Graphic Design: The New Basics
Ellen Lupton, Jennifer Cole Phillips
Format: PDF / Kindle (mobi) / ePub
Publish Year note: First published May 1st 2007
How do designers get ideas? Many spend their time searching for clever combinations of forms, fonts, and colors inside thedesign annuals and monographs of other designers' work. For those looking to challenge the cut-and-paste mentality thereare few resources that are both informative and inspirational.
In Graphic Design: The New Basics, Ellen Lupton, best-selling author of such books as Thinking with Type and Design It Yourself, and design educator Jennifer Cole Phillips refocus design instruction on the study of the fundamentals of form in a critical, rigorous way informed by contemporary media, theory, and software systems. Through visual demonstrations and concise commentary, The New Basics shows students and professionals how to build interest and complexity around simple relationships between formal elements of two-dimensional design such as point, line, plane, scale, hierarchy, layers, and transparency.
The New Basics explains the key concepts of visual language that inform any work of designfrom a logo or letterhead to a complex web site. It takes a fresh approach to design instruction by emphasizing visually intensive, form-based thinking in a manner that is in tune with the latest developments in contemporary media, theory, art, and technology. Colorful, compact, and clearly written, The New Basics is the new indispensable resource for anyone seeking a smart, inspiring introduction to graphic design and destined to become the standard reference work in design education.
UNA N.V., 1997–98. Inflated Scale In this design for an exhibition about the history of elevators and escalators, a graphic icon is blown up to an enormous scale, becoming the backdrop for a screening area in the gallery. Abbott Miller and Jeremy Hoffman, Pentagram. 49 Scale Environmental Typography For an exhibition celebrating the history of Rolling Stone, the designers made showcases out of largescale letterforms taken from the magazine’s distinctive logotype. Abbott Miller and James
93 Figure/Ground Contrast and Composition. In this project, students explored principles of visual contrast, homing in on letterform details to illuminate unique anatomical and stylistic features. Each study focuses on one pair of contrasting letterforms, which the designer could crop, combine, repeat, rotate, enlarge, and reduce. The final designs celebrate formal differences as well as distribute positive and negative space into fluid, balanced compositions. Typography I. Jennifer Cole
plane, like the threads in a plaid fabric. Architects: Carrère and Hastings with Shreve and Lamb. Vintage photograph. 1. On transparency in architecture, see Colin Rowe and Robert Slutzky, “Transparency: Literal and Phenomenal (Part 2),” in Joan Ockman, ed., Architecture Culture, 1943– 1968: A Documentary Anthology (New York: Rizzoli, 1993), 205–25. Plaid Fabric Traditional plaid fabrics are made by weaving together bands of colored thread over and under each other. Where contrasting colors
Color Fields The grid provides a structure for organizing fields of color that frame and overlap each other. Complexity emerges against a simple armature. John P. Corrigan, MFA Studio. 178 Grid Strict Grid Here, the rigidly imposed grid emphasizes the flat, graphic character and head-on viewpoint of the photographs. Jeremy Botts, MFA Studio. 179 Grid Broken Grid The rectilinear photographs overlap and misalign to create a sense of movement and depth. Individually, each image is static, but
Christian Æ, are of Scottish clans, and the color is often used as a for socialist movements, especially communism. More often, a × is a conventional written or printed sign (speciÞcally, a glyph), usually standing for anything other than a sound Communism refers to a system of society and a political movement based on common ownership of the Element ABCDEFGHIJKLMNOPQRSTUVWXYZ is a conventional representation of (` for sounds are usually called ã, á, äþü, diacritics, etc.). Thus