Week 2, Language Of Design Presentation from Introduction to Graphic Design, Columbia College Chicago. Much of the content taken from readings, including the textbooks: Timothy Samara's "Design Elements" and "Design Evolution." Other references cited in presentation. Please note: many slides are intended for class discussion and might not make sense out of context.

1. LANGUAGE OF DESIGN

2. F O R M + S PA C E

3. Form
Form is considered a positive element,
a solid thing or object.

4. Space
Form is considered negative—not in a bad way, but as the
absence, or opposite, of form. Space is the “ground” in
which form becomes a “figure.”

7. All form has meaning.

11. The space between and around forms is often called
whitespace (although it is not always white).

12. Where is the space?

14. Contrast/Difference
How we distinguish between form and space. The human
brain innately simplifies and groups similar elements. If it
cannot easily make these connections, it perceives confusion.

15. We are hardwired to find differences in our environment

16. Form is Space, Space is Form
The relationship between form and space, or figure and
ground, is complementary and mutually dependent: it’s
impossible to alter one and not the other.

17. The relationship of form and space creates meaning.

19. Form + Space = Visual Logic
Visual logic, all by itself, can also carry meaning. The
figure/ground relationship composed in such a way that the
feeling this compositional, or visual logic, generates is
perceived as appropriate to the message.

23. THE ELEMENTS THE PRINCIPLES
OF DESIGN OF DESIGN
Line Balance
Shape Emphasis
Texture Rhythm
Space Unity
Size Contrast
Value

24. THE ELEMENTS OF DESIGN
from Design for Communication, Elizabeth Resnick

25. Line
Shape
Texture
Space
Size
Value

26. LINE
Lines can organize, direct, separate, be expressive, suggest emotion,
or create rhythm. They can join elements or divide them using a rule, which
is a line that separates one element in a design from another.
Saul Bass
Emil Steinberger, 1965
Susanna Dulkinys, 2003

27. SHAPE
The external outline of a form or anything that has height and width.
An example would be the three basic shapes: the circle, the square, and the
triangle, considered to be the fundamental shapes found in all design.
Saul Bass
Paul Rand, 1985
Max Bill, 1944

28. TEXTURE
The look and feel of a surface. In two-dimensional form, texture is
essentially visual and adds richness and dimension to work. Texture can
also refer to pattern, which is visual texture.
Sony Music, 2001
Donald Brun, 1946
William Golden, 1951

29. S PA C E
Refers to the distance between shapes and forms, but it is best understood
in design as white space or negative space—terms used to refer to the empty
but often active areas that are void of visual elements.
The Pushpin Group, 2004
Bruno Munari, 1982

30. SIZE
How big or small something is in scale to other objects. Scale refers to the
process of making size relationships. unless there is a scale of reference within
a design, it is impossible to discern the relative scale of objects and the meaning
they represent.
Herbert Matter, 1935
Helmut Krone, 1959

31. VA L U E ( & C O L O R )
The relative lightness or darkness of an area or object. Value adds dimension by
creating the illusion of depth in a design. With the addition of a color, you can
create and convey a mood to enhance a strong concept.
Metropolis Magazine, 2005
Paula Scher

32. THE PRINCIPLES OF DESIGN

33. Balance
Emphasis
Rhythm
Unity
Contrast

34. BALANCE
—occurs when all the design elements are equally distributed through the design.
There are essentially two types of balance: symmetrical and asymetrical.
Symmetrical elements are arranged equally on both sides of a composition to
suggest a stable or static motion. Asymetrical elements create a deliberate
imbalance to suggest variety or dynamic movement.
Tibor Kalman, 1980
FT Marienetti, 1914
1937

35. EMPHASIS
—indicates the most important element on the page based on the message.
It’s the element that stands out and gets noticed first. The most emphasized visual
element in a design is called a focal point because it attracts the viewer’s
attention first. How can you create emphasis in design? By taking an element and
making it bigger, bolder, or brighter, by putting it in a contrasting color, or by
surrounding it with white space.
Aleksandr Rodchenko, 1923
Ellen Lupton, 2006

36. RHYTHM
—is a pattern created by repeating elements. Rhythm denotes the movement
in the way that elements direct our gaze to scan the message for understanding
or information. The term sequence is used to refer to the viewing order of the
elements and to determine the flow of a multipage publication such as a
magazine or book.
1927
Josef Müller-Brockmann

37. UNITY
—is achieved when all the design elements relate to one another and project a
sense of completeness. Gestalt theory is the psychological process by which a
viewer unites disparate design elements into a whole form that is greater than the
sum of its parts. Two such ideas are grouping and figure/ground. Grouping
happens when elements are close together and visually appear as part of a
group. Figure/ground occurs when a viewer can identify an object (figure) as a
shape distinct from its background (ground).
Paula Scher

38. CONTRAST
—stresses the visual differences in size, shape, and color between the elements to
enhance the perception of a message intended. Contrast also draws and directs
the viewer’s attention to specific areas of information.
Saul Bass Barbara Kruger, 1987

39. THE ELEMENTS THE PRINCIPLES
OF DESIGN OF DESIGN
Line Balance
Shape Emphasis
Texture Rhythm
Space Unity
Size Contrast
Value