Example of Creative Thinking

Workbook 27 Design and Illustration 2005, p. 75
Stephan Daigle

This design suggests a lot of creative thinking. The design is complex and seems to have the key qualities we've discussed so far in class. There is a continual rhythm established with the waves emitting from the sun. The circular motion is repeated in the curved surface of the ocean, the layout of the fish, and the ring formed by the dancers. The design is symmetrically balanced with the sun's face being the focal point. Unity is present with the repetition of shapes. (Notice the hand shapes reflect the fish tails.) There is proximity with the grouping of the fish and the dancers. Repetition is also seen in the texture of the ocean and the dancers' faces and in the orientation of the fish. Unity is colors is seen in the similar hues used. Emphasis on the sun's face is established with the bright orange and red colors and directional clues provided by the dancers who appear to point in the sun's direction. I found the dancers to be the most interesting element. It doesn't matter to my mind's eye that they don't have heads because they have faces. This suggests a great example of closure. I wonder what the artist was symbolizing with the "fishermen" walking on water? Biblical?

Example of Creative Thinking

Corbis Corporation Image Providers

These images were in a Corbis Corporation Crop 2005 promotions package. The posters were in a "book" with facing images sharing a related element. The pictures were taken by different photographers all around the world. Then someone very creatively found a way of pairing seemingly unrelated images by looking for repetition. The first three examples show repetition of shape. The last is repetition of color.

Parkland Art Museum

Parkland Art Museum, Digital print by Peggy Shaw "Hover" (Deep Mapping 4.2), 2007
I found this print to be a calm, quieting, serene scene with a spark of ingenuity accomplished by using an out-of-the-ordinary viewpoint. The edges of the design look like a thick pane of old glass that has slowly distorted on the edges. It feels like you're looking through a window into another time and place. The surprise is the skeleton leaf "stuck" to the window. The veins of the leaf point to the stem which leads your focus down the path into the woods.
Unity may be seen in the proximity and repetition of the orbs seen only on the path. The entire composition is in shades of black and white. The trees continue the unity principle with their vertical orientation. The focal point is the skeleton leaf with emphasis by size and placement at the "front" of the picture. Further emphasis is shown by the directional clues given by the stem and the path created by the orbs lying on the ground. The orbs create a path by slowly diminishing in size and separation. The design is asymmetrically balanced by the shapes of the clearly defined leaf versus the blurry background. The leaf's area of the composition being a small portion as compared to the background area. Rhythm is very subtly introduced with faded concentric circles that can be seen in the background of the trees and resemble tree rings - signs of nature's beat. The design is a great example of all of the design principles we've discussed so far.

Example of legato rhythm

Graphic Design Annual 2007, p.117
The Great Escape, Adapter, Berlin

This design shows an example of legato rhythm in the music being emitted from the headphone. The design is asymmetrically balanced with the bright colorful soundwaves on one side versus the woman on the other. There is directional emphasis with your eyes first focusing on the images you perceive in the soundwave "smoke". The lines then lead to the back headphone through the woman's eyes and finally to the front headphone. There is great use of unity with the colors being repeated in the sound, the dress, the bracelet, the fingernails, and even the eyeshadow.

Asymmetrical balance by position

WWW Design Web Pages From Around the World, p.22
Space Invaders Multimedia Education Program, Denmark

This web design shows unity with the repetition and proximity of the planets and the repetition of the yellow rings surrounding each planet. The focal point is the center planet which is a brigh red, more defined and larger than the other planets, making it pop out. The large dark space station is asymmetrically balanced by position of the grouping of planets. The site would seem appealing to children with its outerspace motif. The planet navigation buttons are labeled "what", "why", "who", "where", and "when".

Asymmetrical balance by position

Graphic Design Annual 2007, p. 80
Atelier Trois Petits Points, Paris

This seemingly simple design is a great example of the design principles we've discussed so far. The unity can be seen in the repetition of orientation and repetition of shapes. There is also grouping of printed information. The focal point is the swatch of bright red on an otherwise all black and white design. Emphasis by color contrast is obvious with the white and black elements. Emphasis is also achieved by position of the text block being partially on the black space and then seemingly being lead off to the opposite edge by small black dots pointing the way across the white expanse. The design is asymmetrically balanced by position of geometric shapes on one side of the desing versus open space on the other. There's also balance by size with the large shapes versus the small print.

Emphasis by Direction

Workbook 27 Design & Illustration 2005, p.360
Donna Rosen Artists' Rep

This is a wonderful example of emphasis by direction. I found my eye first pulled to the waitress's face then down her arm to the menu. The bold red is very attention-seeking and is repeated on her lips. The neutral background also aids in making the waitress pop out. The diagonal line created by the waitress's arm leads your vision to the menu she is offering. The artist uses the menu to cleverly disclose a lot of information about the client, Donna Rosen Artists' Rep. There's even a hidden message with the "nurse's" cap on the waitress's head with the firm's initials on it. The "DR" could just possibly imply the firm could cure your design troubles.

Emphasis by Contrast in Scale

Workbook 27 Design & Illustration 2005, p. 509
Peter Bollinger, Shannon Associates, Aquafina

This design shows emphasis by contrast in size/scale with the water bottle being bigger than the iceberg. There's also a nice contrast in color/temperature with the warm orange sunglow versus the white frosty icebergs. The serenely calm ocean in the front of the design helps to reassure the viewer that the bottled water will be refreshing. The expansive view makes me think "thirst-quenching" and the realism of the bottle against the rest of the composition makes the product appear to be easily accessible. Are you getting thirsty?

Example of Lack of Focal Point

Typography The Annual of the Type Directors Club, 2004, p.75
Niklas Troxler, Switzerland, Jazz in Willisau Poster

I am posting this to show an example of a design with a lack of focal point. The design show lots of unity with color, proximity, and repetition. The designer is hoping to pull the viewer in with the hidden letters. And it must be a good design since it's in an Annual, but I actually found it confusing. It's a poster announcing a jazz festival, but even knowing what it's supposed to say doesn't help to find the message.

Emphasis by Color Contrast

Typography 24 The Annual of the Type Directors Club, 2003, p. 260
Nazanin Alvarez, Miami Ad School

I thought this design had a strong focal point created by using a color contrast. The red immediately draws your attention to the company name. I think there is aIso a contrast created by placement and direction. The magnetic pull of the letters to the end of the magnet seems to direct your eye as you read the name. And the placement of the red on one side of the page versus black and white on the other helps to emphasize the focal point. I found the symbolic use of a magnet for a company named "Magnetta" to be rather clever.

Example of Unity by Continuation

Typography 24 The Annual of the Type Directors Club, 2003, p.116
Designers Fred Woodward and Paul Martinez, GQ Magazine

This design was the title page for a magazine article in GQ magazine that discussed various male icons. I thought it was interesting because it reminded me of the exercise we were working on in class this week when we were working on different ways of establishing unity by positioning black and white squares. This to me said "UNITY BY CONTINUATION!" I liked how my eye followed the tumbling letters down the page.