Graphic design: the new basics / Ellen Lupton and Jennifer Cole Phillips. — Second Edition, Revised and Expanded. pages cm Includes. Our bestselling introduction to graphic design is now available in a revised and updated edition. In Graphic Design: The New Basics, bestselling author Ellen. Our bestselling introduction to graphic design is now available in a revised and updated edition. In Graphic Design: The New Basics, bestselling author Ellen Lupton (Thinking with Type, Type on Screen) and design educator Jennifer Cole Phillips explain the key concepts of visual.
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Graphic design: the new basics. [Ellen Lupton; Jennifer C Phillips] -- This guide aims to move students away from a cut-and-paste mentality and refocus design. Editorial Reviews. Review. "A longstanding excellent primer, in an equally excellent updated Kindle Store; ›; Kindle eBooks; ›; Arts & Photography. In Graphic Design: The New Basics, Ellen Lupton, best-selling author of such books as Thinking with Type and Design It Yourself, and design educator Jennifer.
There are a lot of examples that can be inspiring though. And the design of the book is superb. Oct 26, Hadley Smith rated it really liked it This book was very useful for the class it was required for. However, if you are downloading the book for personal use I would suggest previewing it first.
The pages are well laid out though some chapters are more informative than others. Definitions and terms are limited on certain principles but the definitions that are provided are very well written and informative.
This is more of a picture book as it displays concepts through art work and presentation rather than written information. If you This book was very useful for the class it was required for. If you have a slight idea of art or design concepts I would suggest this book for the furthering of those concepts and for visual examples of new ideas and ways to go about designing.
Freedom from arbitrary arrest and exile Right to fair public hearing Right to be considered in- nocent until proven guilty Freedom from interfer- ence with privacy, family, home, and correspondence Right to free movement in and out of the country Right to asylum in other countries from perse- cution Right to a nationality and the freedom to change it Right to marriage and family Right to own property Freedom of belief and religion Freedom of opinion and information Right of peaceful assembly and association Right to par- ticipate in government and in free elections Right to social security Right to desirable work and to join trade unions Right to rest and leisure Right to adequate living standard Right to educa- tion Right to participate in in the cultural life of the community Right to a social order that articulates this document Community duties essential to a free and full development Freedom from state or personal interference in the above rights TheNewBasics Alterego: In the exhibition space, an expertly crafted film capturing the coiffing plays in the background.
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Alterego pushes designers to step outside and beyond their comfort zone and experiment with fresh design language, media, and making. At MICA, the project culminates in an exhibition where students bring their character to life in a three- dimensional setting. Silas Munro and Jennifer Cole Phillips, faculty. Fashion Sense This alterego is an internationally renowned fashion designer with a penchant for sleek silhouettes, taut asymmetry, and bold graphic form, texture, and tonality.
The site has no information other than a seductive motion graphic designed to attract new business. Jamie Carusi. Identity Disorder The alterego is a German psychiatrist specializing in multiple and dissociative identity disorders. Through multiple-exposure photography meticulously stitched together, he captures and fuses fractured persona parts into one cohesive whole, creating a sort of snapshot of the psychosis.
Wood, leather, glass, metal, and paper were carefully crafted to create a credible visual vernacular. Botanical Weaver The artist began by translating complex flora into digital materials. She then extracted, layered, and backlit those images in a modular, interactive kit-of-parts and later made them into a motion sequence.
Her thesis project, The Anatomy of Vegetables, starts with material studies, dissection, and analysis, which are then transformed into tangible contexts, such as a highly interactive app, grocery tote bags, animations, and a website.
The clearly articulated hierarchy, and sleek, distilled thesis exhibition design above belie the thousands of generative investigations the designer performed throughout the process.
Point, Line, Plane Point, line, and plane are the build- ing blocks of design. From these elements, designers create images, icons, textures, patterns, diagrams, animations, and typographic systems. Indeed, every complex design shown in this book results at some level from the interaction of points, lines, and planes.
Diagrams build relationships among elements using points, lines, and planes to map and connect data. Textures and patterns are constructed from large groups of points and lines that repeat, rotate, and otherwise interact to form distinctive and engaging surfaces. For hundreds of years, printing processes have employed dots and lines to depict light, shadow, and volume. Different printing technologies support distinct kinds of mark making.
In contrast to this subtractive process, lithography allows the artist to make positive, additive marks across a surface. In these processes, dots and lines accumulate to build larger planes and convey the illusion of volume. The subtle tonal variations of photography eliminated the intermediary mesh of point and line. Yet reproducing the tones of a photographic image requires translating it into pure graphic marks, because nearly every mechanical printing method—from lithography to laser printing—works with solid inks.
The same principle is used in digital reproduction. Software describes images in terms of point, line, plane, shape, and volume as well as color, transparency, and other features.
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There are numerous ways to experiment with these basic elements of two-dimensional design: A line is the track made by the moving point Reas and Benjamin Fry. In this digital drawing by Reas, the lines express a relationship among the points, derived from numerical data.
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.
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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. In typography, each character in a field of text is a point, a finite element represented by a single key stroke. The letter occupies a position in a larger line or plane of text. At the end of the line is a period.
The point is a sign of closure, of finality. It marks the end. Al Maskeroni, faculty. Ryan Gladhill This damaged facade was photographed in the war-torn city of Mostar, on the Balkan Peninsula in Bosnia and Herzegovina. Nancy Froehlich. TheNewBasics 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. Typographic alignment refers to the organization of text into columns with a hard or soft edge.
A justified column is even along both the left and right sides. The crisp edge of a column is implied by the even starting or ending points of successive lines of type. The eye connects the points to make a line. Such typographic lines are implied, not drawn. Type sits on a baseline. Lines express emotions. Digital Imaging. Nancy Froehlich, faculty. Here, new lines are formed by the intersection of shapes, creating a swelling form reminiscent of the path of a steel-point pen. TheNewBasics 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.
Graphic Design: The New Basics
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. The quality of the plane—its density or opacity, its heaviness or lightness on the page—is determined by the size of the letters, the spacing between lines, words, and characters, and the visual character of a given typeface. In typography, letters gather into lines, and lines build up into planes. The quality of the plane—its density, its opacity, its weight on the page—is determined by the size of the letters, the spacing between lines, words, and characters, and the visual character of a given typeface.
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. 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. 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. 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.
Parallel Lines Converge Summer Underwood 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. Marian Bantjes, visiting faculty. Yeohyun Ahn Jason Okutake TheNewBasics 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 TheNewBasics 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. Jen Evans The last number in the code indicates the number of iterations. 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 larger design is created by repeating, rotating, inverting, connecting, and overlapping the tree forms. In code-based drawing, the designer varies the results by changing the inputs to the algorithm.
BinaryTree ,,,,30,9 ; 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 curves were drawn directly in code: The middle parameters locate the control points that define the curve. The designer varies the results by changing the inputs to the algorithm. 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. TheNewBasics48 Rhythm and Balance Balance is a fundamental human condition: 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? 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. Sergei Forostovskii 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.
Rhythm is a strong, regular, repeated pattern: Speech, music, and dance all employ rhythm to express form over time. Of course, there's always been a healthy market for design written by experts, and this isn't likely to change any time soon.
Sometimes there's just no substitute for splashing your cash and getting high quality content in return. But there's a growing movement towards free and 'freemium' content on the web. And the quality of the content is often on a par with the books you'd part with cash for. Clearly nobody can afford to print and distribute free physical books, but in this age of tablets, smartphones and laptops the electronic book offers a fantastic, and very cheap, way to spread this content.
If you do have some cash to spare, take a minute to browse our guide to the best graphic design books — you can be sure you won't be wasting your money. If you are inspired by these free ebooks, and in need of other incredible freebies to get your project started, check out our selections of the best free graphic design software and the best free fonts for designers. So, what content can you get for free in the field of design? A quick search on your favourite search engine will reveal hundreds of free ebook offerings, making it difficult to sift the wheat from the chaff.
But we've saved you the trouble, so here goes Pay Me or Else! Don't let tight-fisted clients get away with it Sooner or later, every designer is going to come up against a client who, for whatever reason, won't pay up come invoice time. Lior Frenkel from nuSchool has been in this situation plenty of times, so he's written a book on how to deal with such clients.
It's broken up into three parts: the first is about the best tactics for getting clients to pay up, the second looks into why clients don't pay, and the third part covers strategies for avoiding bad clients and working in a way that covers you in almost every situation. Attention-Driven Design Eliminate online distractions with this practical guide Attention, says Oli Gardner, is a limited resource; every link and banner you add to a web page, while serving a purpose, also serves to distract your users and deplete their mental energy.
If you want to eliminate unwanted distractions from your websites, this book hopes to help you out. Gardner outlines techniques for achieving visual simplicity through psychology and interaction design, with plenty of real-life examples to help you ramp up your conversion rate. The Shape of Design Frank Chimero's book will inspire you to look at what you do in a whole new light Starting life as a talk in , Frank Chimero's self-published The Shape of Design was an early design community Kickstarter success, getting funded on its first day, and has since become essential foundational reading, not just in design education but in other creative practices, too.It is more like a reference book for someone who has been trained in graphic design.
Rhythm and Balance. Colorful, compact, and clearly written, The New Basics is the new indispensable resource for anyone seeking a smart, inspiring introduction to graphic design and destined to become the standard reference work in design education.
Please re-enter recipient e-mail address es. Back to the Bauhaus. It takes a fresh approach to design instruction by emphasizing visually intensive, form-based thinking in a manner that is in tune with the latest developments in contemporary media, theory, art, and technology.
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