MDM570 Week 4 Reflection

Connecting/Synthesizing/Transforming

When doing research earlier in the program I came across a study about using active white space (AWS). In creating the infographic, I chose a style that relied on shapes so that there would be good contrast. This was carried into the design for the dynamic vision board (see figure 1). This would allow for the limited color palette to work and not become muddled together. Using designs that have good contrast as well as limited design elements also helps with viewers’ processing. As Sharma and Varki explain, by using AWS it creates a clarity that enhances perceptual fluency because it cuts down on the stimulus that the viewer has to process (p. 272).

Dynamic Vision Board Screenshot
Figure 1: Screenshot from dynamic vision board. The AWS is the empty shapes that make up the windows, columns, embellishments, statues, etc inside the black shapes.

This was later backed up by the Cognitive Load Theory that was mentioned in an article I found while researching motion. In the article it explains how motion graphics need to find a sweet spot between audio and visual information (Creative Bloq Staff, 2014). A motion graphic’s responsibility is to relay information. If it gives too much or there are too many design elements the viewer will be overloaded. If there isn’t enough stimulation, then the viewer will get bored. By using a simplified style, with good contrast it allows for more information to be given or more opportunities to focus on the movement.

In the planning for the parallax motion graphic, I had to decide how to best use the motion effect’s strengths. In Belluso’s (2019) article, he writes about how parallax can be used to bring life to images and to give dimension and movement to a stereo piece. I cut up my images so that they can be separated out into layers that the camera and text can move around (see figure 2). This combined with sound effects and other visual effects (like wiggling the exposure on the lamp lights or smoke added to the train tracks) help trick the viewer’s mind into perceiving it as dimensional space.

Riga Harmony Screenshot
Figure 2: Screenshot of Riga Harmony. the camera travels on the boys’ right while the text swings out from behind his left.

Problem Solving

One of the biggest design issues was creating the timing for the dynamic vision board. This problem was solved by metering out beats into a three-part story structure. I started off with just creating a series of beats, or important actions, on note cards. I then broke up my time into the three acts: set-up, working towards the answer, and the conclusion. From there I sorted the most important beats into the appropriate categories. Once I worked out the minimal amount of time each scene needed, I then filled in the time with the remaining beats. Working like this made it easy to meter out time and to rearrange scenes into the most impactful sequence. This process works well because as Blazer (2015) states, “stories are malleable and that no card is precious until they’re all in their final order”. By having the story separated into beats, it allows for me to try different orders and clump different types of information together. This then gives me a place to start to look at transitions.

Page two of story board
Figure 3: Page two of story board displaying the beats for this sequence.

Innovative Thinking

My motion in context pieces differ from the norm because they combine different effects to give images life. The main motion effect used was parallax. But the effects in a cinemagraph, really added to giving a piece life. So, on top of adding the parallax effects I added elements of a cinemagraph (see figure 4). The camera moves to make the space look dimensional. That is the parallax effect. But in the Riga Lamps piece I replaced the sky with video of moving clouds, and I added an expression to the exposure on the lamps so that they would flicker. In the Riga Harmony piece, I animated in smoke and a moving light source. By combining the two effects, I was able to create a more interesting piece.

Riga Lamps Screenshot
Figure 4: In the animation, the lights flicker and the sky is replaced with a video. This is to give movement to the actual clouds and keep it from looking like a painted set piece that is being moved.

Acquiring Competencies

In this course, I learned how to better plan out a story and how to use motion effects to their full extent. Timing is difficult to get a handle on. Especially when there is a lot of information to get across. By using the three-part story structure and metering out my beats into that, timing was easier to deal with. By researching which motion effect, I was going to use for the motion in context piece I learned about different techniques and their strengths. This led to me actually combing parallax and a cinemagraph to create a stronger piece.

 

From here on out…

This course helped me to better understand planning for a complex project. From here on out, I’ll try to do more preliminary sketches to help with layout and staging. I will also focus on gathering examples of styles, motions, transitions, and graphics before starting on a design. Having references helps keep me on brand and stops me from making something that looks like it does not fit. It can also give me ideas that I had not thought of. For instance, when approaching the motion in context pieces it had not occurred to me to use puppet animation to give movement to the pictures. But after watching the WWF Parallax Sequence by Ad-Hoc Films and Glynn I saw how even the smallest movements kept the scenes from looking like cutouts placed into a set. I then added slight animation to the child to make him smirk and I animated some of the pigeon heads.

 

References

Ad-Hoc Films, & Glynn, D. (n.d.). WWF Parallax Sequence. Retrieved from https://makeproductions.co.uk/portfolio/wwf-parallax-sequence/?doing_wp_cron=1531703982.1003189086914062500000

Blazer, L. (2015, November 19). Animated Storytelling: Simple Steps For Creating Animation and Motion Graphics. Retrieved from https://ce.safaribooksonline.com/book/animation-and-3d/9780134133812.

Creative Bloq Staff. (2014, January 06). Discover the language of motion design. Retrieved from https://www.creativebloq.com/graphic-design/discover-language-motion-design-11410269

Davidson Belluso. (2019, January 22). Animate Still Images With Parallax – Davidson Belluso | Phoenix Advertising Agency. Retrieved from https://davidsonbelluso.com/animate-parallax/

Sharma, N., & Varki, S. (2018). Active White Space (AWS) in Logo Designs: Effects on Logo Evaluations and Brand Communication. Journal of Advertising, 47(3), 270–281. https://doi-org.oclc.fullsail.edu/10.1080/00913367.2018.1463880

Motion in Context

This is a simple example of parallax. The purpose of this piece was to take a snapshot and give it life. The parallax helps change the image from stereo to dynamic. The animation on the sky and lights are meant to support the main parallax effect. This is so it looks more like a camera moving through a scene and less like a camera moving past flat cut outs.

This is an example of the parallax effect used on a product that utilizes the theme. It utilizes three of the voice vocabulary to help enforce the idea of opposing ideas coming together at a crossroads. Even though both heritage and metropolis have their own identities they can expand beyond those definitions to become harmonious with each other. The heritage scene brings in Riga’s history and skill with steel, railways, and train building. The metropolis scene is meant to call on the fact that Riga isn’t a crumbling relic from the past. It is a bustling modern metropolis. Then the harmony scene is meant to show how even with all the conflicting ideas, they have come to create a peaceful harmony.


Purpose of motion style:

The purpose of both pieces is to create movement and depth. It makes the images more interesting which snags the viewers’ interest. The movement is important because of the theme. A person can only reach a crossroads if they move along the path.

 

Use of motion style in real world application:

This style can be used for images that will be displayed on screens in waiting areas. The movement will help make them come across less as screensavers. The movement can also be applied to web design. An image like Riga Lamps can be incorporated into the design and as the cursor moves to different sections, the camera can move through the space.

 

Rationale:

Connecting, Synthesizing, and Transforming

Parallax is used to provide depth and give the images life. Bimber and Heinich (2017) explain that depth cues are given when perspective changes which tricks the eye into believing it is real space. This was achieved in Riga Lamps by using different visual cues (i.e. separating the layers at different distances and camera movement) and animations (i.e. the sky and lights) to make it feel like a live scene. Riga Harmony though explores what other senses can be fooled to believe it is a real space. The second motion graphic uses diegetic and non-diegetic sound. The non-diegetic sound is the background music which plays on the idea of harmony. The diegetic sounds are tied to the images though. Beauchamp (2017) uses the quote, “we don’t see everything we hear, but we need to hear most of what we see”. This quote is given to explain how hard effects help tie the viewer’s perception to the scene. By hearing pigeons and showing a viewer the image of pigeons with subtle animation, it helps trick the eye to perceive the scene as more alive. By combing the visual tricks of parallax and the audio cues of the sound effects, it creates a more realistic perception of space.

 

Problem Solving

The main design problem was trying to use the parallax in such a way that it could strengthen the brand. Yes, cool motion graphics can be made with this technique but how does it further the theme. To address this, I visualized what kind of motion is associated with a crossroads. Most of the ideas involved following the path. So, when moving the camera, I kept it in line with the natural path in the images. For example, in Riga Harmony during the metropolis scene, rather than traveling right to left, the camera goes left to right. The path in the image travels from the lower left to the upper right. In the train scene, the camera follows the narrow gravel path between the two trains. In Riga Lamps the camera travels out of the city square following the line between the statue and the lamp.

 

Innovative Thinking

Most motion graphics that seem to use the parallax effect do it as a way to showcase the photography like the WWF Parallax Sequence produced by Ad-Hoc Films and Glynn (n.d.). Riga Harmony uses the effect to tie the imagery to the theme and to support the message. It is more than just a collection of riveting pictures; it is a vehicle for the theme.

 

Audio Identity

The audio identity consists of the sound effects and the background music. The sound effects are meant to play on the viewers’ perceptions and make the space more believable. These hard effects are meant to make the images more concrete. The background music was added to bring in the concept of harmony. Since parallax movement isn’t meant to create rapid movements, the music had to have a medium-slow tempo so that it didn’t outpace the imagery. Always Moving Forward utilizes traditional instruments that would not be uncommon in music found in the area.

 

References

Ad-Hoc Films, & Glynn, D. (n.d.). WWF Parallax Sequence. Retrieved from https://makeproductions.co.uk/portfolio/wwf-parallax-sequence/?doing_wp_cron=1531703982.1003189086914062500000

Beauchamp, R. (2017). Designing Sound for Animation, 2nd Addition. Place of publication not identified: CRC Press.

Bimber, O. & Hainich, R. R. (2017). Displays: Fundamentals & applications. Boca Raton, FL: Taylor & Francis, CRC Press.

Blazer, L. (2015, November 19). Animated Storytelling: Simple Steps For Creating Animation and Motion Graphics. Retrieved from https://ce.safaribooksonline.com/book/animation-and-3d/9780134133812.

Czarnecki, L. (2018, November 26). 7 Essential Typographic Layout Systems. Retrieved from http://type365.com/blog/2017/02/21/7-typographic-layout-systems/#radial

Davidson Belluso. (2019, January 22). Animate Still Images With Parallax – Davidson Belluso | Phoenix Advertising Agency. Retrieved from https://davidsonbelluso.com/animate-parallax/

Giant Ant, & Philpott, C. (2019, May 06). Men’s Health How a Bean Becomes a Fart. Retrieved from https://vimeo.com/103721959

Krause, J. (2016, February 10.). Color for Design and Art. Lecture. Retrieved from https://www.lynda.com/Illustrator-tutorials/Valuing-value-over-all/418257/471600-4.html?autoplay=true

Liu, K., & Lin, O. (2015). TEDxTianhe Opening. Retrieved from https://vimeo.com/108440882

S., Moyers. (n.d.). What is Parallax Scrolling and Benefits of Parallax Web Design. Retrieved from https://www.spinxdigital.com/blog/5-reasons-for-parallax-scrolling-web-design/

Pannafino, J. (2018, November 15). 12 Basic Principles of Animation in Motion Design. Retrieved from https://www.howdesign.com/web-design-resources-technology/12-basic-principles-animation-motion-design/

Sharma, N., & Varki, S. (2018). Active White Space (AWS) in Logo Designs: Effects on Logo Evaluations and Brand Communication. Journal of Advertising, 47(3), 270–281. https://doi-org.oclc.fullsail.edu/10.1080/00913367.2018.1463880

Unidad22. (2019, January 16). The Benefits Of Parallax Scrolling | Web Design. Retrieved from https://unidad22.com/benefits-of-parallax-scrolling/

Wisslar, V. (2012, July 24). Illuminated Pixels. Retrieved from https://ce.safaribooksonline.com/book/illustration-and-graphics/9781435456358.

 

Dynamic Vision Board

Week 2

Dynamic Vision Board Rationale

Overview of the design. Why is a dynamic vision board useful? What benefit does motion provide in this context?

The dynamic vision board combines imagery that uses radial designs and transitions that represent crossroads in different ways. Each scene uses either imagery of a literal crossroads or it has elements come in from opposing sides. Or it shows elements radiating out of the same focal point. For pieces like the landmarks, one tone designs that utilized active white space were used to make clear cut shapes. This shows space and empty space coming together in a cohesive design. The colors utilize contrast for a similar purpose. A dynamic vision board is useful because it helps demonstrate what feel videos and motion graphics from this campaign will have outside of its static visual identity. Using motion gives the imagery more life which makes it easier to catch an audience’s eye. It also allows a chance to showcase the audio identity of the campaign. It shows whether audio should have a fast or slow tempo; whether it uses traditional instruments or synthesizers; whether the style is country or jazz.

 

Connecting, Synthesizing, and Transforming

Simplified shapes and clean lines were used for the style. When using this style for the landmarks, enough detail needs to be given so that they are recognizable. Using active white space (AWS) gives details but keeps the shapes one tone as seen below in figure 1. Sharma and Varki’s study looked into how AWS can be used in logos, but the principles were transferred to the landmarks. As Sharma and Varki (2018) explain, by creating sharper contrast it cuts down on the stimulus that the viewer has to process and allows for a greater perceptual fluency (p.271).

Opera

Figure 1

Secondary action is also used to help create more life and interest. In the scene with the words and landmarks rather than having Riga sit on a static title, the outer and inner rings rotate (see figure 2). It does not distract the viewer, but it does create some interest. Pannafino (2018) explains that secondary animation provides support to the primary animation. The rotating rings support the rotating rays and the landmarks.

DVB_005

Figure 2

 

Problem Solving

A design problem for this piece was incorporating elements without losing simplicity and keeping the eye where it is needed. In the original storyboards, during the landmark scene clouds were going to be animated into the stage. When they were added though, the stage got cluttered and it detracted from the information. The end of the animation was supposed to end with the title being surrounded by plates that close in around it. The red plates turned out to be too distracting, so the scene was changed to have the background fade out and leave the title by itself. This also allowed for having the title fade out with the music, tying the visuals with the audio.

 

Innovative Thinking

In the TEDxTianhe Opening done by Liu and Lin (2015), motion and shape shifting are used to transition. The dynamic vision board uses similar techniques. But in the TED video, shape shifting is used to change one object into another or change the perspective. In the Riga motion graphic, while shapes are led into each other, it is meant more as two ideas coming together. Not as one idea taking over the other.

 

Audio Identity

The music that was chosen combines traditional instruments with electrical. This brings in the theme of the crossroads by having traditional meet new. The high bpm also helps with creating fast transitions to get through the information in a quick manner.

References

Blazer, L. (2015, November 19). Animated Storytelling: Simple Steps For Creating Animation and Motion Graphics. Retrieved from https://ce.safaribooksonline.com/book/animation-and-3d/9780134133812.

Czarnecki, L. (2018, November 26). 7 Essential Typographic Layout Systems. Retrieved from http://type365.com/blog/2017/02/21/7-typographic-layout-systems/#radial

Giant Ant, & Philpott, C. (2019, May 06). Men’s Health How a Bean Becomes a Fart. Retrieved from https://vimeo.com/103721959

Krause, J. (2016, February 10.). Color for Design and Art. Lecture. Retrieved from https://www.lynda.com/Illustrator-tutorials/Valuing-value-over-all/418257/471600-4.html?autoplay=true

Liu, K., & Lin, O. (2015). TEDxTianhe Opening. Retrieved from https://vimeo.com/108440882

Pannafino, J. (2018, November 15). 12 Basic Principles of Animation in Motion Design. Retrieved from https://www.howdesign.com/web-design-resources-technology/12-basic-principles-animation-motion-design/

Sharma, N., & Varki, S. (2018). Active White Space (AWS) in Logo Designs: Effects on Logo Evaluations and Brand Communication. Journal of Advertising, 47(3), 270–281. https://doi-org.oclc.fullsail.edu/10.1080/00913367.2018.1463880

Wisslar, V. (2012, July 24). Illuminated Pixels. Retrieved from https://ce.safaribooksonline.com/book/illustration-and-graphics/9781435456358.

Storyboard for Dynamic Vision Board

SilviaH_Storyboard_Page_1SilviaH_Storyboard_Page_2SilviaH_Storyboard_Page_3

Static Vision Board:

SilviaH_5.4.1_VBFinal

This is a vision board for Riga, Latvia using the theme Cultural Crossroads. The idea of the theme is opposing or changing ideas, coming together. A balance between differences. The layout shows this by using lines to section off the board and lead them towards the center. By using a modular grid, these sections are broken up further. With the textures and images, they are given their own “crossroads” that meet. These lines also work to lead the viewer through the piece to the titles. As Czarnechi (2018) states, “[o]ften, the focal point is implied by the text, but you can pronounce it with a graphic. You can also use simple shapes and rules to draw attention to the text or balance the page”. This is shown with the shapes that spiral inward. The colors were chosen to reflect the crossroads theme because of how they can be played off each other. The blue-green color has enough green in it that it can complement the red-orange. It also has enough blue in it that it can also compliment the yellow-orange. By using near compliments, it plays on the idea of opposing ideas working in a cohesive scheme. It also provides contrast and as Krause (2016) explains, “[c]lear value differences between a layout’s components are what allows them to stand apart from each other”. The shapes chosen are aspects that reflect Riga’s older visual identity and its newer one. The elements are meant to be combined to be a balance of heritage meeting modern.

 

Story

It opens with Riga on a decorative circle. The rings rotating in opposite directions. This then flies into the sky with rays radiating out from it. Clouds come in from the sides but do not interfere. As the rays rotate, they reveal significant words for the campaign and an aspect of the city that reflects these sentiments. It goes through Harmony with the National Opera and Ballet House. Then Proficient and Free come to meet with The Academy of Science and the Freedom monument under them. On the next rotation Heritage with the Railway Bridge and Metropolis with the Vanšu Bridge meet. From there, the viewer travels down the river. As they go down the water morphs into cobblestones. The road flies by and the font choices float next to the path for a moment. Eventually the path comes to meet three others creating a crossroad. From this crossroad, four frames spring out and show the differing aesthetics and ideas that exist cohesively in the city. They then travel on with the path building itself further forward. The path meets again with three others creating a roundabout. The colors that represent the campaign swirl together in the center. After a moment the center flips like a coin and decorative frames come towards the center. The center then shows a circle with Riga written at the center. It is similar to the first except modified with different embellishments.

 

Voice and Tone

Metropolis, Heritage, Proficient, Free, Harmony

NOT Urban, Ancient, Competent, Frivolous, Amicable

 

Riga has been the center for travel and trade for a multitude of centuries. This has created an identity that is Latvian culture with a foreign flare. The voice and tone should be a reflection of the city’s collaborative and transformative nature. We have a long heritage, but this should be treated as an entity that is alive and thrives today. It is not a dry history book. Buildings like Jacob’s Barracks and St. Peter’s Church have transformed from their original purposes and become part of the city’s modern heartbeat. The history is a heritage that lives through the people and their work. Our culture and skills have brought us to the world stage. The language should be grand and glamorous like the opera. Evoke the same graceful elegance as the ballet or the Jugendstil styled architecture. All the ethnicities and art forms that have blended over the centuries have created a freedom of expression that was hard won. The tone should not be rigid and filled with pomp. It needs to allow for a certain flow and creativity. Like Riga all these elements and backgrounds should combine and mingle to create a harmonious voice that balances it all. A meeting of ideas and styles.

 

Thematic Statement

The central theme of this campaign is Cultural Crossroads. Heritage meets metropolis, old traditions meet new innovations, opposing ideas meet to create a new balanced creation.

 

Week 1

Storyboard Rationale

 

Connecting, Synthesizing, and Transforming

The main style I am using for the Dynamic Vision Board is a simplified cartoon graphic. I will only use photos as supports and to demonstrate what the imagery will look like. As Wisslar (2012) describes, “[a]bstract imagery focuses on form, shape, and color, often with the intent of purely conveying mood or visual interest”. The theme is about crossroads which plays on the visuals of a roads. This uses clean lines which will transfer best to a simpler style that relies heavily on lines. It is important to tie the visual style to the theme to create the rules for the style. Blazer (2015) suggests that creating a set of rules for the design will help make scene look cohesive. This will also help form a fingerprint that viewers can tie to the campaign.

Problem Solving

A design problem with this project was portraying the idea of a crossroads without sticking to one radial layout. The problem was solved by thinking of the ideas traveling on a path and changing the perspective. The first shot starts and ends with the radial layout. Then the ideas are put on a path and the viewer sees them meet by coming in from the sides. Then the view moves to a top down view. All of these show ideas coming together but by changing the perspective, it changes the layout.

Innovative Thinking

This animation is different because it uses the theme of Cultural Crossroads and follows along a path to these crossroads rather than using a fixed viewpoint. In the animation done by Giant Ant for Men’s Health, scenes move around, and the bean goes on a “journey” but the camera still feels very fixed. This animation will focus on motion and the feeling of coming to a waypoint.

Audio Identity

The audio identity will be more of a classical type of music. This will incorporate elements of the opera because song is such an important part to Riga’s identity. Also, if it is combined with modern looking graphics, it will help enforce the theme.

 

References

Blazer, L. (2015, November 19). Animated Storytelling: Simple Steps For Creating Animation and Motion Graphics. Retrieved from https://ce.safaribooksonline.com/book/animation-and-3d/9780134133812.

Czarnecki, L. (2018, November 26). 7 Essential Typographic Layout Systems – Type365 Lucas Czarnecki. Retrieved from http://type365.com/blog/2017/02/21/7-typographic-layout-systems/#radial

Giant Ant, & Philpott, C. (2019, May 06). Retrieved from https://vimeo.com/103721959

Krause, J. (2016, February 10.). Color for Design and Art. Lecture. Retrieved from https://www.lynda.com/Illustrator-tutorials/Valuing-value-over-all/418257/471600-4.html?autoplay=true

Wisslar, V. (2012, July 24). Illuminated Pixels. Retrieved from https://ce.safaribooksonline.com/book/illustration-and-graphics/9781435456358.

MDM565 Reflection

The assignment for this class was to start building a campaign of a city with the narrative as the starting point. The narrative acts as a snapshot of how the campaign will feel. It paints a picture of what imagery it will invoke; what kinds of concepts and graphics may be used. This helps set up the theme and gives an idea of how to create the visuals. My city was Riga. I played with the theme of “Cultural Crossroads”. My narrative worked with the concept of balancing opposing ideas and bringing them together. Heritage meets high-tech. Fortress walls become paths for railways. Old barracks become the home of business. Diversity meets harmony. For my vision board and style sheet I pulled in the concept of the crossroads by using a radial design. For the infographic I used a balanced vertical design. This used the concept that the crossroads balanced opposing thoughts and designs while still merging them into one.

Synthesizing

Creating movement in the projects was important to guide viewers to the information in the correct order. I had to do this by using line and layout. A Jirousek (1995) describes, “movement of the eye that flows smoothly from one area of the composition to another, guided by continuations of line or form, and by gradations of color or form”. I applied this in the style sheet and vision board by using radiating lines. The lines help lead the eye towards the center. In the case of the vision board, I used spiraling lines which help lead the viewer around the page. In the infographic I used a morphing divider to help lead the viewer downwards. The water shine in the graphic merges in the flowers which then merges into the DNA. Every so often, I have shapes that flare off to help guide the viewer to the different sections.

 

Another concept I learned was how to grid out a piece. Compound grids became the most useful because they were dynamic. Gridding allowed me to create layouts that were organized and helped construct a hierarchy. Compound grids or modular grids combines rows and columns that “creates a series of small content areas called modules that may be combined both vertically and horizontally, allowing the designer to create a myriad of different size and shape spatial zones” (Graver & Jura, 2012, p. 32). The concept was used in my vision board. Large sections break the piece up into quadrants. Those quadrants are then broken up into smaller zones to display the information.

Problem Solving

One design problem I came across was the style sheet organization. I had a layout I liked but was having trouble on how to use the layout to effectively display information. In my first draft, my eye had trouble following the narrative and the piece looked cluttered and unbalanced. So, I removed any design aspects that did not add to the overall look. That meant removing underlining and superfluous fluff elements. I then moved the narrative to the top left corner. This helped with the reading because the left edge was straight and did not jump around. Also, since English readers read left to right, it gave the narrative a higher place in the hierarchy. Instead of having my content fight the layout, I used Czarnecki’s suggestion. He suggests the using “simple shapes and rules to draw attention to the text or balance the page” (Czarnecki, 2018). I followed the lines and shapes and kept in mind how it would change how the information sat. Like in the case of the narrative.

Innovative Thinking

My innovation came from the radial design in my vision board. Most radial designs pick one point and build out from there. I combined the radial design with a modular layout. I had one grand point that everything radiated out from. And then in individual sections I broke it down further into another radial design. The main radial brought the eye to the city and theme. The mini radials brought attention to the section titles.

 

Acquiring Competencies

  • Visual Hierarchy

My understanding and use of a visual hierarchy have improved due to the research done for this project. I have learned how to use consistency and weight to emphasize important. A Glaser (2015) wrote, “consistent measure in sections of relatively equal importance is a helpful and reassuring guide”. When I approached a project, I created rule for levels of importance and stuck with them. In my infographic I used the largest, most decorative fonts for my most important information, my city. Then the sub information was given a certain font and was made bigger than the body.

SilviaH_Infographic

  • Using Grids

Learning how to effectively use grids has helped with creating hierarchies, organization, and cleanliness. It has also helped me learn how to create more varied designs. By sectioning out a canvas and then breaking it down further I am able to emphasize the information I need to, I can organize it in a logical manner, and it helps keep down clutter. The grid helps keep everything spaced and gives it a place. Content is no longer fighting for attention and space. Modular designs are most effective because they allow for flexible layouts and “organizing them in a grid makes it manageable for the viewer to take it in without feeling overwhelmed” (Saltz, 2014). This was useful in the vision board. I had a lot of ground to cover and using a modular grid helped give everything room to breathe and attention.

SilviaH_5.4.1_VBFinal

  • Pacing

Learning how to pace a project without throwing a wall of information at the reader was something I struggled with. Creating pacing was important for my infographic. In Basics Design, it is suggested to use natural breaks and to combine images and text (Ambrose & Harris, 2011, p. 90). For the infographic I relied on the imagery to give as much information as the text. That way I was not relying solely on the text to get the concepts across. I also used the layout itself and the graphics to prove my points of creating balance between opposing ideas.

SilviaH_Infographic

 

References

Ambrose, G., & Harris, P. (2011). Basics Design. Lausanne: Ava.

Czarnecki, L. (2018, November 26). 7 Essential Typographic Layout Systems – Type365 Lucas Czarnecki. Retrieved from http://type365.com/blog/2017/02/21/7-typographic-layout-systems/#radial

Glaser, J. (2015, June 3). Type Makes A Difference: An Exploration Of Type-Focused Websites. Typography: Practical Considerations And Design Patterns. Retrieved from http://ce.safaribooksonline.com/book/design/9783944540771/type-makes-a-difference-an-exploration-of-type-focused-websites/chapter_10_xhtml?uicode=fullsail

Graver, A., & Jura, B. (2012). Best practices for graphic designers: Grids and page layouts: An essential guide for understanding & applying page design principles. Beverly, MA: Rockport.

Jirousek, C. (1995). Art, Design, and Visual Thinking. Retrieved from http://char.txa.cornell.edu/

Saltz, I. (2014, September, 22). Typography: Working with Grids. Lecture. Retrieved from https://www.lynda.com/Design-Typography-tutorials/Welcome/162443/192697-4.html?autoplay=true

Infographic

SilviaH_Infographic

Development:

Layout 01

Layout 01

This layout uses the crossroads theme to section everything out. A brick or pavement overlay will be added to the center cross where a general overview of the theme will sit. The colors section will have an explanation of how to use the colors and how to play them off each other. Each color will have a floating mosaic featuring the main colors and their appropriate shades and tints. The shapes and graphics will be in a section that features crossroads and roundabouts. The product look will sit in a spiraling crossroad. This will go over general elements to use to create products that are part of a cohesive set. Imagery will show a modern skyscraper versus a gothic spire. This section will go over how to use images that work with the cultural crossroads theme.

 

Layout 02

Layout 02

This layout uses the concept of ideas meeting and merging together like a crossroads. The general overview will sit on the skyline with the railway bridge underneath it. The pillars for the bridge will melt into a pathway that leads to the next section. The pillars also separate the different graphics with explanations on how to use them. The next section is set up as a roundabout. This will feature images and frames and how to use them and design them. The roads will then melt into DNA strands. The top loops will feature an explanation on how to use frames and imagery. They will also explain design elements that will help create products that look cohesive. The bottom will talk about how to use the colors and what tints and shades are appropriate. The DNA will melt into peacock feathers that will feature the colors.

 

Layout 03

Layout 03

The top part of the infographic will feature the railway bridge versus Vanšu Bridge. An example of old meeting new. On the left, circular stylized clouds and angular sunshine on the right. This is another example of differing ideas meeting. The Daugava will sit under it and will flow down. This will melt into the flower pattern which melts into the DNA pattern. Around this split will feature the crossroad roundabouts in various forms.

Vision Board

Final Draft:

SilviaH_5.4.1_VBFinal

Rationale

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“Often, the focal point is implied by the text, but you can pronounce it with a graphic. You can also use simple shapes and rules to draw attention to the text or balance the page.” (Czarnecki, 2018)

I chose the center as the focal point to help enforce the idea of crossroads coming together. The lines, shapes, and hierarchy all lead to this focal point. I use lines to spiral towards the center. All the shapes and text are laid out to be pulled towards this point. Everything leads the eye to the center.

 

Firmware-infographic

“Combining images and text can be used as a method to control the pace of a publication. Publications often have clear and natural break points such as new chapters.” (Ambrose & Harris, 2011, p. 90)

I tried to create breaks in the shapes, titles, and lines. Adding headers to sections helped to separate them from other parts. This is shown in the colors versus shapes. I also used line breaks to separate sections. This is more important in separating the text objects. I used shapes for the textures and images and shaped them to radiate from their titles.

 

ZA2HcnRw49obHUN4vDsaYF

“Modular grids are essentially compounds grids consisting of both columns and rows. This combination creates a series of small content areas called modules that may be combined both vertically and horizontally, allowing the designer to create a myriad of different size and shape spatial zones.” (Graver & Jura, 2012, p. 32)

I broke down the page into sections. I then broke those sections down further to lay out the information. Images has a section but then I broke it down for the title and each picture. The upper left-hand section was broken down between, Narrative, Words, and Fonts.

 

09-shinydemos-opt

“Opera’s Shiny Demos home page isn’t circular, but the text links all seem to emanate from a common or near common center. It’s easy to imagine the whole shape spinning around one of the squares in the middle or maybe one of the corners where four squares meet.” (Bradley, 2015)

I incorporated the radial design into how I handled the text. I created custom text frames that led to the center. This made the text flow towards the focal point and helped build the hierarchy.

 

Radial_Enclosure-01

“Experiment with outlining your groups or text; you can also try giving them background colors or images. This is yes another way to link text and create hierarchy.” (Czarnecki, 2017)

I used lines and shapes to help group subjects and build a hierarchy. I used lines to separate elements like the narrative, vocabulary, fonts and the colors from the shapes. I also used shapes to group the textures and images but also separate the images from each other.

 

Screen Shot 2019-04-28 at 11.09.35 PM

“Sections with different levels of importance require different levels of prominence to guide the user through the website and hold their attention. A consistent measure in sections of relatively equal importance is a helpful and reassuring guide. Inconsistency is confusing.” (Glaser, 2015)

When labeling everything, I made sure to keep similar types of information around the same size. Narrative and Shapes are the same font, so they use the same size. Cultural Crossroads and the appropriate words are also around the same size.

 

First Draft:

SilviaH_5.4.1_VBLayout

 

References

Ambrose, G., & Harris, P. (2011). Basics design. Lausanne: Ava.

Bradley, S. (2015, June 29). Shiny Demo [Digital image]. Retrieved from https://cloud.netlifyusercontent.com/assets/344dbf88-fdf9-42bb-adb4-46f01eedd629/5a83cb4f-a6f9-4445-a0df-c51e840791ab/09-shinydemos-opt.png

Czarnecki, L. (2017, February 21). [Using non-objective elements]. Retrieved from https://i0.wp.com/type365.com/wp-content/uploads/2016/08/Radial_Nonobjective.png?zoom=2&resize=920,635

Czarnecki, L. (2018, November 26). 7 Essential Typographic Layout Systems – Type365 Lucas Czarnecki. Retrieved from http://type365.com/blog/2017/02/21/7-typographic-layout-systems/#radial

Firmware Security [Digital image]. (n.d.). Retrieved from http://www.isaca.org/cyber/PublishingImages/Firmware-infographic.jpg

Flores, J. (2010, May 3). 25 years replicating the success [Use of bilateral system]. Retrieved from https://issuu.com/replicandoelexito/docs/25_a_os_replicando_el__xito/20

Gilbey, S. (2018, December 21). An Illustrated Guide to Doctor Who [Doctor Who radial infographic]. Retrieved from https://cdn.mos.cms.futurecdn.net/ZA2HcnRw49obHUN4vDsaYF.jpg

Glaser, J. (2015, June 3). Type Makes A Difference: An Exploration Of Type-Focused Websites. Typography: Practical Considerations And Design Patterns. Retrieved from http://ce.safaribooksonline.com/book/design/9783944540771/type-makes-a-difference-an-exploration-of-type-focused-websites/chapter_10_xhtml?uicode=fullsail

Graver, A., & Jura, B. (2012). Best practices for graphic designers: Grids and page layouts: An essential guide for understanding & applying page design principles. Beverly, MA: Rockport.

Martinez, J. (2018, December 21). History of Life [Digital image]. Retrieved from https://www.behance.net/gallery/10901127/History-of-Life