INDEX
A
acute angles, 15
additive color, 110
Adobe
®
Kuler, 116
advertising design, xvii
aesthetics, xvii
aligned elements, 154
all-over balance, 180–181
angled lines, 15
asymmetrical balance, 174–177
atmospheric depth, 130
B
balance, 160–185
asymmetrical, 174–177
characteristics of, 162–163
counterpoise related to, 167
crystallographic, 180–181
exercises/projects about, 184–185
four flavors of, 171–181
quiz on identifying, 182–183
radial, 178–179
symmetrical, 172–174
visual weight and, 164, 168–171
Bass, Saul, 61
beauty, viii, xvii
Boccioni, Umberto, 49
boundaries
design terms and, 42–43
playing with, xx–xxi
Brâncuși, Constantin, 99
brand recognition, 157
breaking the rules, xix, xxi
brightness, 111
C
calligraphic lines, 17
Cézanne, Paul, xviii, 49
Chagall, Marc, 108
closed shapes, 46
cohesiveness, 157
collage, 96–97
color temperature, 111
color wheel, 112–113
colors, 104–119
additive and subtractive, 110
characteristics describing, 105
cultural context for, 117, 118
drawing attention with, 142, 145
emotions associated with, 117, 118
exercises/projects about, 119
guidelines for designing with, 119
indirect/direct reception of, 107
interactions between, 115
light sources affecting, 114
lines combined with, 36
palettes of, 116
primary, 107, 110
properties of, 111
relationships between, 112–113
secondary and tertiary, 110
symbolism associated with, 118
thoughts on designing with, 106
visual weight of, 169
warm and cool, 111
composition, 132–133
balance in, 160–185
human process of, xii
unity in, 150–159
visual hierarchy in, 134–149
containers.
See
formats
contours, 25
contrast
elements creating, 142–143
reversing for emphasis, 145
unity distinguished from, 152–153
visual hierarchy and, 140
cool colors, 111
counterpoise, 167
crystallographic balance, 180–181
D
Daumier, Honoré, 17, 29
Davis, Stuart, 44
decision making, xiii
Degas, Edgar, 99, 125
Demuth, Charles, 117
density
drawing attention using, 143
of textures or patterns, 87
design
characteristics of, ix
decision making in, xiii
finite and infinite, 186–187
geometry vs., 51
human process of, xii
messages conveyed through, xvi–xvii
visual elements of, vii
Design Fundamentals: Notes on Color (Theory)
, 36
design-fundamentals.com website, 131
di Suvero, Mark, 23
diagonal lines, 33
dimensionality, 87
direct color perception, 107
dots, characteristics of, 2–3
dualities, physical, 163
Duchamp, Marcel, xx, xxi
Dufy, Raoul, 117
E
edges, 21, 22, 125
equilibrioception, 162–163
Escher, M. C., 47
F
figure/ground relationships, 129
finite design, 186–187
focal points, 141, 147
formal balance, 172
formal elements, vii
formats
definitions of, 122, 123
picture plane in, 128–129
placing elements within, 124, 125
sacred geometry for dividing, 127
two- vs. three-dimensional, 125
See also
space
forms, 48–49
geometric, 52, 56
non-objective, 57, 60–61
objects as, 57–59
organic, 54–55
See also
shapes
fractals, 90
Friedman, Max, 48
G
Gainsborough, Thomas, 177
Gall, John, 139
geometric lines, 15
geometric shapes/forms, 52, 56
geometric textures, 83
geometry
focus of design vs., 51
sacred, 127
Gestalt principle, 20, 152
gestural lines, 17
Giacometti, Alberto, 11, 99
Glaser, Milton, 82
Godfrey, Kyle, 30
golden ratio, 127
Grand Canyon, x–xi
Graves, Michael, xvii
Gruenspan, Hayley, 90
Grzymkowski, Margaret, 27
H
harmony, vii, 154
hatching lines, 16
hierarchy.
See
visual hierarchy
horizontal lines, 30–31
hue, 111
I
implied lines, 18–20, 21
indirect color perception, 107
infinite design, 186–187
informal balance, 175
interrupted lines, 14
isolated elements, 145
K
Kidd, Chip, 139
Klee, Paul, 40
Klimt, Gustav, 101
Kuler app, 116
L
Lahauri, Ustad Ahmad, 173
Leonardo da Vinci, 126, 172
light
color affected by, 114
generated by screen-based devices, 107
visible spectrum of, 106
linear perspective, 130
lines, 4–39
angled or geometric, 15
characteristics of, 7, 10, 26, 29
color used for, 36
diagonal, 33
drawing attention with, 143
edges as, 21, 22
exercises/projects about, 38–39
functions of, 25
gestural or calligraphic, 17
hatching or massing, 16, 31
horizontal, 30–31
implied, 18–20, 21
interrupted and uninterrupted, 14
process of forming, 10
qualities of, 26
responses conjured by, 28
three-dimensional, 22–23
tools for creating, 37
types of, 12–23
vertical, 34
visual weight of, 169
wavy and curving, 35
zigzagging, 34
Löffler, Berthold, 35
M
Mackintosh, Charles Rennie, 22, 75
Magritte, René, 62, 181
Mandelbrot, Benoît, 90
massing lines, 16, 31
Matisse, Henri, 105
McGinnis, Robert, 174
meaning
playing with textures and, 100
representational shapes and, 64–65
Miró, Joan, 69
Modigliani, Amedeo, 63
Mondrian, Piet, 15, 156
N
nature, visual elements in, x–xi
negative shapes, 47
Newton, Sir Isaac, 113
non-objective shapes, 57, 60–61, 69
O
objects
shapes/forms as, 57–59
three-dimensional, 92
obtuse angles, 15
O’Keefe, Georgia, vi
open shapes, 46
Oppenheim, Méret, 100
organic shapes/forms, 53, 54–55
organic textures, 82
outlines, 25
overlapping elements, 130
P
paper substrates, 97
paths, 10
patterns, 84–85
crystallographic balance and, 180
density of textures and, 87
drawing attention by changing, 145
exercises/projects about, 102–103
fractals as, 90
organically grown, 103
warped, 87, 88–89
See also
textures
Pauling, Linus, 67
perception of color, 107
perspective, 130
Picasso, Pablo, xv, 158
picture plane, 45, 128–129
Pirtle, Woody, 169
placement of elements, 130, 144
Pollock, Jackson, 180
positive shapes, 47
Poynter, Edward, 146
primary colors, 107, 110
printing
specialty, 95
textured material, 97
proximity of elements, 155

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