ENGL 4182/5182: Information Design & Digital Publishing » September 11th: Talking about Design without Using “Thingy”

September 11th: Talking about Design without Using “Thingy”

Overall Plan for the Evening

Below is the overview we’re going to try to stick with tonight:

Design for Information Ch. 1 “Hierarchical Structures: Trees”

Although learning to develop algorithms to display data is beyond the scope of this class, Meirelles provides us with good concepts about design that are (close to) universal. Remember, no theorist can give you THE appropriate design element or strategy for ALL designs. Designers must consider audience and purpose* in order to choose the most effective element or strategy.
*Other factors such as ability, time frame, resources, etc. will also guide you choices.

Below are some key vocabulary terms to consider:

  • p. 17: For some reason, humans see the world in hierarchies. What are some examples?
  • p. 19: Visual Hierarchy or Contrast: the “emphasis and attention” we give to our design elements to guide users.
    • Notice the rows and columns when discussing proximity…
  • p. 20: Organization charts have graphical proximity correspond to conceptual proximity. “Graphical space…[maps] the source domain of power and not physical space.”
    • However, where are the offices located for the individuals in the CLAS Hierarchy?

Visual Perception and Cognition–(Why is this an ineffective heading?)

  • Ware’s 3-Stage Model of Perception
    1. Preattentive, at-a-glance unconscious attention
    2. Pattern recognition
    3. Accessing long-term memory to “process” the information in our visual working memory.
  • p. 22: “Effective visualizations make intentional use of the preattentive features in the representation of graphical marks.”
  • Gestalt (guh-shtahlt)–Grouping
    • Figure-ground discrimination (or contrast)
      • p. 22: Meirelles calls this “Segregation between Figure and Ground”
        • see p. 34 for an example
        • camouflage
        • What color scheme has the highest figure-ground contrast?
      • Modern(ist) Art disrupts our attempts to perceive “good figure” by violating expectations
    • Laws of Grouping
      • Proximity and Similarity
      • Continuation
      • Enclosure
    • Users come to design from many backgrounds, perspectives, so a one-size-fits-all T/theory isn’t the whole story
    • And Gestalt isn’t just for objects…
  • Case Study–SmartMoney Map of the Market
    • The at-a-glance goal for any stock market prices/values is to quickly ascertain gains and losses.
    • p. 32: Humans project the container metaphor “onto other physical objects, events, and actions.”
    • What’s inside your brain…Open up to me…Don’t shut me out…
    • p. 33: Closure or good continuation–our minds fill in the gaps or what’s “behind” an object
    • p. 35: scale of signs and other visual displays
    • p. 36: color schemes

Analyzing Assumptions/Prejudices

Time permitting (you’ll hear that line all semester), we’re going to get into group discussions on analyzing assumptions. Remember, one of the main goals of this semester is for you to be able to articulate WHY you make certain design choices. Although it happens sometimes, rarely do you do something “just because.”

I want us to consider more familiar assumptions first, but the goal is to get you to think about your preconceived biases in order to do this level of critical thinking about your assignments specifically and information design in general. Let’s hop on over to the Prejudice and Rhetoric page if we need any reminders.

Workshop: Business Cards and Letterheads

Let’s take a look at (very) brief InDesign tutorial from last week.

Remember, I expect you to work the entire time. If you’re “finished,” let me know…I’ll fix that. (BTW–how are those webpages coming along). Please have others look at your designs. I don’t have a formal workshop system, but, if our workshops aren’t productive, I’ll institute a formal structure. Your participation grade can go negative, so use your time wisely.

At a minimum, I want you to have a perfect, final product to turn in at the end of the evening…that was a joke.

Remember, your assignments must have memos. The format below will suffice:

Please do not copy and paste this. Take the time to type it out.

Audience & Purpose

My audience is…
My purpose is…

Distribution

Ideally, I would most likely display my documents…

Dominant Element in the Documents

What is the dominant element of your documents? This isn’t just the biggest design element. Consider what draws readers’ attention in your document. Maybe it’s an image, logo, text, color, etc. that is a focal point (see Williams, “Create a Focal Point,” p. 124). Whatever it is, describe it and explain why you think it is appropriate for your document.

Rhetorical Analysis

Why do your design choices convey the message you intend? First, state your intended message. Then, explain how you convey a particular ethos (professionalism, artistic, academic, etc.) with your design choices. You will have logos, but you most likely won’t have any pathos appeals. Focus on ethos for your first documents (business card and letterhead). You’ll discuss logos and pathos (in addition to ethos) for Documents #1 & #2.

If you don’t use the word “ethos,” you’re doing something VERY wrong on this assignment. We will discuss ethos in class.

Estimated Cost

I expect 200 business cards will cost $$$.$$ and 1000 sheets of letterhead to cost $$$.$$.

Style

Make sure you identify the following for each document:

  • Typeface
  • Font size(s)
  • Font color(s) (C=__, M=__, Y=__, K=__) or HEXADECIMAL
  • Stock–paper or substance cards will be printed on

Software Used

My creation came to life through the following computer tools…. [Make sure you tell me what area or section or component was created by which computer tool, assuming you used more than one]

References/Citations/Sources

You must reference where you found images or other information used in your design(s) that you did not personally create from “scratch.”

Remember, you must also reflect on changes you’ll make after I look at your work (in the portfolio), so the entire list on the Assignments Page will not apply to your memos for this draft. The above sections should be included in your memos for this draft. Any questions?

Photoshop Fancy Logo Tutorial

Time permitting…

As your Assignments Page states, you’ll have some software requirements. Today I’m going to try my best to show you how to make a floating, glossy, or fireball-ish effect using Photoshop. I’ve got a page here that will help, but this tutorial comes from a YouTube video–Web 2.0 Logo Design Tutorial–and it’s specific to CS3 (Mac version).

So follow along with me, go at your own pace, but please don’t distract others. Hold your questions for our pauses during the tutorial.

This tutorial has two aims: 1) to get you to do something difficult with Photoshop and 2) to get you to observe a “live tutorial.” You may critique me all you want, but consider the conditions we’re under and how that may affect this tutorial. I want you to notice how or why we get off the same page as we go through this tutorial. It’s ok if that happens! I’m trying to get us to slow down and think about the fact that an audience following a step-by-step process can have different results. Why?

Want a more advanced tutorial? If so, try to follow along with the example from Aquul on Photoshop CS6: “Clean Professional Logo” tutorial (an ad pops up first). Remember, I expect you’ll devote time outside of class to learning this software because…why? Exactly, this is not a software instruction class.

Next Week’s Readings

Make sure you read Chapter 2 in Design for Information and Chapter 4 in The Non-Designer’s Design Book before coming to class next week (9/18). Also, keep bringing your books!!! You will fail the class if you don’t. Stay on top of your reading so you don’t fall behind. That midterm (10/02) will be here before you know it!

Of course, don’t forget your Business Cards and Letterhead (and memos)–they’re due next week.