Layout & Design

Week 9 Writing for the Professions

What is layout?

  Page layout is the part of graphic design that deals with the arrangement and style treatment of elements (content) on a page

  The elements of layout derive their meaning both literally and culturally ie we have learned to interpret the meaning of composition

 Good layout takes into account how a reader’s eye interprets visual elements often unconsciously

  Principles of layout work on the basis of psychology (gestalt), ideology, aethestics and often fashion.

Some definitions …   The spatial arrangement of the text that can reinforce

or mute the message of a text.

  The code of spatial composition; its function is to integrate the different semiotic codes at work (e.g. images and written text) in a text by relating the meanings (representational and interpersonal/interactive) of a text to each other (Kress & Van Leeuwen 1996).

  Layout—‘is really a piece of abstract art. You’re fiddling with basic shapes in different tones and trying to get them to sit comfortably, logically and interestingly together in order to tell a story and impart information clearly … good designer relates pieces of the puzzle to one another until the connections are visually communicated as well as being textually discussed.’ (Whitbread 2001: 120)

Why do we need to know this in Professional Writing?

  Reading is a visual activity

  Readers use both visual and linguistic cues when processing texts

 Design, layout, use of photographs and visuals are all important in professional texts

  Understanding how readers make meaning allows writers to anticipate which techniques will work best for different audiences

  Professional writers often work collaboratively with web designers, illustrators, photographers

Visual Design vs. Verbal Design Think about how verbal elements are used in writing. There are rules for structuring verbal information – verbal elements such as words are used to form sentences. Visual information can be arranged in much the same way.

Component  

Vocabulary  

Syntax  

Message  

VERBAL   VISUAL  

Adapted  from  Schamber,  1986  

The impact of perception

 Our brain filters, organises and selects stimuli from the environment until it has meaning for us

 We interpret visual information according to learned schema

  Previous experiences can influence what we see and how we interpret

 Our eyes are limited eg we can’t see certain types of light such as ultra violet and x rays

Influences on interpersonal perception

The perceiver …

 Motives

 Personality

 Expectations

 Prior learning

  Self concept

 Attitudes

 Experiences

The perceived …

 Physical characteristics – size, colour, shape

  Social attributes – status

 Past experience – traditions, history

The context …

  Place and/or time"  Situational factors ""

Optical Illusions

Fig 4 – Old Woman /Young Woman – can you see them both?

Fig 5: – does knowing that the four lines are parallel help you see them that way?

Source: Sadler & Tucker, 1981,30

Source: Sadler & Tucker, 1981,28

 Gestalt, loosely translated into English, means “shape” or “form

  Gestalt psychologists are interested in the way that, within a world of ongoing change and endless variety, people can make sense of so much visual stimuli (Schamber, 1986)

 

  Gestalt  theories  have  implications  for  education  –  focussing  more  on  meaningful  learning  and  true  understanding  of  principles,  over  the  traditional  structured  approaches  based  on  memory  and  recall  (King,  Wertheimer,  Keller  &  Crochetiere,  1994)  

What is Gestalt Psychology?

The whole is greater than the sum of its parts

 Gestalt is “not a combination of elements but something new in relation to these, which exists together in their combination, but it distinguishable from it” (Lyons, 2001)

 As interface designers we need to recognise that learners will view the concept as a whole – even if it is made up of well-designed parts

 

 

 

 

 

“Creativity begins [as a] whole....the idea precedes the execution” (Schamber, 1986)

Laws of Gestalt

 Law  of    Proximity    The closer objects are to each other,

the more likely they are to be perceived as a group (Ehrenstein, 2004)

 Law  of  Symmetry    Objects must be balanced or

symmetrical to be seen as complete or whole (Chang, 2002).

 

Laws of Gestalt

  Law  of    Similarity    Objects that are similar, with like

components or attributes are more likely to be organised together (Schamber, 1986).

  Law  of  Common  Fate    Objects with a common movement,

that move in the same direction, at the same pace , at the same time are organised as a group (Ehrenstein, 2004

Objects  are  viewed  in  vertical  rows  because  of  their  similar  attributes.  

Laws of Gestalt

  Law of Continuation   Objects will be grouped as a whole if

they are co-linear, or follow a direction (Chang, 2002; Lyons, 2001).

  Law of Isomorphism   Is similarity that can be behavioural or

perceptual, and can be a response based on the viewers previous experiences (Luchins & Luchins, 1999; Chang, 2002). This law is the basis for symbolism (Schamber, 1986).

Laws of Gestalt

  Law  of    Closure    In perception there is the

tendency to complete unfinished or partially obscured objects (Ehrenstein, 2004). Kanizsa’s triangle (right) is one of the most recognisable examples of this (Wikipedia, 2008).

  Law  of  Figure  -­‐  Ground    Viewers will perceive an object

(figure) and a surface (ground) even in shapes are grouped together (Ehrenstein, 2004). This law also defines use of contrast (Schamber, 1986).

 

(Chang,  2002)  

(Wikipedia,  2008)  

Laws of Gestalt

  Law  of    Focal  Point    The  idea  that  a  point  of  interest,  something  

emphasised  or  different  will  catch  and  hold  the  viewers  attention  (Chang,  2002).  

  Law  of  Simplicity    This  is  the  law  that  states  that  people  will  

visualise  according  to  the  simplest  way  of  grouping  items  –  and  the  effort  to  simplify  complex  items  is  unconscious  (Chang,  2002).  

 

Lines & Shapes

Pictures & Layout

Design

Laws of Gestalt

  Law  of    Prägnanz    Prägnanz means, in simple terms,

“good form” and refers to organising shapes to simple forms (Chang, 2002). Figures are seen as their simple elements instead of complicated shapes.

  Law  of  Unity    Is the law of arrangement, where

elements and structures have a visual connection and look like they belong together, in unity (Chang, 2002). Unity is one of the general principles of visual design.

 

The four principles of CRAP

from Williams, Robin (2008). The Non-Designer’s Design Book (3rd ed) Berkeley, California: Peachprint Press  Contrast

 Repetition

 Alignment

 Proximity

Contrast  Contrast is created when two elements are different

 One of the most effective ways to make a reader look at a page

  For contrast to be effective it must be strong

  If two items are not exactly the same, them make them different … REALLY different

Don’t be a wimp!

Repetition  Repeat some aspect of the design throughout the piece

  It may be a bold font, a thick rule, a certain bullet style, a colour or pattern of layout

 Repetition can be thought of as consistency

Alignment  “Nothing should be placed on a page arbitrarily. Every

item should have a visual connection with something else on the page.”

 When items are aligned on a page, the result is a stronger cohesive unit

 Even when they are physically separated, there is an invisible line that connects them, both in your eye and in your mind

 The principle of alignment is what tells a reader that even though items are not close, they belong to the same idea

 Lack of alignment is the biggest cause of unpleasant documents. Our eyes like to see order: it creates a calm, secure feeling

Text alignment

  Items relating to each other should be grouped close together

 When several items are in close proximity, they become one visual unit rather than several visual unit

  This helps organise information, reduces clutter and gives the reader a clear structure

Proximity

Connotation & denotation

 Denotation' tends to be described as the definitional, 'literal', 'obvious' or 'common sense' meaning of a sign.

 In the case of linguistic signs, the denotative meaning is what the dictionary attempts to provide.

 ʻ‘Connotation' is used to refer to the socio-cultural and 'personal' associations (ideological, emotional etc.) of the sign.

 These are typically related to the interpreter's class, age, gender, ethnicity etc.

From Chandler, 2001 www.aber.ac.uk/media/Documents/S4B/semiotic.html

How do type and layout work together to create meaning?

 Creating a certain mood, look or feel (e.g. formal/informal, modern/old fashioned).

 Making the structure of a document clear (e.g. by creating heading

  Hierarchies, structural hierarchies between parts, chapters and sections).

 Creating reading paths and navigational structures.

  Providing clues about the genre or type of document.

 Cueing how to interpret and use the document.

  Revealing what the designer considers important.

Deliberate and accidental impact of type

Line spacing or leading

  Refers to the space between lines.

  Too much makes the text appear disconnected

  Too little and it appears too squashed and hard to read comfortably

Serif vs sans serif fonts