The Design Game: Some Principles and Strategies

[object Object],[object Object]

DESIGN: to find the form that best achieves the composition’s purpose . ,[object Object],[object Object]

DESIGN: to find the form that best achieves the composition’s purpose . ,[object Object],PURPOSE: in this case, to communicate an interpretation of Plato, in all its depth and complexity. ,[object Object]

DESIGN: to find the form that best achieves the composition’s purpose . ,[object Object],PURPOSE: in this case, to communicate an interpretation of Plato, in all its depth and complexity. FORM: the arrangement of the individual elements making up composition. Form varies across media: ,[object Object]

DESIGN: to find the form that best achieves the composition’s purpose . ,[object Object],PURPOSE: in this case, to communicate an interpretation of Plato, in all its depth and complexity. FORM: the arrangement of the individual elements making up composition. Form varies across media: THE GAME: To try to create a form whereby ALL of the elements in your composition, whatever the medium, contribute its purpose . ,[object Object]

[object Object],PRINCIPLES OF VISUAL DESIGN I: The rule of thirds, which advises that the designer locate the most important elements along the axes that would divide the compositional space 3 by 3, with the intersections between axes being the most important focal points. ,[object Object]

[object Object],PRINCIPLES OF VISUAL DESIGN II: The golden section, which holds that ideal proportions are created when that ratio of the larger of two quantities of visual information (e.g., surface area) to the smaller of the two is equal to the ration of the sum of both quantities to the larger . ,[object Object]

[object Object],C R A P PRINCIPLES OF VISUAL DESIGN III: C.R.A.P., which holds that the most important formal relationships to consider when designing a visual artifact that not only pleases the eye but communicates are contrast, repetition, alignment, and proximity. ,[object Object]

[object Object],C R A P ONTRAST : EPETITION: LIGNMENT: ROXIMITY: ,[object Object]

[object Object],C R A P Use visual differences to signify conceptual ones. ONTRAST : EPETITION: LIGNMENT: ROXIMITY: ,[object Object]

[object Object],C R A P Use visual differences to signify conceptual ones. Repeat visual elements to signify conceptual similarities. ONTRAST : EPETITION: LIGNMENT: ROXIMITY: ,[object Object]

[object Object],C R A P Use visual differences to signify conceptual ones. Repeat visual elements to signify conceptual similarities. Arrange concrete visual elements within an abstract organizing “grid.” ONTRAST : EPETITION: LIGNMENT: ROXIMITY: ,[object Object]

[object Object],C R A P Use visual differences to signify conceptual ones. Repeat visual elements to signify conceptual similarities. Arrange concrete visual elements within an abstract organizing “grid.” Group or separate visual elements to signify conceptual connections and distinctions . ONTRAST : EPETITION: LIGNMENT: ROXIMITY: ,[object Object]

Raphael, The School of Athens (1509-10) ,[object Object],[object Object]

[object Object],Pablo Picasso, Guernica (1937) ,[object Object]

The Design Game: Some Principles and Strategies

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The Design Game: Some Principles and Strategies