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TEXT
315
intuitive arrangement,
264–271
nonstructural approach-
es, 264–265
pictorial allusion,
270–271
spontaneous optical
composition, 268–269
systematic thinking,
272–273
system design, 272–287
system form into system
function, 276–277
visual pacing, 284–287
Ortag, Andreas, 37, 94,
150, 212, 234
........................................................
P
Paone Design Associates,
19, 34, 78, 85, 89, 99, 133,
183, 189, 214, 237
paragraphs
optimization, 154–155
separation, 156–157
width, 147
Parallax Design, 6, 28, 215,
282, 303
Park, Sunyoung, 34
Parsons School of Design,
10, 59, 73, 81, 82, 92, 107,
119, 230, 234, 243, 273,
278, 281, 285
People Design, 65, 73, 91,
93, 228, 263
photography, 118–119,
204–205
pictorial allusion, 270–271
Piscatello Design Centre,
179
plane, 48–49
Poland
Maciej Hajnrich, 206
Poulin+Morris, 8, 176, 213
prime marks, 160
proportional spatial
relationships, 64–65
punctuation, 159
P&W Design Consultants,
272
........................................................
Q
Qatar
VCU Qatar, 29, 184, 209,
235
........................................................
R
Raidy Printing Group, 88,
95, 145, 199, 214
Rambow, Gunter, 101, 123
Rand, Paul, 9
Red Canoe, 51, 105, 126,
242
redundancies, rule for,
21, 307
Research Studios, 33, 94,
103, 164, 169, 180, 197,
210, 221, 264
rhythm, 69
Rock, Michael, 297
Romania
Grapefruit, 142
Rouzer, Pamela, 53
Roycroft Design, 57
rules
color selection, 18, 304
color usage, 19, 305
communication, 13, 299
concept, 12, 298
dark and light, 19, 305
decisiveness, 24, 310
historical inspiration,
23, 309
image creation, 22, 308
introduction, 11, 297
“less is more,” 14, 300
negative space, 15, 301
redundancies, 21, 307
symmetry, 16, 302
trends, 23, 309
two-dimensional
layouts, 17, 303
type family blending,
20, 306
type friendliness, 20,
306
type usage, 21, 307
universal interpretation,
13, 299
visual hierarchies, 16,
302
voice, 14, 300
Russia
Andrew Gorkovenko,
188, 202
Ryan, Sean, 189
........................................................
S
Sabotage PKG, 270
Sagmeister+Walsh, 53,
120, 188
Samara, Timothy, 13, 62,
66, 107, 111, 116, 119, 175,
182, 184, 199, 210, 214,
218, 245, 267, 288–289,
292–295
saturation, 92–93,
104–105
Sawdust, 297, 303
Schedler, Clemens
Théobert, 22, 33, 156,
172, 258, 277
School of Visual Arts, 33,
43, 82, 83, 100, 113, 123,
126, 143, 166, 177, 185, 193,
215, 249, 267, 268, 270,
287, 308
SEA Design, 108, 279
semiology, 8, 192–193
Serbia
Jelena Drobac, 104, 107,
215
Shinnoske, Inc., 97
Shiromasa, Kiyoko, 278
Short, Christopher, 201
silhouettes, 242
Slovenia
Art: Tecaji, 198
Sonnoli, Leonardo, 43, 58,
121, 183, 214, 267, 271
South Africa
Disturbance, 12
South Korea
Sulki+Min, 228
space. See form and space.
Spain
Atipus, 56
Folch Studio, 245
Laboratorio Secreto, 83
LSD, 6, 14, 32, 53, 55, 93,
105, 164, 182, 194, 199,
227, 234, 246, 270
Manuel Estrada, 20,
22, 35, 189, 192, 204,
215, 271
Studio Astrid Stavro,
82, 137, 144, 168, 253
Studio Diego Feijoo, 83,
170, 272
Spin, 258
spontaneous optical
composition, 268–269
static space, 59
Staynice, 17, 90
Stereotype Design, 61, 96,
230, 309
StressDesign, 52
structure, 62–63
Struktur Design, 179
Studio Astrid Stavro, 82,
137, 144, 168, 253
Studio Blue, 16, 78, 87, 111,
126, 253
Studio Diego Feijoo, 83,
170, 272
Studio International, 47,
50, 74, 114, 213, 231
Studio Jona, 222
Studio Lesbeauxjours, 239
Studio Newwork, 7, 36,
309
Studio Vie, 236
Studio Vruchtvlees, 77,
306
Studio Works, 29, 54,
206, 261
SubCommunication, 101
subheads, 161
subscript characters, 160
Sui, Michael, 166
Sulki+Min, 228
Sumioshi, Kiyotaka, 285
Superbüro, 207
Superscript, 299
superscript characters,
160
Surany, Eva, 203
Surface, 32
surface activity, 54–57
SVA. See School of Visual
Arts.
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