the design game: some principles and strategies
Post on 17-May-2015
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•t h e d e s i g n g a m e
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DESIGN: to find the form that best achieves the composition’s purpose.
•t h e d e s i g n g a m e
•writRHET
DESIGN: to find the form that best achieves the composition’s purpose.
PURPOSE: in this case, to communicate an interpretation of Plato, in all its depth and complexity.
•t h e d e s i g n g a m e
•writRHET
DESIGN: to find the form that best achieves the composition’s purpose.
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:
•t h e d e s i g n g a m e
•writRHET
DESIGN: to find the form that best achieves the composition’s purpose.
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:
•t h e d e s i g n g a m e
•writRHET
DESIGN: to find the form that best achieves the composition’s purpose.
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.
•t h e d e s i g n g a m e
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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.
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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.
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CRAP
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.
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CRAP
ONTRAST:
EPETITION:
LIGNMENT:
ROXIMITY:
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CRAP
Use visual differences to signify conceptual ones.
ONTRAST:
EPETITION:
LIGNMENT:
ROXIMITY:
•t h e d e s i g n g a m e
•writRHET
CRAP
Use visual differences to signify conceptual ones.
Repeat visual elements to signify conceptual similarities.
ONTRAST:
EPETITION:
LIGNMENT:
ROXIMITY:
•t h e d e s i g n g a m e
•writRHET
CRAP
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:
•t h e d e s i g n g a m e
•writRHET
CRAP
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:
•t h e d e s i g n g a m e
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Raphael, The School of Athens (1509-10)
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Pablo Picasso, Guernica (1937)
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