ISBN 10: 1592539270 / ISBN 13: 9781592539277
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This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: This book is simply the most compact and lucid handbook available outlining the basic principles of layout, typography, color usage, and space. Now updated and expanded!. Bookseller Inventory #

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This updated version of Rockport's bestselling Design Elements offers expanded and updated content in a new, cleaner format for easier navigation. Author Timothy Samara has added more than 50 new diagrams and more than 100 new images of real-world projects with an increased emphasis on web and environmental design projects. The "20 Rules for Good Design" has been revisited and expanded to 25 Rules. The book covers all the design fundamentals from working with grids, color application, typography, imagery to finally how to put it all together. Expansion and new material includes:

-Composition/layout, visual hierarchy -Form and composition in relation to concepts and meaning

-Color psychology and narrative-Color coding-Reference palettes for time periods, cultures, and businesses

-Special color and printing techniques -Combining type styles, editorial text setting issues, plus-Web-related type style and hierarchy issues

-Strategies for using photography; design drawing; medium and meaning; pictorial and non-pictorial -image-making options; semiotics, symbolic and metaphorical image use; type as image-Making type and imagery work better together

-Finding flexibility in design systems -The design process, from creative concept development and practical work-flow standpoints...

-Plus a complete project case study with major decision-moments keyed to respective sections!

Being a creative designer is often about coming up with unique design solutions. Unfortunately, when the basic rules of design are ignored in an effort to be distinctive, design becomes useless. In language, a departure from the rules is only appreciated as great literature if recognition of the rules underlies the text. Graphic design is a "visual language," and brilliance is recognized in designers whose work seems to break all the rules, yet communicates its messages clearly.This book is a fun and accessible handbook that presents the fundamentals of design in lists, tips, brief text, and examples. Chapters include Graphic Design: What It Is; What Are They and What Do They Do?; 25 Basic Rules of Good Design; Form and Space-The Basics; Color Fundamentals; Choosing and Using Type; The World of Imagery; Putting it All Together? Essential Layout Concepts; The Right Design Choices: 20 Reminders for Working Designers; and Breaking the Rules: When and Why to Challenge all the Rules of this Book.

Review: Color Systems

Limited Palettes in Photographic Images

Photographic images or illustrations with varied tonality are excellent material with which to explore ink coloration: An image might be printed in one, two, three, or more spot colors, with different portions of the image’s tonal range acted upon by the inks at different levels. Such options give the designer an opportunity to customize images for a client, enrich the dialogue of color among images, type, and other graphic elements, and to bring images into closer visual alignment with brand-related color messages. Even when full-color photography is not only available as an option, but desirable, limiting the palette within the imagery will help it integrate with the palette applied to nonphotographic forms and typography— such limitation can help focus attention on the most important components of the image’s subject or emphasize important details. If the designer is lucky enough to have a budget that allows for commissioning original photography, he or she may art direct the photographer’s use of lighting, props, backgrounds, and isolation of content in the frame to control the image’s palette. A second option is to manipulate a photograph’s native color using software to accomplish the same goal—for example, saturating the yellow components of an important subject in the foreground and, subsequently, adjusting the color balance in surrounding areas to become cooler, even more violet, overall (skewing the tonality toward the yellow subject’s complement, perhaps); the designer might further desaturate some features, or diminish their value contrast, to further emphasize the subject focus. That said, a designer may opt to completely change the color balance within a photograph for conceptual or formal effect: Who is to say that a photographic image must present the empirical (naturalistic) color as it appeared in nature? If the information the viewer needs from the subject doesn’t depend on naturalistic color, radically altering the color of photographic images can accomplish a great deal.


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