Prof. Anselm Production Course Visual & Web Design – Overview Graphic Design Brief History of Graphic Design Education Communication.

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Visual & Web Design – Overview Graphic Design Brief History of Graphic Design Education Communication Model Practical Foundation Swiss Design School & Grid System Typography Grid Construction Grid System – Heuristics Web Design User BehaviorUser Behavior  Design Implications  Design SpecificsDesign ImplicationsDesign Specifics Summary Requirements for Web Pages Food for Eyes Colors Magazine More Colors Visual EssayVisual Essay Assignment Visual Storytelling

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Graphic Design –Brief History of Graphic Design EducationBrief History of Graphic Design Education –Communication ModelCommunication Model –Practical FoundationPractical Foundation –Swiss Design School & Grid SystemSwiss Design School & Grid System Sources –Katherine McCoy, “Education in an Adolescent Profession”Education in an Adolescent Profession –Josef Mueller-Brockmann, “Grid Systems in graphic design”

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Brief History of Graphic Design Education Pre-Modernism –Focus on Image Associations –Lack of Formalized Method: early luminaries self-taught –Premium on Creativity: “BIG IDEA” –Learn from “Samples and Examples” Functional Modernism –"Swiss School" of Graphic Design –Based on Bauhaus –Focus on Formal Purity rather than Content Post-Modernism –Influenced by French Literary Theory –Variety of Cultural Contexts and Personal Experiences –Possibility of Multiple Interpretations –Question Rigidity, Minimalism of Graphic Modernism –Subjective, Personal Layers of Meaning & Complexity

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Communication Model - Sender SenderTransmitterReceiver Design School Pre-ModernismFunctional ModernismPost-Modernism Guiding Discipline ArtScienceLanguage Focus on Personal content and creativity Systematic presentation of objective information Audience's response due to different cultures and subjective experiences

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Communication Model - Transmitter SenderTransmitterReceiver Design School Pre-ModernismFunctional ModernismPost-Modernism Guiding Discipline ArtScienceLanguage Focus on Personal content and creativity Systematic presentation of objective information Audience's response due to different cultures and subjective experiences

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Communication Model - Receiver SenderTransmitterReceiver Design School Pre-ModernismFunctional ModernismPost-Modernism Guiding Discipline ArtScienceLanguage Focus on Personal content and creativity Systematic presentation of objective information Audience's response due to different cultures and subjective experiences

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Communication Model SenderTransmitterReceiver Design School Pre-ModernismFunctional ModernismPost-Modernism Guiding Discipline ArtScienceLanguage Focus on Personal content and creativity Systematic presentation of objective information Audience's response due to different cultures and subjective experiences

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Future of Graphic Design Digital Communications Design –Different Design Strategy than Perfectionist Graphic Design –Less Control, More Conceptual, More Interaction –Users Co-Creators Requires Deeper Understanding of the Communications Process Combines Art, Science and Language Needed Expertise –Multimedia Design: Visual Art, Music, Film –Communications Theory –Cognitive & Perceptual Psychology –Social Sciences & Cultural Anthropology –Computer Science

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Practical Graphic Design Graphic Design = Organic Process –Cultural, Contextual, Personal –Client & Designer Interaction Good Design is “Stolen” –Emulate what speaks to you Need Practical Foundation –Functional Swiss Design School –Grid Systems

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Swiss Design School Based on Bauhaus –Form follows Function –Minimalism, Universality, Rationality, Abstraction and Structure Focus on Formal Purity rather than Content Grid System –Divide 2-D plane or 3-D space into Smaller Fields –Intermediate Space so that Captions and Pictures Don’t Touch

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Grid System – 8 Fields Example

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Grid System – 8 Fields Example The great Swiss innovators of the 1950s and 1960s can be seen as representing the classic phase of modernism, the heirs to Bauhaus graphic design and other early modern European graphic designers. These Swiss innovators applied the Bauhaus functionalist ethic to a systematic graphic method that shared the Bauhaus values of minimalism, universality, rationality, abstraction and structural expressionism. This fresh and highly professional graphic design was first transmitted beyond Switzerland to the rest of Europe and the U.S. through Swiss design magazines and a few books, notably Graphis and the "Swiss" bibles by Muller-Brockmann, Gertsner, Hoffmann and Ruder. Then, in the late 1960s, several professional offices began to practice these ideas to solve the needs of large corporate clients in Holland, Great Britain, Canada and the U.S. The method, symbolized by the typeface Helvetica, was enthusiastically adopted by several corporate and institutional design groups, including Container Corporation, Ciba-Geigy, Herman Miller, IBM and Massachusetts Institute of Technology. Montreal's Expo '67 was a feast of Helvetica and systematic environmental signage, as well as advanced architecture. Eventually, American corporate culture embraced "Swiss" school graphic design as the ideal corporate style. Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. Caption Text Swiss Design School

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Grid System – 8 Fields Example Swiss Design School Caption Text The method, symbolized by the typeface Helvetica, was enthusiastically adopted by several corporate and institutional design groups, including Container Corporation, Ciba-Geigy, Herman Miller, IBM and Massachusetts Institute of Technology. Montreal's Expo '67 was a feast of Helvetica and systematic environmental signage, as well as advanced architecture. Eventually, American corporate culture embraced "Swiss" school graphic design as the ideal corporate style. Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. The great Swiss innovators of the 1950s and 1960s can be seen as representing the classic phase of modernism, the heirs to Bauhaus graphic design and other early modern European graphic designers. These Swiss innovators applied the Bauhaus functionalist ethic to a systematic graphic method that shared the Bauhaus values of minimalism, universality, rationality, abstraction and structural expressionism. This fresh and highly professional graphic design was first transmitted beyond Switzerland to the rest of Europe and the U.S. through Swiss design magazines and a few books, notably Graphis and the "Swiss" bibles by Muller-Brockmann, Gertsner, Hoffmann and Ruder. Then, in the late 1960s, several professional offices began to practice these ideas to solve the needs of large corporate clients in Holland, Great Britain, Canada and the U.S.

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Grid System - Motivation Solve Visual Problems with Greater Speed & Confidence Maintain Consistency –Title Location –Annotations Location –Image Rhythm Create Visual Hierarchy & Rhythm Invisible Guiding Hand Information Presented Clearly & Logically –Read More Quickly –Understood Better –Better Recall

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Typography Readability - how easy it is to read a lot of text –Serif Typeface Better if a Lot of Text –Type Size: 10 – 14pt –Line Length –Leading or Space between Lines Legibility - how easy it is to recognize short bursts of text –Sans Serif Typeface is Better and Easier to Read on Screen 7 - 10 Words Per Line –Overlong or Overshort Lines Tire Column Width Proportional to Type Size Bold and italic used for small blocks of text Enough Contrast between Type and Background

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Grid Construction Need to Know How Much Text and How Many Images to Be Placed Each Work Raises Many Questions –How Many Columns? –White Space and Margins Have Visual Function? –Annotations, Footnotes, Captions? –Large and Small Images? How Many? Each Work Requires its Own Specific Grid –Create Small Sketch –Number of Columns Depends on Type Size –Wider Columns Need Larger Type Size than Narrow Columns

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Grid System – 8 Fields

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course 8 Fields Grid - Image Size Options

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Grid System – 20 Fields

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course 20 Fields Grid - Example 1 Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. A number of Swiss teachers and their graduates, from Armin Hoffman's Basel school in particular, put down roots in schools including Philadelphia College of Art, University of Cincinnati and Yale. (The Swiss influence seems to have been particularly strong in U.S. and Canadian schools; Europeans have often expressed a certain mystification at this North American reverence for the Basel method.) Manfred Maier's book, Basic Principles of Design, on the Basel foundation program, was finally available in the U.S. in 1977, spreading this method farther. Under the influence of this highly structured educational method and its emphasis on the prolonged study of abstract design and typographic form, these American schools began to carefully structure their curricula. Based on objectivity and rationalism, this educational system produced a codified method that was easy to communicate to students, giving them a foundation for a visual design process and composition.. This classic modernist graphic aesthetic is distinctly different from the predominantly semantic imagery of the "big idea". It stresses the grammar of design and is rather neutral to content. Regrettably, this language of structural geometry has often resulted in a sameness of form that is more the look of function than truly communicative function-- an emphasis on formal purity rather than content. As this aesthetic spread, however, a number of Europeans, particularly in conjunction with the Ulm school in West Germany, began to apply semiotics to visual communications problems. Related explorations in the science of signs were taking place in structuralist philosophy, linguistics, literature and film theory. Other efforts to develop scientific design processes through communication theory and computer design method began in Great Britain and at the Illinois Institute of Technology during this period. Although the Swiss never embraced these communication theories, some of the sounder graphic design schools outside Switzerland have gradually begun to incorporate theory into their curricula … Swiss Design School

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course 20 Fields Grid - Example 2 Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. A number of Swiss teachers and their graduates, from Armin Hoffman's Basel school in particular, put down roots in schools including Philadelphia College of Art, University of Cincinnati and Yale. Swiss Design School (The Swiss influence seems to have been particularly strong in U.S. and Canadian schools; Europeans have often expressed a certain mystification at this North American reverence for the Basel method.) Manfred Maier's book, Basic Principles of Design, on the Basel foundation program, was finally available in the U.S. in 1977, spreading this method farther. Under the influence of this highly structured educational method and its emphasis on the prolonged study of abstract design and typographic form, these American schools began to carefully structure their curricula. Based on objectivity and rationalism, this educational system produced a codified method that was easy to communicate to students, giving them a foundation for a visual design process and composition that went far beyond the superficial emulation of their heroes. This classic modernist graphic aesthetic is distinctly different from the predominantly semantic imagery of the "big idea". It stresses the grammar of design and is rather neutral to content. Poster Designs by Josef Muller-Brockmann Caption describing the poster designs. When they were created. Who the client was and their effectiveness.

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course 20 Fields Grid - Example 2a Swiss Design School Poster Designs by Josef Muller-Brockmann Caption describing the poster designs. When they were created. Who the client was and their effectiveness. Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. A number of Swiss teachers and their graduates, from Armin Hoffman's Basel school in particular, put down roots in schools including Philadelphia College of Art, University of Cincinnati and Yale. (The Swiss influence seems to have been particularly strong in U.S. and Canadian schools; Europeans have often expressed a certain mystification at this North American reverence for the Basel method.) Manfred Maier's book, Basic Principles of Design, on the Basel foundation program, was finally available in the U.S. in 1977, spreading this method farther. Under the influence of this highly structured educational method and its emphasis on the prolonged study of abstract design and typographic form, these American schools began to carefully structure their curricula. Based on objectivity and rationalism, this educational system produced a codified method that was easy to communicate to students, giving them a foundation for a visual design process and composition that went far beyond the superficial emulation of their heroes. This classic modernist graphic aesthetic is distinctly different from the predominantly semantic imagery of the "big idea". It stresses the grammar of design and is rather neutral to content.

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Grid System – Heuristics One Column –Little Freedom for Pictures in Small, Medium and Large Size Two Columns –Text can go in First Column –Illustrations, Images in the Second Column –Text and Images can be Placed in Same Column Three Columns –Variety of Ways of Placing Text and Graphics Four Columns –If a lot of Text or Images Need to be Placed –Statistics with Copious Figures and Graphs –Can be Subdivided into 8 or 16 columns

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Web Guiding Principles Diversity of Users & Rapid Change –Diverse users, diverse computers, diverse skills, diverse … –Rapid evolution of technology and expectations –Short attention span Common Sense –No right way to design Make it short –More likely to be used and remembered –Cut in ½ and cut in ½ again Don't make me think –Get rid of question marks - each item has clear purpose Make it work at a glance –People have little time Support intented task - manage expectations

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Basic Design Principles Alignment –Don't Mix Alignment Styles - Simplicity –Create Sufficient Left Margin –Constrain Total Width of Page Proximity –Related Things Close Together –Spatial Separation = Conceptual Separation Repetition & Consistency –Grid Layout, Navigation, Graphics Color Coding, Typeface –Creates Ease of Use Contrast –Bigger, Bolder, Color, Spatial Distance –Guide the Eye and Create Visual Hierarchy

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course User Behavior Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Design Implications Scan pages - don't read them Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Look for anything = Search Interest Decide quickly Choose first “reasonable item” Make obvious what you can do on a page Make obvious what is clickable Muddle through Don't figure out how things work Resist forming models Don't make users think Get rid of question marks Each item = clear purpose Stick to what works Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course User Behavior  Design Implications  Design Specifics 1 Use Grid System Maintain Consistency Helps you decide: location of primary & secondary navigation; location and sizes of images; location of headlines, main text, annotations etc. Create Visual Hierarchy & Rhythm Present Information Clearly & Logically Users can read info more quickly. Facilitates understanding and recall. Invisible Hand guiding users and creating sense of place Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Make obvious what you can do Make obvious what is clickable Don't make users think Get rid of question marks Each item = clear purpose Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography User Behavior  Design ImplicationsUser Behavior  Design Implications  Design Specifics Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works User Behavior

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course User Behavior  Design Implications  Design Specifics 2 Create Visual Hierarchy & Guide Eye Important Things = Visually Prominent (More Important = Larger / Sharp Contrast) Use headlines to guide the eye Visual Contrast Use sharp changes in size (headline), light intensity (bold), color, texture, motion to create contrast. Proximity: related things spatially close Spatial separation = conceptual separation. Don't mix alignment styles. Use Grouping & Nesting to Increase Information Density (Short-term Memory = 3-7) Use bounding shapes. Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Make obvious what you can do Make obvious what is clickable Don't make users think Get rid of question marks Each item = clear purpose Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography User Behavior  Design ImplicationsUser Behavior  Design Implications  Design Specifics Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works User Behavior

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course User Behavior  Design Implications  Design Specifics 3 Typography Heuristics Sans Serif type is easier to read on screen Type size 10 -14 points 7 - 10 words per line Column width proportional to type size Bold and italic for small blocks of text Enough contrast between type & background Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Make obvious what you can do Make obvious what is clickable Don't make users think Get rid of question marks Each item = clear purpose Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography User Behavior  Design ImplicationsUser Behavior  Design Implications  Design Specifics Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works User Behavior

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course User Behavior  Design Implications  Design Specifics 1 Use Grid System Maintain Consistency Helps you decide: location of primary & secondary navigation; location and sizes of images; location of headlines, main text, annotations etc. Create Visual Hierarchy & Rhythm Present Information Clearly & Logically Users can read info more quickly. Facilitates understanding and recall. Invisible Hand guiding users and creating sense of place 2 Create Visual Hierarchy & Guide Eye Important Things = Visually Prominent (More Important = Larger / Sharp Contrast) Use headlines to guide the eye Visual Contrast Use sharp changes in size (headline), light intensity (bold), color, texture, motion to create contrast. Proximity: related things spatially close. Spatial separation = conceptual separation. Don't mix alignment styles. Use Grouping & Nesting to Increase Information Density (Short-term Memory = 3-7) Use bounding shapes. 3 Typography Heuristics Sans Serif type is easier to read on screen Type size 10 -14 points 7 - 10 words per line Column width proportional to type size Bold and italic used for small blocks of text Enough contrast between type and background Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Make obvious what you can do Make obvious what is clickable Don't make users think Get rid of question marks Each item = clear purpose Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography User Behavior  Design ImplicationsUser Behavior  Design Implications  Design Specifics Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works User Behavior

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Requirements for Web Pages  Layout Presents Info Clearly & Logically Facilitates Understanding & Recall  Visual Hierarchy Guides Eye to Important Things Where do I start? What can I do here? What site is this? What page am I on? Options at this level? Where I am? Go higher or home? Major sections of site? Web Page needs to easily answer Web Navigation needs to easily answer  Site ID – logo, image, text  Page name  Primary Navigation Top Row or Left Column Simple text hyperlinks, icons, rollovers, image-maps, pull-downs  Secondary Navigation Below Top Line or Left Column  Expanding / Nesting Hierarchies Static or Dynamic Outlines  Color Coding, Breadcrumbs Primary / Secondary Navigation

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Food for Eyes – Colors Magazine

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Color Magazine

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Colors Magazine

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course More Colors Colors MagazineColors Magazine : Select “Archive” Initial Designer: Tibor KalmanTibor Kalman #2 : Immigration : placement of text on image background #3 : Evolution : placement of text along image contour #14: War : effective imagery and good copy #20: Marriage : simple, effective image and good copy #24: Death : simple, effective image and excellent copy #25: Fat : simple, effective image and good copy #47: Madness : simple image and good copy : website animation

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Visual Essay - Goal Visual Storytelling Visualize idea you want to communicate Create Layout of images & limited text that "tells visual story” Create layouts with clear Visual Hierarchy & good rhythm Ask: What is most important? Images = "adjectives“ in story –Close ups, Faces, Detail, Shows action, Matching reaction Make sure that key idea is visible “above the fold” (640x480 area) Introduce pauses in your animated GIFs. Can use several animated GIFs to guide the eye across page

Prof. Anselm SpoerriSCILS@RutgersMultimedia Production Course Visual Essay - How Find Images to Support Storyline –Scan from Books or Magazines –Scan at high enough resolutionScan –Web Images –“Save As” in the Browser: saves images in supporting folder –Mouse Right Click on image and use “Save Target As” Fireworks / Photoshop –Resize or Crop original image –Create Selections (rectangle or polygon) –Create Collages by combining layers –“Export / Save for Web”: JPEG if rich in color, GIF if limited colors Create Grid & Layout –Resize images if needed (via image handles + SHIFT key) or Crop image

Prof. Anselm Production Course Visual & Web Design – Overview Graphic Design Brief History of Graphic Design Education Communication.

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Prof. Anselm Production Course Visual & Web Design – Overview Graphic Design Brief History of Graphic Design Education Communication.

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