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Design Elements, 2nd Edition by Timothy Samara

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(F39)_Job:12-40337 Title:RP-Design Elements 2nd Edition
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TEXT
312
A
AAD, 139
About Face: Reviving
the Rules of Typography
(David Jury), 11
AdamsMorioka, 13, 59, 65,
106, 145, 149, 229
Albers, Josef, 87
alignment, 148–149
Ames Bros., 91, 207, 208
Anagrama, 276
And Partners, 135, 195
Apeloig Design, 33, 55,
123, 198, 200
Ariane Spanier Design,
102
Art Institute, The, 89, 268
Art: Tecaji, 198
A-Side Studio, 300
asymmetry, 60–61
A10 Design, 18, 120, 197
Atipus, 56
audience
rule for, 13
universal interpretation,
13
visual hierarchies and, 16
Australia
Frost Design, 34, 124,
169, 242, 261
Munda Graphics, 39, 188
Parallax Design, 6, 28,
215, 282, 303
There, 56
Voice, 30, 40, 57, 65,
105, 139, 156, 162, 174,
221, 238
Austria
Andreas Ortag, 37, 94,
150, 212, 234
Clemens Théobert
Schedler, 22, 33, 156,
172, 258, 277
Studio Vie, 236
........................................................
B
Bachgarde Design, 170,
249
Balland, Ludovic, 265
Barandun, Claudio, 301
Barnbrook, 83, 163
Beetroot Design Group,
96
Bellack, Maris, 86, 230
Ben, Billy, 27
Bickford-Smith, Coralie,
23, 54, 193, 282
Big Active, 187, 217
Billie Jean, 209
Birmingham, Sarah, 211
Brazil
A10 Design, 18, 120, 197
Diego Morales, 72
Laboratório Secreto,
7, 216
Media Invia, 72
Bringhurst, Robert, 129
Brodovitch, Alexey, 233
Bruketa+Zinic, 39, 126,
215, 223
bullets, 159
Bureau Mirko Borsche, 79
Burnett, Ron, 187
........................................................
C
Calles, Carolyn, 88–89
Canada
Marek Okon, 23, 166
SubCommunication, 101
Thomas Csano, 12, 31,
51, 60, 109, 125, 199,
229, 240
Carnegie Mellon
University, 99, 166
Catherine Casalino
Design, 82, 193, 215
C+G Partners, 21, 42, 57,
149, 156, 215
Chang, Myung Ha, 185
Chang, Tammy, 166
character count, 146
C. Harvey Graphic Design,
47, 71, 145
Cheng Design, 74, 151
CHK Design, 72, 136,
148–149
Choi, Yong, 249
Choi, Youjin, 33, 249
Chuo, Christine, 166
Cobra, 9, 31, 107, 163, 172,
226, 264
coding palettes, 120–121
collages, 212–213
color
chromatic interaction,
98–111
coding palettes, 120–121
color systems, 112–121
consumer expectations,
126–127
conventions, 126–127
emotions and
messages, 122–127
form and space, 108–109
hue, 90–91
hue relationships,
100–101
introduction, 88
limited color systems,
116–117
meaning and, 124–125
multiple-variable
systems, 115
palette definition,
112–113
palette for photographic
images, 118–119
palette logic, 114–115
psychology of, 122–123
relationships, 98–99,
104–105, 106–107
saturation, 92–93
saturation relation-
ships, 104–105
selection rule, 18, 304
single-variable systems,
115
temperature, 96–97
temperature relation-
ships, 106–107
typographic color,
164–165, 175–177,
182–185
usage rule, 19, 305
value, 94–95, 102–103
visual hierarchy, 110–111
column grid, 248–249
COMA, 229, 253, 287, 308
communication, rule for,
13, 299
compositional contrast,
74–75
concept
development, 288–289
rule for, 12, 298
conceptual allusion,
270–271
Conor & David, 20, 69,
99, 298
Croatia
Bruketa+Zinic, 39, 126,
215, 223
Kresimir Miloliza, 307
Studio International, 47,
50, 74, 114, 213, 231
Csano, Thomas, 12, 31,
51, 60, 109, 125, 199, 229,
240
Cyr Studio, 201, 208
........................................................
D
Das Buro Brand Identity,
27
dashes, 161
decisiveness, rule for, 24,
310
Denmark
e-Types, 46, 131, 251, 267
Designers United, 36
Design, Form, and Chaos
(Paul Rand), 9
Design Ranch, 280
Design Rudi Meyer, 16,
74, 185
Detail Design Studio, 100,
126
Disturbance, 12
Doch Design, 188
dots, 40–43
Drobac, Jelena, 104, 107,
142, 215
drop caps, 161
Drotz Design, 105, 206
Dwiggins, W. A., 7
dynamic space, 59
........................................................
E
EarSay, 154, 167
Elements of Typographic
Style, The (Robert Bring-
hurst), 129
INDEX BY SUBJECT
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