chapter 3 space. three kinds of space space as format: size, scale, and presentation. space as the...
TRANSCRIPT
Chapter 3
Space
Three Kinds of Space
• Space as format: size, scale, and presentation.
• Space as the relationships among objects and the areas surrounding them: positive and negative space.
• Space as a perceived third dimension: illusionary space
Space as Format• Format = size• Be aware of the typical monitor
resolutions (not the same as monitor size) for computer-based projects.
Space as Format
Using the Format Space• There are no absolute rules.• An image that takes up a tiny
amount of space draws attention to itself.
• An image that takes up the whole space allows the viewer’s eye to wander around the image.
Using the Format Space
Positive and Negative Space
• Positive space: Parts of the image are perceived to be solid, such as an object.
• Negative space: everything else.
Positive and Negative Space
Working with Negative Space
• Negative space is not the leftover! • Play with negative space to
enhance important parts of your message.
Working with Negative Space
Illusionary Space
• Create the illusion of a third dimension by varying size.
Illusionary Space
Illusionary Space
• Create the illusion of a third dimension by varying placement: lower = closer.
Illusionary Space
Illusionary Space
• Create the illusion of a third dimension by using lighter or purer colors for foreground objects.
• Background objects seem less sharp or distinct than foreground objects.
Illusionary Space
Chapter 4
Line
Line as Contour• There are no lines in nature.• Our eyes interpret edges as lines.• When does the artist include lines?
•when surface is separated from background
•when direction changes
Line as Contour
Using Line to Convey Volume• Areas defined by heavier lines
appear to have more volume (and to be closer).
Using Line to Convey Volume
Line as Expression
• Different kinds of lines can suggest different emotions or expressions.
Line as Expression
Line for Direction• Lines direct the viewer’s eye.
•Actual lines•Implied lines: not drawn, but
made up of elements, such as edges, of several objects
•Imaginary lines: something (finger, arrow) points in a particular direction
Line for Direction
Pixelation in Line• Curved lines can appear pixelated
on low-resolution monitors.
Pixelation in Line
Conquering Pixelation in Line• Modify shapes that might be prone
to pixelation.• Use anti-aliasing filters, which
modify the colors of some outer-edge pixels.
Chapter 5
Shape
Shape and Volume• Shape is space enclosed by a line.• Add the 3rd dimension to shape,
and you get volume, or illusory space.
Shape and Volume
Shape Identification• Humans easily identify a wide
variety of shapes.• Designers can exploit this human
trait in many ways.
Shape Identification
Subtle Use of Shape• Shapes that are not the main
image can be used to enhance design:– to make the main image stand
out – to balance the image– to move the viewer’s eye– to reinforce an emotional feeling
Subtle Use of Shape
Shape Association
• The human tendency to group similar shapes can be exploited to create unity in a composition.
Shape Association
Chapter 6
Value
The Nature of Value• Value: the variation of light and
dark areas.• The concept of value applies
whether the image is monochromatic or many-colored.
The Strength of Value• Greater variation of values (up to
the human eye’s limit of about 40 gradations) conveys greater information and detail.
The Strength of Value
Defining Areas of Value• Understanding and being able to
apply value are the keys to good design.
Defining Areas of Value
Light and Value• Light defines value.• Reflected light defines the shape
and volume of objects.
Light and Value
Contrast and Mood• High contrast: a few values
widely separated (e.g., black and white)
• Low contrast: many values in a narrow range
• Lighter values convey lighter moods.
Contrast and Mood
Chapter 7
Texture
The Magic of Texture• Visual information can be used to
convey texture though the viewer can’t actually feel the object.
The Magic of Texture
Uses for Texture• As detail• As space, to provide background
interest
Uses for Texture
Texture Filters
• Imaging software texture filters automatically apply textures that would take hours to create by hand.
Texture Filters
Drawbacks of Texture Filters
• Too many textures can be distracting.• Applying the same filters everyone else
is using makes your work look like everyone else’s.– Adjust the properties of the filters you
use.– Apply more than one filter to the
same image.
Drawbacks of Texture Filters
Texture Design Problems• Oversized background texture can
detract from the main image.• Too many textures, or text over
texture, can make it difficult for the viewer to perceive the most important information.
Texture Design Problems
Chapter 8
Color
What Is Color?• Different colors in the spectrum are
created by different wavelengths of light.
• White is the presence of all the colors in the spectrum. Black is the absence of the colors.
What Is Color?
Additive Color• Combine two colors or wavelengths to
get a third color or wavelength.• Primary colors: red, green, and blue
(RGB).• Secondary colors, produced by adding
two primaries: cyan, magenta, and yellow.
Additive Color
Subtractive Color• An object of a specific color absorbs
(subtracts) all the other colors.• Primary colors: red, blue, yellow
(close to secondary colors of additive method).
• Secondary colors: purple, green, orange.
Subtractive Color
RGB and CMYK• RGB (red, green, blue), or the additive
method, is used for computers and TV• CMYK (cyan, magenta, yellow, black) is
used for print.• A new color wheel includes both
systems.
RGB and CMYK
Color Properties• Hue: The primary or secondary color that
makes up a given color. The hue of pink is red.
• Value: variation of light and dark.• Tint: White has been added to a color.• Shade: Black has been added to a
color.• Intensity (saturation): level of pure color
that is present.
Colors on the Web• Computer monitors can produce a vast
number of colors BUT: Only 216 colors are “Web-safe”—they appear the same on any system.
• Dithering: the process a browser uses to produce a color outside the Web gamut.