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Project 3 Reading: Ch 4

Object placement
White space creates calm areas within a design that can serve many functions, such as establishing a visual hierarchy. However, white space is not always white, it is any space in a design without text or graphic elements. Without white space, the design will be difficult to understand. I know I need to use white space with this brochure so things don't get messy and people will actually want to read everything I provide.
Balance is the concept of visual equilibrium in a design and the reconciliation of opposing forces in a composition in order to arrive at stability. Most successful compositions achieve balance in one of two ways: either through the use of symmetry or asymmetry. It is also important to use juxtaposition when using more than one image so a relationship between them can be formed. I think I might be able to use multiple text alignment with the text I am using so it will be easier to understand.
I also want to use layers in my design to create space and depth.
color/texture/the gutter

Project 3 Readings: Ch. 2 and 3

Ch. 2
The design process can be broken down into 3 parts: pre-production, design production, and post-production. Pre-production includes the design brief and statement of the design goals. During the design production phase, a design studio continues the chosen solution and refines it until it meets the design brief and is accepted by the client. Post-production sees the implementation of the design solution and an evaluation of its success and effectiveness in meeting the client's goals. This chapter talks a lot about organization and the use of organizing mechanics to help out. Such things as the golden section (and geometry), golden ratio, rule of thirds, and the visual center are all devices you can use to make sure your design has the right proportions. I plan to use some of these in my brochure because I want people's eyes to feel comfortable when looking at my illustrations and information I provide. I want there to be unity within my work so I know that using some of these devices will help me out with the right proportions to use for the size of my book.

Ch. 3
Grids are the bone structure of a layout and serve as a tool to help designers achieve balance, while also being creative with their work. It's the basic design tool used as a guide for the positioning of the various elements used within the design. Columns are very important when dealing with text because they impact on whether it is readable or not. Column widths of a layout are determined by font set width (the width the font occupies), typesize, and column-width page proportion. This important to know because I may need to create columns for my text within my book and I will need to know how to do it properly without error. You can also divide the grid into different fields or modules to increase the range of active spaces for the designer. This works best when using both text and pictures, which I plan to do. When dealing with columns and fields, you will also need to work with the baseline grid because that it is the best tool for lining up picture boxes and text.

Reading: Anatomy 1

This article talks about parodies in the visual sense. The author describes a parody as "transforming a familiar graphic form by slightly twisting its intent and altering its original meaning immediately, triggering audience recognition- with devastating effect". The example they used for this reading is a poster for the iraq war in the form of an iPod poster as its parody. This iRaq poster is very hard to look at because it references pain and suffering, but you also find yourself not being able to look away since the iPod idea is seen so clearly that it makes you really think about the deeper meaning behind the black figure and the white wires- acting as the white head phones in the famous iPod logo. Parodies can be used for good, funny humor or for very serious issues that need to be addressed by using a familiar idea and twisting it around.

Reading: Contemporary Graphic Design of Iran

After reading this article, I feel like I gained more knowledge on foreign design. I had no idea how different countries found their inspiration behind graphics and how they really got attention to their culture or society. The author said, "Because we are not innately a modern society. Therefore, modernism cannot naturally come from within." This statement is talking about Iran specifically and how modernism, what we in the U.S. use all the time, does not come so easy to them. This is because of their culture and how it is very old fashioned and very much based on traditions and the past.
The author talks about this issue by saying, "One of the most important issues of concern in our cultural graphics is the relationship of the designer with the past and with our visual tradition or Iranian identity. In view of our culture, graphic works should be a continuation of the past or an evolution of the past." This, again, is very different then the U.S. because we are always focused on moving forward and coming up with a great, new idea that no one has ever heard or seen before. Although we do sometimes give pieces of work a more 'old school' look, it is mainly because that is what is in at that time. Doesn't mean we are focused only on our past, but that we want to connect future with oldies. "One of the most important issues of concern in our cultural graphics is the relationship of the designer with the past and with our visual tradition or Iranian identity. In view of our culture, graphic works should be a continuation of the past or an evolution of the past." This is a statement from the author, talking more about how the Iranian traditions and how they will always be incorporated in the current design because that is who they are, a culture who is very proud of their past and traditions and will always want that shown to the public.

Reading: The Charity Begins at Work Problem

I actually learned a lot about what my future job could hold for me. I had always thought that charity work would be harder because it is for very less money, or none at all, and I didn't see the real point in striving for a charity design job until I read this article. It makes sense that doing work for hardly nothing would mean you get to be more creative and have more freedom with the work you are doing. But it is really a catch-22 I think because you want to create your own work and not have so many restrictions but then you hardly get paid for your hard work. In the reading, the author states, " The charity appeal can only work if the message is as simple as possible." I think this basically sums up the article because that is all the charity organization is looking for- something simple that gets their point across without paying a designer too much for their work. For some reason I just keep thinking about how this concept of charity work is really only benefiting the company, not really the designer. Sure it is a way to get noticed but at what cost? Hardly nothing it seems like. Unless you get lucky like James Victore and get the chance to have exhibitions made for your work because it is so unique.

Reading: Color Theory

I found this article very interesting. I had never known the different meanings around the world for different colors. For example, in the United States, we wear black for a funeral but in China and Japan, white is the funeral color. I also found out that yellow is the first color the eye sees. The charts and examples this reading gives is very helpful and good to know when designing because you don't want to offend anyone by simply using a color that has a different meaning to them. It was interesting to read about the history of the color theory and where it all started. I had no idea that Sir Isaac Newton invented the color wheel either. I know I will use this article for future references.

Reading: The Astonish Me Problem

This article provided some very useful information any designer would like to find out. The reading basically was about turning simple work or designs into something more intelligent and more appealing to the viewer. It was also very interesting to read about how you can use visual effects to make your work have more of an edge. They also talked about using old work and then adding new effects to it so it looks old and new at the same time. The article also talked about the designer Shigeo Fukuda and his ability to create simple graphic shapes twist and turn your eye when you look at it.

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