Graphic Design: Vision, Process Product

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9780130418838: Graphic Design: Vision, Process Product

Conveniently compact, richly illustrated, and step-by-step in approach, this volume follows the process that nearly all designers use in producing “good” communication design—focusing on the universal elements of graphic design that transcend period and style. Each chapter addresses a single element, demonstrating how the element can be used in actual projects, and showing how creative and practical decisions are made in response to project requirements and parameters—with an emphasis on achieving a balance between individual creativity, utility, and responsibility to the client. Example projects featured throughout have been gathered from outstanding contemporary graphic designers, as well as museums and private collections, and represent a diverse range of communication formats (e.g., posters, covers, catalogs, etc.)—executed in a rich sampling of media. Chapters can be used in sequential as the basis for actual design projects. KEY TOPICS: Content. Parameters and Problem Solving. The Design Process. Point-of-View and Attitude. Letters and Words. Images. Integration of Word and Image. Arrangement and Organization. Line. Shape and Form. Value and Texture. Color. Rhythm and Pattern. Emphasis, Exaggeration and Contrast. Decoration. Graphic Production. For Graphic Designers.

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From the Back Cover:

In a progressive series of chapters, designer Louis Ocepek uses charts, diagrams, and outstanding design examples to illustrate how the design process and the elements of graphic design contribute to the form and function of visual communication projects. The importance of the analytical design process as a tool for creative problem solving is emphasized, while equal attention is given to the importance of ingenuity and intuition. Specific chapters reveal how the essential components of graphic design, such as letters, words, and images are used to address the needs of the client in all aesthetic manner. The formal design elements, such as space, color, line, and shape are presented in the context of historical, modernist, and contemporary projects, demonstrating their impact on both content and visual form. Graphic production is addressed throughout the book from both a practical and creative point of view, demonstrating how budget and technical constraints can he turned to positive effect. Each chapter includes a list of key terms used in the text, designed to stimulate further discussion of specific topics while contributing to the development of a design vocabulary.

Excerpt. Reprinted by permission. All rights reserved.:

Introduction The principles of graphic design are universal, transcending period and style, providing creative sustenance to generations of designers. Rarely, if ever, do designers employ the principles of graphic design singly, or even in pairs. Instead, visual communication consists of an intricate interplay of elements, the integrated effect of the whole transcending its parts. Although the design process itself often progresses in a logical manner, it remains inherently dynamic, allowing for spontaneity, intuition, and change.

To establish an understanding of design essentials, the chapters of this book are arranged progressively. The early chapters introduce the foundations of design: content, parameters and problem solving, the design process, and attitude and point of view. The middle section emphasizes words, images, and organization, while later chapters explore the formal elements of design such as line, shape, and color. The final chapter is a study of graphic production, which examines relationships between design concept, fabrication, and the assorted media of graphic design.

The object of this book is to view graphic design in the context of daily life. This approach is meant to demonstrate the importance of graphic design as an integral service. to all aspects of society. The design examples used throughout the book were chosen for their intelligence, ingenuity, and superior production values, as well as their demonstrated application of particular design principles. In the case of classic and modernist work, I emphasize their historical significance and continuing relevance.

The principles can be studied in order, or in various combinations, such as letters and words with color, or design process with content. At the end of each chapter I provide a list of key words, which not only establishes the specialized vocabulary used in the profession, but also provides a framework for discussion and critique.

My goal is not to direct the designer toward one particular esthetic, but rather to demonstrate how a thorough understanding of the principles of graphic design enhances discovery, diversity, and individual creativity.

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