Theory and Thoughts

The concept with DesignFelts™ is that you can arrange a layout with the multiple cutout elements and then continually work with it. The tactile nature of holding physical objects is an engaging process that is unique from sketching or from working on the computer. The following 8.5×11’s would be cut apart to allow the manipulation of the elements on a page (felt board).

This is the text outline and speaking notes for the visual presentation.

This course is not required for faculty participation. There are a set number of meetings each faculty member must attend each year, one of which this course fulfills. There is an opportunity to capture the interest of the faculty by specifically marketing this course as design that will help you and your students.

Course Goals:

1. Make the information relevant to faculty members.
2. Keep design concepts basic.
3. Have a clear and memorable take away message from each section.

1. WHY GRAPHIC DESIGN
What is Graphic Design?
Graphic design is intentional visual communication.
It is used to solve problems through the visual organization of imagery, shapes and text.

Art+Science=Design
The clinical field is—for the most part—based on science, empirical study and a world of absolutes. Although the field continues to change as new information emerges, it is agreed that it is a science.

In contrast, art has no rules.

Design can be described as a balance between the creative and the scientific structure.
– it uses analysis and critical thinking to approach a problem
– but it solves the “problem” with visual organization

Design is more than decoration.
Design is not just decoration for the sake of beautification
Helps people make sense of information

Design will engage your audience.
Providing visual interest can make a profound impact in communication.

Your are a Profession: Have your work look the part.
Design is important to clinical professionals—especially in the educational arena.
1. Overall professionalism
Taken seriously, respected
2. Transform white papers into appealing publications

• With visual cues
• Graphs
• Supporting imagery
• Scanable easy to read headings and organization

Why design: Looks Matter
Design has permeated our culture.
People expect information worth reading to look like information worth reading.

Why design: Clarity of Message
Graphic design is intent on improving communications across the visual spectrum.
Information design focuses on that transfer of information that will benefit the end user.
Rather than trying to persuade the user to do or think something, the intent is to inform and share specific pertinent data.

Complex information can be confusing even when coming from the best of teachers. Visual aids give the ability to see the full picture, build relational scope and understand intricate systems.
Examples:

• Maps & Cartography
• Charts
• Diagrams
• Forms
• Timelines
• Pictographic symbols
• Calendars
• Directions/Manuals
• Wayfinding

The importance of design critique
Understanding graphic design is important in order to provide effective feedback.

The importance of a clear critique.
1. Hold students and yourself to a design standard worthy of the content being shared.
2. Set expectations/standards and hold yourself/the students to them.
3. Approach design “scientifically.”
– assess the work according to design principles
– if a design is not being effective, challenge the content as well

Knowledge of the principles will give you the confidence to design as well as challenge a design.

2. PRINCIPLES OF DESIGN

Elements of Design:

• Line
• Shape
• Texture
• Space
• Size
• Value
• Framing
• Scale
• Color
• Transparency
• Grid
• Hierarchy
• Pattern
• Diagram
• Motion
• Layers

Design Principles:
The principles of design help to determine how to use the design elements. There are four principles of design: balance, emphasis, rhythm, and unity. These principles of design help you to combine the various design elements into a good layout.

Balance:
Balance is an equal distribution of weight. In terms of graphics, this applies to visual weight. Each element on a layout has visual weight that is determined by its size, darkness or lightness, and thickness of lines. There are two basic approaches to balance. The first is symmetrical balance which is an arrangement of elements so that they are evenly distributed to the left and to the right of center. The second is asymmetrical balance which is an arrangement of unlike objects of equal weight on each side of the page. Color, value, size, shape, and texture can be used as balancing elements.

Symmetrical balance can communicate strength and stability and is appropriate for traditional and conservative publications, presentations, and web sites. Asymmetrical balance can imply contrast, variety, movement, surprise, and informality. It is appropriate for modern and entertaining publications, presentations, and web sites.

To create balance:

• Repeat a specific shape at regular intervals, either horizontally or vertically.
• Center elements on a page.
• Put several small visuals in one area to balance a single large image or block of text.
• Lighten a text-heavy piece with a bright, colorful visual.
• Leave plenty of white space around large blocks of text or dark photographs.
• Offset a large, dark photograph or illustration with several small pieces of text, each surrounded by a lot of white space.

Rhythm:
Rhythm is a pattern created by repeating elements that are varied. Repetition (repeating similar elements in a consistent manner) and variation (a change in the form, size, or position of the elements) are the keys to visual rhythm. Placing elements in a layout at regular intervals creates a smooth, even rhythm and a calm, relaxing mood. Sudden changes in the size and spacing of elements creates a fast, lively rhythm and an exciting mood.

Create Rhythm:

• Alternate dark or text heavy pages with light pages.
• Repeat a series of similarly shaped elements to create a regular rhythm.
• Alternate dark, bold type and light, thin type.
• Alternate dark or text heavy pages with light pages.
• Repeat a series of similarly shaped elements to create a regular rhythm.
• Alternate dark, bold type and light, thin type.
• Repeat the same element in the same position on every page.

Emphasis:
Emphasis is what stands out or gets noticed first. Every layout needs a focal point to draw the readers eye to the important part of the layout. Too many focal points defeat the purpose. Generally, a focal point is created when one element is different from the rest.

Create Emphasis

• Use a series of evenly spaced, square photographs next to an outlined photograph with an unusual shape.
• Put an important piece of text on a curve or an angle while keeping all of the other type in straight columns.
• Use bold, black type for headings and subheads and much lighter text for all other text. Place a large picture next to a small bit of text.
• Reverse (use white type) a headline out of a black or colored box.
• Use colored type or an unusual font for the most important information.
• Put lists you want to highlight in a sidebar in a shaded box.

Unity:
Unity helps all the elements look like they belong together. Readers need visual cues to let them know the piece is one unit-the text, headline, photographs, graphic images, and captions all go together.

Unify elements by grouping elements that are close together so that they look like they belong together. Repeat color, shape, and texture. Use a grid (the underlying structure of a page) to establish a framework for margins, columns, spacing, and proportions.

Create Unity:

• Use only one or two typestyles and vary size or weight for contrast.
• Be consistent with the type font, sizes, and styles for headings, subheads, captions, headers and footers.
• Use the same color palette throughout.
• Repeat a color, shape, or texture in different areas throughout.
• Choose visuals that share a similar color, theme, or shape.
• Line up photographs and text with the same grid lines.

White Space:
White space (the absence of text and graphics) is vital to graphic design. The key is to add just enough white space so the eye knows where to go and can rest a bit when it gets there.

You can control white space in the following location: margins, paragraph spacing, spacing between lines of text, gutters (the space between columns), and surrounding text and graphics.

What to avoid:

• Follow the following instructions for effective layout:
• Use only one or two typestyles and vary size or weight for contrast throughout the publication, presentation, or web site.
• Be consistent with the type font, sizes, and styles for headings, subheads, captions, headers, footers, etc. throughout the publication, presentation, or web site.
• Use the same color palette throughout.
• Repeat a color, shape, or texture in different areas throughout.
• Choose visuals that share a similar color, theme, or shape.
• Line up photographs and text with the same grid lines.

3. DESIGN IN ACTION

1. How to approach a design problem
2. Analyze the audience.
3. Determine the purpose of your message.
4. Decide where and how your message will appear.
5. Establish goals.
6. Organize text and graphics.
7. Choose an appropriate format and layout.
8. Select appropriate typefaces, type sizes, type styles, and spacing.
9. Add and manipulate graphics.
10. Organize text and graphics.
11. Proofread
12. Refine and fine-tune.

Guidelines for Organizing Layouts:

• Use different sizes of type for different elements.
• Establish a hierarchy of type sizes for headlines, subheads, text, etc. and be consistent with formatting. (All headlines should be formatted alike, all subheads should be formatted alike, all text should be formatted alike, etc.
• Make the most important element you want your readers to see the largest and the least important element the smallest.
• Use rules (lines) to separate information into groups.
• Use different weights of type.
• Use white space for design purposes in your publication.
• Position important information in the upper left corner. The upper left corner is usually read first. Place a box around important information.
• Call attention to lists of items by placing bullets in front of them.
• Use colored or reversed type (white type on a dark background) to separate or emphasize.

Active Participation:
Design is not just about looking, but about creating.
1. Separate into groups of two.
2. Use the design element sheets and boards to illustrate the design principles on a:
Awareness and Informational Flyer
Regroup after 15 minutes

Peer Review:
Post the design pieces in the front of the room where everyone can see.

Using the “Critique Criteria” slide as a guide, have each participant identify design elements and principles within the designs.

How were the principles used?
Is the design effective?
What has been done well?
What is one thing that could be done that might improve the design?
What is you favorite part of this design?
Can anything be removed?

Possible Follow-up Classes:
Session II: Digging deeper—The Poster
Session III: Digging deeper—The Presentation

SOURCES:
http://www.online.tusc.k12.al.us/tutorials/grdesign/grdesign.htm
http://www.commarts.com
http://www.understandinghealthcare.com
http://gdbasics.com