1. Chapter 3 Space

2. Three Kinds of Space Space as format: size, scale, and presentation. Space as the relationships among objects and the areas surrounding them: positive and negative space. Space as a perceived third dimension: illusionary space

3. Space as Format Format = size Be aware of the typical monitor resolutions (not the same as monitor size) for computer-based projects.

4. Space as Format

5. Using the Format Space There are no absolute rules. An image that takes up a tiny amount of space draws attention to itself. An image that takes up the whole space allows the viewer’s eye to wander around the image.

6. Using the Format Space

7. Positive and Negative Space Positive space: Parts of the image are perceived to be solid, such as an object. Negative space: everything else.

8. Positive and Negative Space

9. Working with Negative Space Negative space is not the leftover! Play with negative space to enhance important parts of your message.

10. Working with Negative Space

11. Illusionary Space Create the illusion of a third dimension by varying size.

12. Illusionary Space

13. Create the illusion of a third dimension by varying placement: lower = closer.

14. Illusionary Space

15. Create the illusion of a third dimension by using lighter or purer colors for foreground objects. Background objects seem less sharp or distinct than foreground objects.

16. Illusionary Space

17. Chapter 4 Line

18. Line as Contour There are no lines in nature. Our eyes interpret edges as lines. When does the artist include lines? when surface is separated from background when direction changes

19. Line as Contour

20. Using Line to Convey Volume Areas defined by heavier lines appear to have more volume (and to be closer).

21. Using Line to Convey Volume

22. Line as Expression Different kinds of lines can suggest different emotions or expressions.

23. Line as Expression

24. Line for Direction Lines direct the viewer’s eye. Actual lines Implied lines: not drawn, but made up of elements, such as edges, of several objects Imaginary lines: something (finger, arrow) points in a particular direction

25. Line for Direction

26. Pixelation in Line Curved lines can appear pixelated on low-resolution monitors.

27. Pixelation in Line

28. Conquering Pixelation in Line Modify shapes that might be prone to pixelation. Use anti-aliasing filters, which modify the colors of some outer- edge pixels.

29. Chapter 5 Shape

30. Shape and Volume Shape is space enclosed by a line. Add the 3rd dimension to shape, and you get volume, or illusory space.

31. Shape and Volume

32. Shape Identification Humans easily identify a wide variety of shapes. Designers can exploit this human trait in many ways.

33. Shape Identification

34. Subtle Use of Shape Shapes that are not the main image can be used to enhance design: –to make the main image stand out –to balance the image –to move the viewer’s eye –to reinforce an emotional feeling

35. Subtle Use of Shape

36. Shape Association The human tendency to group similar shapes can be exploited to create unity in a composition.

37. Shape Association

38. Chapter 6 Value

39. The Nature of Value Value: the variation of light and dark areas. The concept of value applies whether the image is monochromatic or many-colored.

40. The Strength of Value Greater variation of values (up to the human eye’s limit of about 40 gradations) conveys greater information and detail.

41. The Strength of Value

42. Defining Areas of Value Understanding and being able to apply value are the keys to good design.

43. Defining Areas of Value

44. Light and Value Light defines value. Reflected light defines the shape and volume of objects.

45. Light and Value

46. Contrast and Mood High contrast: a few values widely separated (e.g., black and white) Low contrast: many values in a narrow range Lighter values convey lighter moods.

47. Contrast and Mood

48. Chapter 7 Texture

49. The Magic of Texture Visual information can be used to convey texture though the viewer can’t actually feel the object.

50. The Magic of Texture

51. Uses for Texture As detail As space, to provide background interest

52. Uses for Texture

53. Texture Filters Imaging software texture filters automatically apply textures that would take hours to create by hand.

54. Texture Filters

55. Drawbacks of Texture Filters Too many textures can be distracting. Applying the same filters everyone else is using makes your work look like everyone else’s. –Adjust the properties of the filters you use. –Apply more than one filter to the same image.

56. Drawbacks of Texture Filters

57. Texture Design Problems Oversized background texture can detract from the main image. Too many textures, or text over texture, can make it difficult for the viewer to perceive the most important information.

58. Texture Design Problems

59. Chapter 8 Color

60. What Is Color? Different colors in the spectrum are created by different wavelengths of light. White is the presence of all the colors in the spectrum. Black is the absence of the colors.

61. What Is Color?

62. Additive Color Combine two colors or wavelengths to get a third color or wavelength. Primary colors: red, green, and blue (RGB). Secondary colors, produced by adding two primaries: cyan, magenta, and yellow.

63. Additive Color

64. Subtractive Color An object of a specific color absorbs (subtracts) all the other colors. Primary colors: red, blue, yellow (close to secondary colors of additive method). Secondary colors: purple, green, orange.

65. Subtractive Color

66. RGB and CMYK RGB (red, green, blue), or the additive method, is used for computers and TV CMYK (cyan, magenta, yellow, black) is used for print. A new color wheel includes both systems.

67. RGB and CMYK

68. Color Properties Hue: The primary or secondary color that makes up a given color. The hue of pink is red. Value: variation of light and dark. Tint: White has been added to a color. Shade: Black has been added to a color. Intensity (saturation): level of pure color that is present.

69. Colors on the Web Computer monitors can produce a vast number of colors BUT: Only 216 colors are “Web-safe”—they appear the same on any system. Dithering: the process a browser uses to produce a color outside the Web gamut.