layout

negative space

jelliesThis is a paragraph pretending to be text supporting the jelly-fish images. Aren’t they beautiful? - I think so.

layout

visual flow

how people see/read:

Gutenberg Diagram

Describes eye movement when there is NO HIERARCHY,

especially for text.

Gutenberg Diagram charts basic reading eye movement from the PRIMARY OPTICAL AREA (POA), to the TERMINAL ANCHOR (TA). Crosses indicate fallow corners and the arc of wavy lines show “backward” movement that the reading eye resists.

layout

visual flow

from Lisa Graham’sBasics of Design: Layout and Typography for

Beginners

how people see/read:

backward S-shape

Describes eye movementwhen there is a mix of text and

images

layout

visual flow

run

layout

page layout

reading gravity

from Colin Whe’sType & layout : how typography and design

can get your message across--or get in the way

layout

page layout

reading gravity

from Colin Whe’sType & layout : how typography and design

can get your message across--or get in the way

layout

page layout

reading gravity

from Colin Whe’sType & layout : how typography and design

can get your message across--or get in the way

layout

page layout

reading gravity

from Colin Whe’sType & layout : how typography and design

can get your message across--or get in the way

G R I Dusing the

layout

grid

the grid

Allows for continuity, the development of hierarchy and

flexibility in your layouts

margins

flowlines

spatialzones

markers

modulescolumns

from Timothy Samara’sMaking and Breaking the Grid

layout

grid

Green is the new Green

This is where you would place some of the text that will likely not be read but that can help suppport your composition.

You may also use key-words or short expla-nations of the images to better explain your project.

You could also use this space to fill in with small diagrams (that are readable) or images that look good at a small scale.

Below you may also use this to list credits, clients, travel, other important aspects of your project that will help people recognize or validate your work.

This is too much text.

soil + sun+ water = plants

LA

Your studio titleA short line about the project

LocationDate

using the grid

from Timothy Samara’sMaking and Breaking the Grid

layout

Green is the new Green

This is where you would place some of the text that will likely not be read but that can help suppport your composition.

You may also use keywords or short explanations of the im-ages to better explain your project.

You could also use this space to fill in with small diagrams (that are readable) or images that look good at a small scale.

Below you may also use this to list credits, clients, travel, other important aspects of your project that will help people recognize or validate your work.

This is too much text.

soil + sun+ water = plants

LA

Your studio titleA short line about the project

LocationDate

using the grid

from Timothy Samara’sMaking and Breaking the Grid

spreads: using the grid

grid

layout

spreads: using the grid

A brief explanation or caption about the photograph could be really useful.

Green is the new Green

your name

your

Main Idea /Themesupporting statementsupporting statement

agriculture+ child rearing

Flowers are good for the spirit, so are vegetables like tomato and corn (shown right).

Growing food in rows is very effi-cient. Some plants grow best in wet environments.

Children should be exposed to agriculture early in their development so that they can become good people.

vegetablesmake

good peple

vegetables and flowers

grid

layout

column grid

from Timothy Samara’sMaking and Breaking the Grid

grid

layout

manuscript grid

from Timothy Samara’sMaking and Breaking the Grid

grid

layout

modular grid

from Timothy Samara’sMaking and Breaking the Grid

grid

layout

variations

from Timothy Samara’sMaking and Breaking the Grid

grid

layout

hierarchical grid

Flowers are good for the spirit, so are vegetables like tomato and corn (shown right).

Growing food in rows is very efficient. Some plants grow best in wet environments.

Children should be exposed to agriculture early in their development so that they can become good people.

You may also use this space to give more detailed description or, again, to add small thumbnail images of diagrams your project.

landscape

Your Engaging Title

Longer explanatory subtitlelocation

food & peopleGrowing food in rows is very efficient. See image above.

LASTNAME

2012

from Timothy Samara’sMaking and Breaking the Grid

grid

layout

2012

marginsgrid

figure-ground

layout

spatialzones

grid

proximity

layout

flowlines

grid

continuity

CHAPTERlayout + grids - carolina aragón

layout

board examples

CHAPTERlayout + grids - carolina aragón

layout

board examples

CHAPTERlayout + grids - carolina aragón

layout

board examples

Visual Clutter

layout + grids - carolina aragón

layout

board examples

CHAPTERlayout + grids - carolina aragón

layout

board examples

layout + grids - carolina aragón

layout

board examples

CHAPTERtypeportfolio design - carolina aragón

typography & identity

using fonts

typography

font anatomy

legibility

identity

examples

CHAPTERportfolio design - carolina aragón

typeportfolio design - carolina aragón

typography

Serif / Sans Serif / Slab

serif

sans serif slab

from Stephen Cole’s The anatomy of type : a graphic guide to 100 typefaces

CHAPTERportfolio design - carolina aragón

typeportfolio design - carolina aragón

typography

serif vs. sans serif

CHAPTERtypeportfolio design - carolina aragón

typography

sans serif examples

CHAPTERportfolio design - carolina aragón

typeportfolio design - carolina aragón

typography

serif examples

CHAPTERtypeportfolio design - carolina aragón

typography

type families

from fonts.com

CHAPTERportfolio design - carolina aragón

typeportfolio design - carolina aragón

GOODtypography

practices

CHAPTERtypeportfolio design - carolina aragón

typography

1- choose classical, time-tested fonts

from Rob Carter’sExperimental Typography

Futura

Gill Sans

Helvetica

News Gothic

Baskerville

Garamond

Palatino

Times New Roman

serif sans serif

CHAPTERportfolio design - carolina aragón

type

typography

prime viewing area

2 - avoid using too many typefaces at one time

CHAPTERportfolio design - carolina aragón

type

typography

prime viewing area

3 - using all capital letters retards reading PALATINO AT A SMALLER FONT

SIZE FOR THE BODY OF THE TEXT. SERIF FONTS ARE EASI-ER TO READ, THUS YOU WILL

BE ABLE TO USE THEM AT A SMALLER SIZE THAN SANS SER-

IF FONTS.

CHAPTERportfolio design - carolina aragón

typeportfolio design - carolina aragón

typography

4 - do not set text in lines that are too long or

too short

There are mul-tiple reasons to have more than one portfolio. You may have more than one skill set that you would like to promote sepa-rately. You may want to create a portfolio that is targeted to land-ing a specific job and send it to a

marketing direc-tor at a company. They’ll appreci-ate that. It saves them time and shows you re-ally want the job. Even if its a one page portfolio.

There are multiple reasons to have more than one portfolio. You may have more than one skill set that you would like to promote separately. You may want to create a portfolio that is targeted to landing a specific job and send it to a marketing director at a company. They’ll appreciate that. It saves them time and shows you really want the job. Even if its a one page portfolio.

too long

too shortThere are multiple reasons to have more than one portfolio. You may have more than one skill set that you would like to promote separately. You may want to create a portfolio that is targeted to landing a specific job and send it to a marketing direc-tor at a company. They’ll appreciate that. It saves them time and shows you really want the job. Even if its a one page portfolio.

about right

CHAPTERportfolio design - carolina aragón

type

typography

prime viewing area

5 - avoid widows and orphans whenever possible

There are multiple reasons to have more than one portfolio. You may have more than one skill set that you would like to promote separately. widow

There are multiple reasons to have more than one portfolio. You may have more than one skill set that you would like to promote separately.

how to fix

There are mul-tiple reasons to have more than one portfolio. You may have more than one skill set that you would like to promote sepa-rately. orphan

CHAPTERportfolio design - carolina aragón

type

typography

6- ensure good contrast between type and

background

This text is printed in black on a 30% tint of

black. Miles Tinker this 70% contrast is sufficient

to ensure legibility. Not everyone agrees.

This text is printed in black on a 60% tint of

black. The less the con-trast between text and background, the more

difficult it is to read.

This text is printed in cyan on a 30% tint of

cyan. Miles Tinker this 70% contrast is sufficient

to ensure legibility. Not everyone agrees.

70% contrast 40% contrast

This text is printed in cyan on a 60% tint of

cyan. The less the con-trast between text and background, the more

difficult it is to read.