![]() Examples like 8-bit graphics or 1950s Kodachrome both possess unique colour and texture palettes and have properties the public can discern. A third outcome is a cultural nostalgia for earlier looks created by various devices. A second outcome is a high expectation for strong and authentic visuals of places or objects. One is an expectation that the visual palette match and enhance the message. The public, in turn, has absorbed these unprecedented levels of image saturation with a variety of outcomes. Both media and advertising have become very sophisticated over the last few decades and are adept at creating exciting, sensuous, and energetic environments that are crafted with the skillful use of colour and texture. Controlling and effectively using colour to support communication is now more important than it has ever been. Graphic design has evolved over the last two centuries from a craft that designed text and images primarily in black and white for books and broadsheets, to a craft that works with full colour in analog and digital media and on every kind of substrate. How you choose to organize and arrange the planes in your photograph, your illustration, or your design will structure the composition and determine not only how the elements intersect with one another but also how the viewer interacts with the composition. In the physical world, everything is composed of shapes that are either two- or three-dimensional. Grids help to create and define typographic planes that float or interact with solid planes of image, texture, or colour. In design software, a vector graphic is a shape created by defining its parameters with a line, and then filling it with a solid or textured fill. A plane can also act as a separating device and allow the viewer to see that one section of information is not linked to another. Planes are excellent compositional tools for clustering visual elements into visual fields. “A line closes to become a shape, a bounded plane” (Lupton & Phillips, 2014, p. ![]() A plane is a flat surface that has defined borders. Like lines, planes (shapes) can be organically made or they can be geometric, as in the example shown in Figure 3.3. When lines are made digitally, they can acquire many of the same qualities possessed by hand-drawn lines through the application of effects. If the line is thickened, it changes and becomes a plane. Lines can create a plane (a shape) by being clustered together or by defining a shape. These lines can be thin or wide, and are expressive and distinct, reflecting the texture of the tool used to make them. When made by the hand, a line is created by the stroke of a pencil, pen, brush, or any mark-making tool. Natural settings are usually parsed by the eye into shorter sequences of curved or straight lines and organic shapes. Long straight lines do not often occur in nature, and therefore when they are present, they tend to dominate the landscape visually. Lines in nature act as defining planes - examples are a horizon or the silhouette of a forest against the sky. A line can be actual or implied - for instance, as a composition of two or more objects in a row. A line connects two points, or traces the path of a movement. Line Figure 3.2 Lines (by Ken Jeffery)Ī line is the second most basic element of design - a line is a collection of points arranged in a linear manner (see Figure 3.2). The compositional term focal point brings the objective and subjective together by being the first place the eye is drawn to in a composition and usually contains the most important piece of visual communication. Point can direct attention, be the focus of attention, create emphasis, and cut through veiled information. Subjectively, the term point has a lot of power. Visually, a point is a dot and therefore the basic building block of every variation of line, texture, and plane. In this objective definition, a point is essentially a place. In purely mathematical terms, a point marks a set of coordinates - it has no mass at all. 13) Figure 3.1 Design using points, lines, planes PointĪ point is a precise position or location on a surface. ![]() From these elements, designers create images, icons, textures, patterns, diagrams, animations, and typographic systems. Point, line, and plane are the building blocks of design. Design Elements, Design Principles, and Compositional Organizationģ.2 Visual Elements - Basic Things That Can be Seen
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