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Файл:Английский язык для профессионального общения. Искусство и дизайн = English for Professional Communication. Art and Design. Учебное пособие
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Unit 4. Graphic Design
responsive design and web development. In addition to graphics apps,
they need knowledge of programming languages like HTML, CSS and
J a v a
S c r i p t .
4. Publication graphic design
Publications are long-form pieces that communicate with an audience
through public distribution. They have traditionally been a print medium.
Think books, newspapers, magazines and catalogues. However, there’s
recently been a significant rise in digital publishing.
Graphic designers that specialize in publications work with editors
and publishers to create layouts with carefully selected typography and
accompanying artwork, which includes photography, graphics and illustrations. Publication designers may work as freelancers, as creative
agency members or in-house as part of a publishing company.
Examples of publication graphic design
•• Books,
•• newspapers,
•• newsletters,
•• annual reports,
•• magazines,
•• catalogues.
•• directories,
Publication designers must possess excellent communication, layout
and organizational skills. In addition to graphic design expertise, they
need to understand colour management, printing and digital publishing.
5. Packaging graphic design
Most products require some form of packaging to protect and prepare
them for storage, distribution, and sale. But packaging design
can also
communicate directly to consumers, which makes it an extremely valuable marketing tool. Every box, bottle and bag, every can, container, or
canister is a chance tell the story of a brand.
Packaging designers create concepts, develop mockups and create the
print-ready files for a product. This requires expert knowledge of print
processes and a keen understanding of industrial design and manufacturing.
Because packaging design touches so many disciplines, it’s
for designers to find themselves creating other assets for a
not uncommon
product such as
photography, illustrations and visual identity. (App. 4, fig. 7)
Packaging designers may be a jack-of-all-trades or specialize in a specific
type of packaging (like labels or beverage cans) or a specific industry (like
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I. Basic course
food or children’s toys). Their work requires top-notch conceptual and
problem-solving skills in addition to a strong working knowledge of print
and industrial design. They must be flexible to meet the demands of clients,
marketers and manufacturers and be aware of current trends.
6. Motion graphic design
Simply put, motion graphics are graphics that are in motion. This can
include animation, audio, typography, imagery, video and other effects
that are used in online media, television and film. The medium’s popularity has skyrocketed in recent years as technology improved and video
content became king.
“Motion graphics designer” is a somewhat new specialty for designers.
Formally reserved for TV and film, technological advances have reduced
production time and costs, making the art form more accessible and
affordable. Now, motion graphics can be found across all digital platforms, which has created all sorts of new areas and opportunities.
Examples of motion graphic design
•• Title sequences and end credits,
•• advertisements,
•• animated logos,
•• trailers,
•• presentations,
•• promotional videos,
•• tutorial videos
•• websites,
•• apps,
•• video games
•• banners,
•• GIFs.
Motion graphics designers begin by developing storyboards and then
bring their concepts to life with animation, video and traditional art.
Depending on the industry, a strong working knowledge of marketing,
coding and 3D modeling can be definite assets.
7. Environmental graphic design
Environmental graphic design visually connects people to places to
improve their overall experience by making spaces more memorable,
interesting, informative or easier to navigate.
Examples of environmental graphic design
•• Signage,
•• wall murals,
•• museum exhibitions,
•• office branding,
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•• public transportation navigation,
•• retail store interiors,
•• stadium branding,
•• event and conference spaces.
Unit 4. Graphic Design
Wayfinding is a specific type of environmental graphic design that
consists of strategic signage, landmarks and visual cues that help people
identify where they are and where they need to go so they can get there
without confusion.
Environmental graphic design is a multidisciplinary practice that
merges graphic, architectural, interior, landscape and industrial design.
Designers collaborate with people in any number of these fields to plan
and implement their designs. Because of that, designers typically have
education and experience in both graphic design and architecture. They
must be familiar with industrial design concepts and able to read and
sketch architectural plans.
Traditionally, environmental graphic design has produced
static print
pieces, but digital interactive displays continue to rise in popularity as
a means of creating a more engaging experience.
8. Art and illustration for graphic design
Graphic art and illustration are often seen as being the same as graphic
design, however they’re each very different. Designers create compositions to communicate and solve problems, graphic artists and illustrators
create original artwork. Their art takes a number of forms, from fine art
to decoration to storytelling illustrations.
Even though graphic art and illustration are not technically types of
graphic design, so much is created for commercial use within the context
of graphic design that you can’t talk about one without the others.
Examples of art and illustration for graphic design
•• T-shirt design,
•• graphic patterns for textiles,
•• motion graphics,
•• stock images,
•• graphic novels,
•• video games,
•• websites,
•• comic books,
•• album art,
•• book covers,
•• picture books,
•• infographics,
•• technical illustration,
•• concept.
Graphic artists use any combination of media and techniques to create
their work as they collaborate with writers, editors, managers, marketers
and art directors across all graphic design types.
They’ll often have a
foundation in fine arts, animation or architecture. Overlapping skills and
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I. Basic course
apps make it possible to find graphic designers who also work as graphic
artists and illustrators (and vice versa). (https://99designs.com)
12. Reproduce the text using your own plan.
13. Choose any type of graphic design and write an essay.
14. Read the text and pick out 35 key words which you can use for
further retelling.
Seven Principles of Design
Design differs from art in that it has to have a purpose. Visually, this
functionality is interpreted by making sure an image has a center of
attention, a point of focus. The principles of design are the rules a designer
must follow to create an effective composition that cleanly delivers
a
message to her audience. The most important, fundamental principles
of design include emphasis, balance and alignment, contrast, repetition,
proportion, movement and white space.
Maybe you’re thinking, ‘But wait! I thought design was all about creativity?’ If you’re an entrepreneur or designer who’s just starting out, you
might be tempted to go wild and combine the first five typefaces and
colours that catch your eye, believing you’re creating something fresh
and new. You will probably find yourself with a design that is muddled,
unfinished, or well, just plain ugly.
Graphic
design, like any discipline, adheres to strict rules that work
beneath the surface to make the work stable and balanced. If the work is
missing that balance, it will be weak and ineffective.
This article will take you through seven basic principles of design that
will make your next project stand out.
1. Emphasis
Say you’re creating a poster for a concert. You should ask yourself:
what is the first piece of information my audience needs to know? Is it the
band? Or the concert venue? What about the day and the cost of attending?
Make a mental outline. Let your brain organize the information and
then lay out your design in a way that communicates that order. If the
band’s name is the most essential information, place it in the center or
make it the biggest element on the poster. Or you could put it in the
strongest, boldest type. Learn about
colour theory and use strong colour
combinations to make the band name pop.
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Unit 4. Graphic Design
Like writing without an outline or building without a blueprint, if you
start your composition without a clear idea of what you’re trying to
communicate, your design will not succeed.
2. Balance and alignment
Never forget that every element you place on a page has a weight. The
weight can come from colour, size, or texture. Just like you wouldn’t put
all your furniture in one corner of a room, you can’t crowd all your heavy
elements in one area of your composition. Without balance, your audience will feel as if their eye is sliding off the page.
Symmetrical design creates balance through equally weighted
elements aligned on either side of a center line. On the other hand, asymmetrical design uses opposite weights (like contrasting one large element
with several smaller elements) to create a composition that is not even,
but still has equilibrium.
Symmetrical designs are always pleasing, if not occasionally boring.
Asymmetrical designs are bolder and can bring real visual interest and
movement (more on that later!) to your composition.
3. Contrast
Contrast is what people mean when they say a design “pops.” It comes
away from the page and sticks in your memory. Contrast creates space
and difference between elements in your design. Your background needs
to be significantly different from the colour of your elements so they
work harmoniously together and are readable.
If you plan to work with type, understanding contrast is incredibly
essential because it means the weight and size of your type are balanced.
How will your audience know what is most important if everything is in
bold?
As you seek out examples of really strong, effective design, you’ll
notice most designs only feature one or two typefaces. That’s because
contrast can be effectively achieved with two strong fonts (or even one
strong typeface in different weights). As you add fonts, you dilute and
confuse the purpose of your design.
4. Repetition
If you limit yourself to two strong typefaces or three strong colours,
you’ll soon find you’ll have to repeat some things. That’s ok! It’s often
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I. Basic course
said that repetition unifies and strengthens a design. If only one thing on
your band poster is in blue italic sans-serif, it can read like an error. If
three things are in blue italic sans-serif, you’ve created a motif and are
back in control of your design.
Repetition can be important beyond one printed product. Current
packaging design is heavily embracing beautiful
illustrated patterns.
Anyone thinking about a startup knows one of the first things you need
is a strong logo to feature on your website, business cards, social media
and more. Brand identity? Another term for repetition.
5. Proportion
Proportion is the visual size and weight of elements in a composition
and how they relate to each other. It often helps to approach your design
in sections, instead of as a whole.
Grouping related items can give them importance at a smaller size –
think of a box at the bottom of your poster for ticket information or
a sidebar on a website for a search bar. Proportion can be achieved only if
all elements of your design are well-sized and thoughtfully placed. Once
you master alignment, balance, and contrast, proportion should emerge
organically.
6. Movement
Going back to our concert poster. If you decided the band was the
most important piece of information on the page and the venue was the
second, how would you communicate that with your audience?
Movement is controlling the elements in a composition so that the eye
is led to move from one to the next and the information is properly
communicated to your audience. Movement creates the story or the
narrative of your work: a band is playing, it’s at this location, it’s at this
time, here’s how you get tickets. The elements above–especially balance,
alignment, and contrast – will work towards that goal, but without proper
movement, your design will be DOA.
If you look at your design and feel your eye get “stuck” anywhere on
it – an element is too big, too bold, slightly off-center, not a complimentary colour – go back and adjust until everything is in harmony.
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Unit 4. Graphic Design
7. White space
All of the other elements deal with what you add to your design. White
space (or negative space) is the only one that specifically deals with what
you don’t add. White space is exactly that–the empty page around the
elements in your composition. For beginning designers it can be a perilous
zone. Often simply giving a composition more room to breathe can
upgrade it from mediocre to successful.
White space isn’t sitting there doing nothing – it’s creating hierarchy
and organization. Our brains naturally associate ample white space
around an element with importance and luxury. It’s telling our eyes that
objects in one region are grouped separately from objects elsewhere.
Even more exciting, it can communicate an entirely different image or
idea from your main design that will reward your audience for engaging
with it. The logo above uses active negative space to communicate
multiple ideas in one fun, creative design.
How to Use the Principles of Design
A design doesn’t have to strictly follow these rules to be “good”. Some
absolutely mind-blowing designs ignore one or more of them in order to
create an eye-catching and effective work.
Consider the cover of “The Bed Moved” by Rebecca Schiff, designed
by Janet Hansen. This was one of the most lauded book covers of 2016.
But did you immediately read the first line as “Theeb”? Did your eye
jump to the bottom line where the M from “Moved” is isolated on
a different line than the rest of the word? The design is clearly breaking
the two rules of movement and alignment. But! Because of the designer’s
confident use of a bold contrasting colour scheme and a repetitive structure, your eye is easily guided to the title and author of the book.
The important information is communicated. That jarring moment of
slight confusion is what makes this design so revolutionary and rewarding.
The elements of a design should be viewed as moving parts which
combine to tell a story. As you approach your design project you must
first familiarize yourself with these principles of design. Only then will
you be able to break the rules to create your own signature style.
(https://99designs.com)
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I. Basic course
15. Retell the text using the words of the unit.
16. How do you use this information at your lessons?
17. Read the text and answer the question: How are you going to
use this information in your future work?
Seven Types of Logos (and How to Use Them)
A logo is an image that symbolizes your business. But did you know
there are seven different types of logos?
Though they’re all a combination of typography and images, each
type of logo gives your brand a different feel. And since your logo is the
rst thing new customers will see, you want to make sure you get it right.
Want to choose the best logo type for your business? Here are the seven
types of logos you need to know about:
1. Monogram logos (or lettermarks)
Monogram logos or lettermarks are logos that
consist of letters, usually brand initials. IBM,
CNN, HP, HBO…. Noticing a pattern, yes? They’re
the initialisms of a few famous businesses with
rather lengthy names. With two or three words to
remember, they’ve each turned to using their initials
for brand-identication purposes. So it makes
perfect sense for them to use monograms –
sometimes called lettermark logos – to represent
their organizations.
A lettermark is a typography-based logo that’s comprised of a
few letters, usually a company’s initials. The lettermark is all about
simplicity. By utilizing just a few letters lettermark logos are effective at
streamlining any company brand if they have a long name. For example,
how much easier is it to say – and remember – NASA versus the National
Aeronautics and Space Administration?
Because the focus is on initials, the font you choose (or create) is very
important to make sure your logo is not only on-theme with what your
company does, but also legible when you print on business cards. Also,
if you’re not an established business already you may want to add your
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Unit 4. Graphic Design
full business name below the logo so people can begin to learn who you
are right away.
2. Wordmarks (or logotypes)
Similar to a lettermark, a wordmark or logotype is a font-based logo
that focuses on a business’ name alone. Think
Visa and Coca-Cola. Wordmark logos work
really well when a company has a succinct and
distinct name. Google’s logo is a great example
of this. The name itself is catchy and memorable
so, when combined with strong typography, the
logo helps create strong brand recognition.
Also, like with a lettermark logo, typography
will be an important decision. Since the focus will be on your name,
you’ll want to pick a font – or create a font – that captures the essence of
what your business does. For example, fashion labels tend to use clean,
elegant fonts that feel high-end, while legal or government agencies
almost always stick to traditional, “heavier” text that feels secure.
When to use lettermark and wordmark logos:
•• Consider a
lettermark logo if your business happens to have a long
name. Condensing the business name into initials will help simplify your
design and likewise customers will have an easier time recalling your
business and your logo.
•• A wordmark is a good decision if you’re a new business and need to
get your name out there, just make sure that name is short enough to take
advantage of the design. Anything too long can look too cluttered.
•• A wordmark logo is a good idea if you have a distinct business
name that will stick in customers’ minds. Having your name in a great,
designed font will make your brand all the stickier.
•• Both
lettermark and wordmark logos are easy to replicate across
marketing material and branding thus making them highly adaptable
options for a new, and developing, business.
•• Remember that you’ll want to be scrupulous when creating a
mark
or a wordmark. Your business name in a font alone likely won’t be
letter-
distinct enough to capture the nuance of your brand. So make sure you
hire a professional who’ll have an eye for detail.
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3. Pictorial marks (or logo symbols)
A pictorial mark (sometimes called brand mark or logo symbol) is an
icon – or graphic-based logo. It’s probably the image that comes to mind
when you think “logo”: the iconic Apple logo, the Twitter
bird, the Target bullseye. Each of these companies’ logos
is so emblematic, and each brand so established, that the
mark alone is instantly recognizable. A true brand mark
is only an image. Because of this, it can be a tricky logo
type for new companies, or those without strong brand
recognition, to use.
The biggest thing to consider when deciding to go with a pictorial mark
is what image to choose. This is something that will stick with your
company its entire existence. You need to think about the broader implications of the image you choose: do you want to play on your name (like John
Deere does with their deer logo)? Or are you looking to create deeper
meaning (think how the Snapchat ghost tells us what the product does)? Or
do you want to evoke an emotion (as the World Wildlife foundation does
with their stylized image of a panda – an adorable and endangered species)?
4. Abstract logo marks
An abstract mark is a specific type of pictorial logo. Instead of being
a recognizable image – like an apple or a bird – it’s an abstract geometric
form that represents your business. A few famous examples include the
BP starburst-y logo, the Pepsi divided circle and the strip-y Adidas flower.
Like all logo symbols, abstract marks work really
well because they condense your brand into a single
image. However, instead of being restricted to
a picture of something recognizable, abstract logos
allow you to create something truly unique to
represent your brand.
The benefit of an abstract mark is that you’re
able to convey what your company does symbolically, without relying on the cultural implications of a specific image.
Through colour and form, you can attribute meaning and cultivate
emotion around your brand. (As an example, think about how the Nike
swoosh implies movement and freedom.)
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