Graphic Design Page 3

  Point to Line Processing is a programming language created by C. E. B. Reas and Benjamin Fry. In this digital drawing by Reas, the lines express a relationship among the points, derived from numerical data. C. E. B. Reas, Process 4 (Form/Data 1), 2005 (detail).

  Point

  A point marks a position in space. In pure geometric terms, a point is a pair of x, y coordinates. It has no mass at all. Graphically, however, a point takes form as a dot, a visible mark. A point can be an insignificant fleck of matter or a concentrated locus of power. It can penetrate like a bullet, pierce like a nail, or pucker like a kiss. Through its scale, position, and relationship to its surroundings, a point can express its own identity or melt into the crowd.

  A series of points forms a line. A mass of points becomes texture, shape, or plane. Tiny points of varying size create shades of gray.

  The tip of an arrow points the way, just as the crossing of an X marks a spot.

  In typography, the point is a period—the definitive end of a line. Each character in a field of text is a singular element, and thus a kind of point, a finite element in a series.

  Jason Okutake

  Ryan Gladhill

  Ryan Gladhill

  Lauretta Dolch

  Lauretta Dolch

  Summer Underwood

  Robert Ferrell

  Digital Imaging. Al Maskeroni, faculty.

  Destructive Points Never underestimate the power of a point. This damaged facade was photographed in the war-torn city of Mostar, on the Balkan Peninsula in Bosnia and Herzegovina. Nancy Froehlich.

  Line

  A line is an infinite series of points. Understood geometrically, a line has length, but no breadth. A line is the connection between two points, or it is the path of a moving point.

  A line can be a positive mark or a negative gap. Lines appear at the edges of objects and where two planes meet.

  Graphically, lines exist in many weights; the thickness and texture as well as the path of the mark determine its visual presence. Lines are drawn with a pen, pencil, brush, mouse, or digital code. They can be straight or curved, continuous or broken. When a line reaches a certain thickness, it becomes a plane. Lines multiply to describe volumes, planes, and textures.

  A graph is a rising and falling line that describes change over time, as in a waveform charting a heart beat or an audio signal.

  In typographic layouts, lines are implied as well as literally drawn. Characters group into lines of text, while columns are positioned in blocks that are flush left, flush right, and justified. Imaginary lines appear along the edges of each column, expressing the order of the page.

  Jeremy Botts

  Lines express emotions.

  Josh Sims Bryan McDonough

  Alex Ebright Justin Lloyd

  Digital Imaging. Nancy Froehlich, faculty.

  Lines describe structure and edges.

  Allen Harrison

  Lines turn and multiply to describe planes.

  Line/Shape Study Vector-based software uses a closed line to define a shape. Here, new lines are formed by the intersection of shapes, creating a swelling form reminiscent of the path of a steel-point pen. Ryan Gladhill, MFA Studio.

  Plane

  A plane is a flat surface extending in height and width. A plane is the path of a moving line; it is a line with breadth. A line closes to become a shape, a bounded plane. Shapes are planes with edges. In vector-based software, every shape consists of line and fill. A plane can be parallel to the picture surface, or it can skew and recede into space. Ceilings, walls, floors, and windows are physical planes. A plane can be solid or perforated, opaque or transparent, textured or smooth.

  A field of text is a plane built from points and lines of type. A typographic plane can be dense or open, hard or soft. Designers experiment with line spacing, font size, and alignment to create different typographic shapes.

  Plane Letters A plane can be described with lines or with fields of color. These letterforms use ribbons of color to describe spatial planes. Kelly Horigan, Experimental Typography. Ken Barber, faculty.

  Parallel Lines Converge Summer Underwood

  Space and Volume

  A graphic object that encloses three-dimensional space has volume. It has height, width, and depth. A sheet of paper or a computer screen has no real depth, of course, so volume is represented through graphic conventions.

  Linear perspective simulates optical distortions, making near objects appear large as far objects become small, receding into nothing as they reach the horizon. The angle at which elements recede reflects the position of the viewer. Are the objects above or below the viewer’s eye level? Camera lenses replicate the effects of linear perspective, recording the position of the camera’s eye.

  Axonometric projections depict volume without making elements recede into space. The scale of elements thus remains consistent as objects move back into space. The result is more abstract and impersonal than linear perspective.

  Architects often use axonometric projections in order to keep a consistent scale across the page. Digital game designers often use this technique as well, creating maps of simulated worlds rather than depicting experience from the ground.

  Projection Study This idealized landscape uses axonometric projection, in which scale is consistent from the front to back of the image. As seen on a map or computer game, this space implies a disembodied, godlike viewer rather than a physical eye positioned in relation to a horizon. Visakh Menon, MFA Studio.

  Yeohyun Ahn

  Visakh Menon

  Gregory May

  Yeohyun Ahn

  Jason Okutake

  Point and Line: Physical and Digital In the lettering experiments shown here, each word is written with lines, points, or both, produced with physical elements, digital illustrations, or code-generated vectors. MFA Studio. Marian Bantjes, visiting faculty.

  Three Objects, Thirty-Three Ways

  This comprehensive design project encourages designers to observe, represent, and abstract visible objects using a variety of materials and techniques. Designers begin by visiting an unusual place with surprising things to see and observe, such as a local museum, aquarium, or botanical garden. They produce a substantial number of observational drawings of three objects, paying special attention to the appearance of form, color, texture, and materials. Careful observation is followed by exercises in creating word lists and drawing from memory to create a total of ninety-nine studies. The project exposes designers to the iterative design process, building individual capacity for patience, endurance, and an open mind. Graphic Design I. Brockett Horne, faculty.

  Trevor Carr

  Michael Quednau

  Spatial Translation

  In this project, designers explore point, line, and plane as tools for expression. They immerse themselves in a space and observe it from multiple points of view, including different vantage points (above, below) and different psychological orientations (as a male, a female, a giraffe, a shrimp, etc.). Participants generate images of their chosen spaces in diverse media, including photography, drawing, painting, printing, collage, or video. Representations can be literal, abstract, iconic, indexical, or symbolic. After gathering their initial observations, designers create a series of representations using dot stickers, tape, and cut paper. The final application is a sequence of ten images suitable for an accordion fold book. Graphic Design I. Brockett Horne, faculty.

  Jen Evans

  Michael Quednau

  Drawing with Code

  The drawings shown here were created with Processing, an open-source software application. The designs are built from a binary tree, a basic data structure in which each node spawns at most two offspring. Binary trees are used to organize information hierarchies, and they often take a graphical form. The density of the final drawing depends on the angle between the “children” and the number of generations.

  The larger design is created by repeating, rotating, inverting, connecting, and overlappi
ng the tree forms. In code-based drawing, the designer varies the results by changing the inputs to the algorithm.

  BinaryTree(400,600,400,550,30,1);

  BinaryTree(400,600,400,550,30,3);

  BinaryTree(400,600,400,550,30,5);

  BinaryTree(400,600,400,550,30,7);

  BinaryTree(400,600,400,550,30,9);

  Binary Tree The drawing becomes denser with each generation. The last number in the code indicates the number of iterations. Yeohyun Ahn, MFA Studio.

  Bézier Curves

  A Bézier curve is a line defined by a set of anchor and control points. Designers are accustomed to drawing curves using vector-based software and then modifying the curve by adding, subtracting, and repositioning the anchor and control points.

  The drawings shown here were created with the open-source software application Processing. The curves were drawn directly in code:

  bezier(x1,y1,x2,y2,x3,y3,x4,y4);

  The first two parameters (x1, y1) specify the first anchor point, and the last two parameters (x4, y4) specify the other anchor point. The middle parameters locate the control points that define the curve.

  Curves drawn with standard illustration software are fundamentally the same as curves drawn in code, but we understand and control them with different means. The designer varies the results by changing the inputs to the algorithm.

  bezier(850,200,100,100,900,900,150,800);

  for(int i=0;i<900; i=i+40)

  {bezier(i,200,100,100,900,i,150,800);}

  for(int i=0; i<900; i=i+100)

  {bezier(850,200,100,100,i,900,150,800);}

  for(int i=0;i<900;i=i+40)

  {bezier(i,200,i,100,900,900,150,800);}

  Repeated Bézier Curve The designer has written a function that repeats the curve in space according to a given increment (i). The same basic code was used to generate all the drawings shown above, with varied inputs for the anchor and control points. A variable (i) defines the curve. Yeohyun Ahn, MFA Studio.

  Black Flower A Bézier vertex is a shape created by closing a Bézier curve. This design was created by rotating numerous Bézier vertices around a common center, with varying degrees of transparency. Yeohyun Ahn, MFA Studio.

  Rhythm and Repetition This code-driven photogram employs a simple stencil plus sign through which light is projected as the photo paper shifts minutely and mechanically across the span of hours. The visual result has the densely layered richness of a charcoal drawing. Tad Takano. Photographed for reproduction by Dan Meyers.

  Rhythm and Balance

  I pay close attention to the variety of shapes and sizes, and place the objects so that the lines and edges create a rhythm that guides the viewer’s eye around the image and into the focal point. Sergei Forostovskii

  Balance is a fundamental human condition: we require physical balance to stand upright and walk; we seek balance among the many facets of our personal and professional lives; the world struggles for balance of power. Indeed, balance is a prized commodity in our culture, and it is no surprise that our implicit, intuitive relationship with it has equipped us to sense balance—or imbalance—in the things we see, hear, smell, taste, and touch.

  In design, balance acts as a catalyst for form—it anchors and activates elements in space. Do you ever notice your eye getting stuck in a particular place when looking at an unresolved design? This discord usually occurs because the proportion and placement of elements in relation to each other and to the negative space is off—too big, too tight, too flat, misaligned, and so on.

  Relationships among elements on the page remind us of physical relationships. Visual balance occurs when the weight of one or more things is distributed evenly or proportionately in space. Like arranging furniture in a room, we move components around until the balance of form and space feels just right. Large objects are a counterpoint to smaller ones; dark objects to lighter ones.

  A symmetrical design, which has the same elements on at least two sides along a common axis, is inherently stable. Yet balance need not be static. A tightrope walker achieves balance while traversing a precarious line in space, continually shifting her weight while staying in constant motion. Designers employ contrasting size, texture, value, color, and shape to offset or emphasize the weight of an object and achieve the acrobat’s dynamic sense of balance.

  Rhythm is a strong, regular, repeated pattern: the beating of drums, the patter of rain, the falling of footsteps. Speech, music, and dance all employ rhythm to express form over time. Graphic designers use rhythm in the construction of static images as well as in books, magazines, and motion graphics that have duration and sequence. Although pattern design usually employs unbroken repetition, most forms of graphic design seek rhythms that are punctuated with change and variation. Book design, for example, seeks out a variety of scales and tonal values across its pages, while also preserving an underlying structural unity.

  Balance and rhythm work together to create works of design that pulse with life, achieving both stability and surprise.

  Symmetry and Asymmetry

  Symmetry can be left to right, top to bottom, or both. Many natural organisms have a symmetrical form. The even weighting of arms and legs helps insure a creature’s safe mobility; a tree develops an even distribution of weight around its core to stand erect; and the arms of a starfish radiate from the center.

  Symmetry is not the only way to achieve balance, however. Asymmetrical designs are generally more active than symmetrical ones, and designers achieve balance by placing contrasting elements in counterpoint to each other, yielding compositions that allow the eye to wander while achieving an overall stability.

  Symmetry The studies above demonstrate basic symmetrical balance. Elements are oriented along a common axis; the image mirrors from side to side along that axis. The configurations shown here are symmetrical from left to right and/or from top to bottom.

  Asymmetry These studies use asymmetry to achieve compositional balance. Elements are placed organically, relying on the interaction of form and negative space and the proximity of elements to each other and to the edges of the field, yielding both tension and balance.

  Disrupted Symmetry The designer has disrupted this symmetrical cross form to signify political unrest among factions in Uganda around the HIV/AIDS crisis. Narrative text lines alternate between clarity and obfuscation, ultimately erupting in chaos, yielding a dynamic counterpoint balance. Katrina Keane, MFA Studio.

  Rhythm and Time

  We are familiar with rhythm from the world of sound. In music, an underlying pattern changes in time. Layers of pattern occur simultaneously in music, supporting each other and providing aural contrast. In audio mixing, sounds are amplified or diminished to create a rhythm that shifts and evolves over the course of a piece.

  Graphic designers employ similar structures visually. The repetition of elements such as circles, lines, and grids creates rhythm, while varying their size or intensity generates surprise. In animation, designers must orchestrate both audio and visual rhythms simultaneously.

  Jason Okutake, MFA Studio

  Manic Mandala The smooth, symmetrical shapes layered to build this mandala are interrupted by a discordant frenzy of sharp, irregular lines and masses. Wenji Lu, MFA Studio.

  Repetition and Change

  From the flowing contours of a farmer’s fields to a sea of shipping containers stacked tightly into rows, repetition is an endless feature of the human environment. Like melodic consonance and fervent discord in music, repetition and change awaken life’s visual juxtapositions. Beauty arises from the mix.

  Highway Overpasses, Houston, Texas

  Shipping Containers, Norfolk, Virginia

  Contour Farming, Meyersville, Maryland

  Observed Rhythm Aerial photographs are fascinating and surprising because we are not accustomed to seeing landscapes from above. The many patterns, textures, and colors embedded in both man-made and natural forms—revealed and concealed through light and shadow—yield intriguing rhythm
s. Cameron Davidson.

  Rhythm and Pacing

  Designers often work with content distributed across multiple pages. As in a single-page composition, 5an overall coherence. Imagery, typography, rules, color fields, and so on are placed with mindful intention to create focal points and to carry the viewer’s eye through the piece. An underlying grid helps bring order to a progression of pages. Keeping an element of surprise and variation is key to sustaining interest.