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Comm via printed media 08

This document discusses the effective use of space and unity in page design. It provides examples and principles for using white space to improve legibility and visual recognition. White space helps elements like headings stand out and guides the reader's eye through a document. Deliberate and balanced use of positive and negative space creates figure/ground relationships that unify a design.

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Communication via Printed Media 8. Page Design—Space and Unity Hasan Hüseyin Erkaya Eskişehir Osmangazi Üniversitesi 2019 1Source: A. White, The Elements of Graphic Design, Space, Unity, Page Architecture, and Type, New York: Allworth Press, 2002
8. Page Design—Space and Unity 2 “Perfect communication is person-to-person. You see me, hear me, smell me, touch me. Television is the second form of communication; you can see me and hear me. Radio is the next; you hear me, but you don’t see me. And then comes print. You can’t see or hear me, so you must be able to interpret the kind of person I am from what is on the printed page. That’s where typographic design comes in.” Aaron Burns (1922 – 1991)
8. Page Design—Space and Unity 3 “The principal goals of page layout are visual recognition and legibility. These goals are accomplished through consistent typography, effective use of white space and graphics, and controlled use of [lines].… A repeated visual logic guides the eye and helps the reader scan. A generous amount of white space is reserved as a blank presentation area, allowing headings to ‘pop out’ and wide graphics to be extended.” Xerox Publishing Standards (p.11).
8. Page Design—Space and Unity 4 Publications need structure and flexibility. Structured white space makes headings standout, helping readers quickly find what they need. These samples, from the Xerox Publishing Standards, show a wide main column that fits text economically.
8. Page Design—Space and Unity 5 The narrower column creates headline visibility and a specific place for imagery. The basic page structure allows great flexibility in placing unusual combinations of materials
8. Page Design—Space and Unity 6 Overfilling a page is good only if it actually helps get the message across, as shown here. Otherwise, an overfilled page repels readers.
8. Page Design—Space and Unity 7 Use the paper’s whiteness to attract readers. Does this much “emptiness” justify its cost? Yes, if the emptiness communicates the message, which it does in this example.
8. Page Design—Space and Unity 8 Use the paper’s whiteness to attract readers. Does this much “emptiness” justify its cost? Yes, if the emptiness communicates the message, which it does in this example.
8. Page Design—Space and Unity 9 Wide outer margins are called scholar’s margins and add functionality to a book’s design. The left page is from the Douce Apocalypse, c. 1265. The diagram shows the nine- part Golden Section .
8. Page Design—Space and Unity 10 Wide outer margins are called scholar’s margins and add functionality to a book’s design.
8. Page Design—Space and Unity 11 Space is emptiness Emptiness is an essential aspect of life opposite of fullness, of busyness, of activity. natural and universally present background to everything we see. Emptiness is silence, an open field, a barren room, a blank canvas, an empty page. Emptiness is often taken for granted and thought best used by filling in. It is generally ignored by all but the few who consciously manipulate it to establish contrast, to create drama, or to provide a place of actual or visual rest. It is best used as counterpoint to filled-in space. Composers and architects use it. Painters, photographers, and sculptors use it. And designers use it.
8. Page Design—Space and Unity 12 • Design elements are always viewed in relation to their surroundings. • Emptiness in two dimensional design is called white space and lies behind the type and imagery. • But it is more than just the background of a design, for if a design’s background alone were properly constructed, the overall design would immediately double in clarity and usefulness. • Thus, when it is used intriguingly, white space becomes foreground. The emptiness becomes a positive shape and the positive and negative areas become intricately linked.
8. Page Design—Space and Unity 13 White space (named for white paper; however, it is the background, regardless of color) has other names: “negative space,” which is a fully interchangeable term “trapped space,” which refers to space surrounded by other elements; “counterform,” referring to spaces within letters; “working white,” emptiness that serves a purpose and forms an integral part of a design; “leftover space,” which is emptiness that still has unrealized potential. Total lack of managed white space results in a visually noisy design.
8. Page Design—Space and Unity 14 In an area of identical lines, we see a field of gray because the lines and their background are in harmony. In order to create a gray field, the white and black areas are equally essential. If we eliminate the passive white space in this pattern, jamming the black lines together so their tops and bottoms touch, we create an area of uninterrupted black. If we eliminate a single black line, the white space becomes activated. This white line is an anomaly and appears to be in front of the gray field. Its presence introduces a third dimension to the design, that of depth.
8. Page Design—Space and Unity 15 Space is created when a figure is placed in it • Space is undefined until it is articulated by the placement of a design element. • Graphic emptiness can be made to look vast and unending or it can be manipulated to look finite and segmented. • Placing an object in space creates a figure/ ground relationship. • When a single element is placed in a space, it may be difficult to tell whether the element is big or small, high or low, or near or far. It is merely floating in space. • The perimeter of the space, whether defined by a box or by the edge of the page, helps describe the element’s position in it.
8. Page Design—Space and Unity 16 There are three types of figure/ground relationships Stable figure/ground • Forms are seen in an unchanging relationship of having been placed in front of their background. • The figure dominates the design if it is too large for the space or if conscious shaping of the white space has been neglected. • The white space dominates the design if the figure is very small or if the space’s shape is considerably more interesting. • Balancing the sizes and shapes of the figure and ground activates both and makes it difficult to tell which is “in front” of the other, creating a unified design.
8. Page Design—Space and Unity 17 Stable figure/ground Centering a figure neutralizes negative space Placing the figure off-center activates negative space Bleeding the figure makes it more dynamic.
8. Page Design—Space and Unity 18 Reversible figure/ground • Figure and ground can be seen equally. • The figure and ground interpenetrate. • A balanced figure/ground relationship creates tension where one threatens to overwhelm the other. This describes a dynamic design. • It is even possible to create an element that so extremely dominates its space that it propels itself into the background.
8. Page Design—Space and Unity 19 Reversible figure/ground A lot of space with a tiny figure A huge figure sitting in a small space The figure and space are in size and shape equilibrium, that is, neither is “in front.”
8. Page Design—Space and Unity 20 Ambiguous figure/ground • Elements may be in both foreground and background simultaneously. • White space doesn't literally have to be "white". It can be black or any other color. It just has to take the role of emptiness; we see it subconsciously as background.
8. Page Design—Space and Unity 21 Ambiguous figure/ground The space between letters es reading left to right. The figure and ground are equally interesting shapes. Shown is the space between letters es reading downwards.
8. Page Design—Space and Unity 22 Framing and framal reference • White space is the context, or physical environment, in which a message or form is perceived. • Two dimensional space is a plastic environment that can be manipulated. • In design, spatial context is bounded by the framal reference, the physical perimeter of the page or a drawn border. • Spatial context is different from ground because context does not imply a front/back relationship. • Context is the implied edge of the live area. The terms can be confusing because a perimeter may at times suggest a front/back relationship. • Spatial context and figure/ground exist at the same time. They are not exclusive of one another.
8. Page Design—Space and Unity 23 Framing and framal reference Ambiguous white space in the House and Garden poster Is the black a background to the images of the sky, or is it a darkened interior wall in front of the windowed sky? Indeed, which matters more, the reality of how this image came to be, or the reader's perception of the photo's emptiness?
8. Page Design—Space and Unity 24 Framing and framal reference Full-bleed photos, images that touch the edge of the page on all four sides, are examples of intentional lack of context. A full-bleed photo gets its attractive power by making its subject look so big, that it can't be contained by the page. Full-bleed photos, images that touch the edge of the page on all four sides, are examples of intentional lack of context. A full-bleed photo gets its attractive power by making its subject look so big, that it can't be contained by the page.
8. Page Design—Space and Unity 25 Framing and framal reference Think of a photo on a page as a window into another space. The reader looks through the page at the scene beyond. Most images are seen through modest "windows." A full-bleed photo brings the outside in to the reader.
8. Page Design—Space and Unity 26 Space must look deliberately used “One of the highest delights of the human mind is to perceive the order of nature and to measure its own participation in the scheme of things; the work of art seems to be a labor of putting into order, a masterpiece of human order.” Architect Le Corbusier (Charles-Édouard Jeanneret: 1887 – 1965)
8. Page Design—Space and Unity 27 Space must look deliberately used It must be evident to the viewer that a design’s material has been predigested and presented in an organized way It must be clear that a set of design rules has been created and consistently applied. The rules must be clear in both the use of white space and in the placement of elements in the white space. The use of too little white space results in an over-full page. The use of too much white space makes a page or spread look incomplete, as if elements have slid off the page.
8. Page Design—Space and Unity 28 Space must look deliberately used “White space is the lungs of the layout. It’s not there for aesthetic reasons. It’s there for physical reasons.” Derek Birdsall (1934 – )
8. Page Design—Space and Unity 29 Space adds quality Expensive, quality-oriented stores have an open floor plan and an uncrowded look, while cost-oriented stores are stuffed wall-to-wall with merchandise. In the former, you rarely see more than three of anything because it signals rarity. In the latter, there are stacks of every item because sales volume is this store’s goal. Similar perception is valid for page design.
8. Page Design—Space and Unity 30 Space adds quality “It is common to use space as a kind of luxury, projecting generosity or classic simplicity—a formula for ‘class.’ But if space is used only as a formula or device, it is also readily suspect as being either wasteful, arrogant, or elitist. Yet space is a human need, and the experience of space is typically an exhilarating one." Kenneth Hiebert, (a design professor Basel School of Design)
8. Page Design—Space and Unity 31 Symmetry: space is passive • Symmetry is the centered placement of elements in space. • Symmetry forces white space to the perimeter of the design. • White space in a symmetrical design is passive because it is not integral to our perception of the positive elements. It may be seen only as inactive background. • Symmetry is a predictable arrangement that implies order and balance. • Symmetry suggests peacefulness and stability. • Passive white space shows up at the perimeter of pages as unused and unbroken into margins.
8. Page Design—Space and Unity 32 Symmetry: space is passive • Symmetrical design is attractive and relatively easy to create. • Symmetrical design is best executed in an inverted pyramid shape • because the cone shape leads the reader to the next level of information. • The widest line should be at or near the top, and the shortest line should be at or near the bottom.
8. Page Design—Space and Unity 33 Asymmetry: space is active • Asymmetry, which means “not symmetry,” suggests motion and activity. • It is the creation of order and balance between unlike or unequal elements. Having no predictable pattern, asymmetry is dynamic. • White space in an asymmetrical design is necessarily active, because it is integral to our perception of the positive elements. • The deliberate use of white space is necessary for successful asymmetrical design. • Active white space is carefully considered emptiness. Its shape has been planned. • Active white space is the primary attribute of documents that are perceived as well-designed and having inborn quality. Any empty shape that has been consciously created is active space.
8. Page Design—Space and Unity 34 Centered elements create passive white space (left) while asymmetrically- positioned elements create activated, dynamic white space (right).
8. Page Design—Space and Unity 35 Bilateral symmetry The left and right sides are approximate mirror images of each other. Radial/rotational symmetry The elements radiate from or rotate around a central point Crystallograpic symmetry The elements are evenly distributed across the space; "all-over pattern" and looks like wallpaper.
8. Page Design—Space and Unity 36 Passive white space is static. It looks motionless and "left over." It isn't used to guide or draw the reader into the design. Passive white space is the chief offender in making documents ugly if they are noticed at all.
8. Page Design—Space and Unity 37 One way to activate passive white space is to carve part of an image out of its background and bump that into the space. This is known as a partial silhouette . The silhouetted part of the image will be most visible, so carve out the most important and most communicative part. Partial silhouetting is a useful technique for making the image appear more real than a square halftone. In life, objects overlap and touch the things behind them, and a partial silhouette suggests overlapping
8. Page Design—Space and Unity 38 Margins should be used to show off important elements. Margins' passive white space (left) enlivens the page by being activated (right).
8. Page Design—Space and Unity 39
8. Page Design—Space and Unity 40 Wasted space Poorly used white space = “wasted space” which of course is to be avoided. The ultimate wasted space is overfilled space. It is space that has been crammed with content, artlessly and uninvitingly presented. Active space can imply motion Motion is implied by Repeating an element across space, which introduces rhythm Blurring an element Using space
8. Page Design—Space and Unity 41 Ideas that empty space can signify include: Quality: extravagance, class, wealth, luxury, exclusivity Solitude: abandonment, loneliness Missing: lost, stolen, misplaced Clean: bleached, washed Purity: unsullied, unadulterated, virgin, unbuilt Heaven: absolution, sacredness Abundance: plenty Openness: distance, acreage, al fresco, infinity Calmness: placidity, undisturbed, inaction Ice: snow, sky, day, milk, marble, river, land/water
8. Page Design—Space and Unity 42 Unity: Unity in design exists when all elements are in agreement. Elements are made to look like they belong together, not as though they happened to be placed randomly. Unity requires that the whole design be more important than any subgroup or individual part. Unity is therefore the goal of all design. It is the most important aspect of design, so important that its achievement excuses any design transgression.
8. Page Design—Space and Unity 43 Unity: Unity exists in elements that have a visual similarity. Unity also exists in elements that have a conceptual similarity. Without unity a design becomes chaotic and unreadable. But without variety, a design becomes inert, lifeless, and uninteresting. Unity among the parts is achieved by manipulating proximity, similarity, repetition, and theme with variations.
8. Page Design—Space and Unity 44 Proximity: Elements that are physically close are seen as related. On the left, the elements are seen as two groups, captions and images. On the right, each caption is correctly joined to its image.
8. Page Design—Space and Unity 45 Similarity: Elements that share similar position, size, color, shape, or texture are seen as related and grouped.
8. Page Design—Space and Unity 46 Repetition: Recurring position, size, color, and use of graphic elements create unity.
8. Page Design—Space and Unity 47 Theme with variations: Alteration of a basic theme retains connectedness while providing interest. In this example the theme is small type set flush left.
8. Page Design—Space and Unity 48 https://www.youtube.com/watch?v=FryaH599ec0
8. Page Design—Space and Unity 49 Gestalt “unified whole” Gestalt is a German term, coined at the Staatliches Bauhaus in Weimar in the early 1920s, that describes a design's wholeness: A design's unity is more than the simple addition of its parts. In other words, each part of a design is affected by what surrounds it. By manipulating the interaction of the individual parts, you affect the cumulative perception. Gestalt is the overall quality being described when you say, “This design works.”
8. Page Design—Space and Unity 50 Gestalt “unified whole” Gestalt principles include the four elements of unity (proximity, similarity, repetition, and theme with variation) discussed earlier. They also include the following elements: Figure/ground: The relationship of the subject to its surrounding space. Confusing the foreground and background is a visually stimulating technique. Closure (also called completion): The viewer's natural tendency is to try to close gaps and complete unfinished forms. Closure encourages active participation in the creation of the message. Continuation: The arrangement of forms so they are "continuous" from one element to another, leading the eye across space. Continuation also can lead from one page to another.
8. Page Design—Space and Unity 51 Gestalt describes individual elements relating as a unified whole in these three ways: 1 Figure/ground: Ambiguity between a subject and its surrounding space. 2 Completion or closure: Unfinished forms can be seen as whole (right). They intrigue and involve the viewer more than stable, complete shapes. 3 Continuation: The eye follows a path, whether it is real or implied, as shown with the separated head.
52 Thanks for your attention Hasan Hüseyin Erkaya Eskişehir Osmangazi University April 2019 52

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Comm via printed media 08

  • 1.
    Communication via PrintedMedia 8. Page Design—Space and Unity Hasan Hüseyin Erkaya Eskişehir Osmangazi Üniversitesi 2019 1Source: A. White, The Elements of Graphic Design, Space, Unity, Page Architecture, and Type, New York: Allworth Press, 2002
  • 2.
    8. Page Design—Spaceand Unity 2 “Perfect communication is person-to-person. You see me, hear me, smell me, touch me. Television is the second form of communication; you can see me and hear me. Radio is the next; you hear me, but you don’t see me. And then comes print. You can’t see or hear me, so you must be able to interpret the kind of person I am from what is on the printed page. That’s where typographic design comes in.” Aaron Burns (1922 – 1991)
  • 3.
    8. Page Design—Spaceand Unity 3 “The principal goals of page layout are visual recognition and legibility. These goals are accomplished through consistent typography, effective use of white space and graphics, and controlled use of [lines].… A repeated visual logic guides the eye and helps the reader scan. A generous amount of white space is reserved as a blank presentation area, allowing headings to ‘pop out’ and wide graphics to be extended.” Xerox Publishing Standards (p.11).
  • 4.
    8. Page Design—Spaceand Unity 4 Publications need structure and flexibility. Structured white space makes headings standout, helping readers quickly find what they need. These samples, from the Xerox Publishing Standards, show a wide main column that fits text economically.
  • 5.
    8. Page Design—Spaceand Unity 5 The narrower column creates headline visibility and a specific place for imagery. The basic page structure allows great flexibility in placing unusual combinations of materials
  • 6.
    8. Page Design—Spaceand Unity 6 Overfilling a page is good only if it actually helps get the message across, as shown here. Otherwise, an overfilled page repels readers.
  • 7.
    8. Page Design—Spaceand Unity 7 Use the paper’s whiteness to attract readers. Does this much “emptiness” justify its cost? Yes, if the emptiness communicates the message, which it does in this example.
  • 8.
    8. Page Design—Spaceand Unity 8 Use the paper’s whiteness to attract readers. Does this much “emptiness” justify its cost? Yes, if the emptiness communicates the message, which it does in this example.
  • 9.
    8. Page Design—Spaceand Unity 9 Wide outer margins are called scholar’s margins and add functionality to a book’s design. The left page is from the Douce Apocalypse, c. 1265. The diagram shows the nine- part Golden Section .
  • 10.
    8. Page Design—Spaceand Unity 10 Wide outer margins are called scholar’s margins and add functionality to a book’s design.
  • 11.
    8. Page Design—Spaceand Unity 11 Space is emptiness Emptiness is an essential aspect of life opposite of fullness, of busyness, of activity. natural and universally present background to everything we see. Emptiness is silence, an open field, a barren room, a blank canvas, an empty page. Emptiness is often taken for granted and thought best used by filling in. It is generally ignored by all but the few who consciously manipulate it to establish contrast, to create drama, or to provide a place of actual or visual rest. It is best used as counterpoint to filled-in space. Composers and architects use it. Painters, photographers, and sculptors use it. And designers use it.
  • 12.
    8. Page Design—Spaceand Unity 12 • Design elements are always viewed in relation to their surroundings. • Emptiness in two dimensional design is called white space and lies behind the type and imagery. • But it is more than just the background of a design, for if a design’s background alone were properly constructed, the overall design would immediately double in clarity and usefulness. • Thus, when it is used intriguingly, white space becomes foreground. The emptiness becomes a positive shape and the positive and negative areas become intricately linked.
  • 13.
    8. Page Design—Spaceand Unity 13 White space (named for white paper; however, it is the background, regardless of color) has other names: “negative space,” which is a fully interchangeable term “trapped space,” which refers to space surrounded by other elements; “counterform,” referring to spaces within letters; “working white,” emptiness that serves a purpose and forms an integral part of a design; “leftover space,” which is emptiness that still has unrealized potential. Total lack of managed white space results in a visually noisy design.
  • 14.
    8. Page Design—Spaceand Unity 14 In an area of identical lines, we see a field of gray because the lines and their background are in harmony. In order to create a gray field, the white and black areas are equally essential. If we eliminate the passive white space in this pattern, jamming the black lines together so their tops and bottoms touch, we create an area of uninterrupted black. If we eliminate a single black line, the white space becomes activated. This white line is an anomaly and appears to be in front of the gray field. Its presence introduces a third dimension to the design, that of depth.
  • 15.
    8. Page Design—Spaceand Unity 15 Space is created when a figure is placed in it • Space is undefined until it is articulated by the placement of a design element. • Graphic emptiness can be made to look vast and unending or it can be manipulated to look finite and segmented. • Placing an object in space creates a figure/ ground relationship. • When a single element is placed in a space, it may be difficult to tell whether the element is big or small, high or low, or near or far. It is merely floating in space. • The perimeter of the space, whether defined by a box or by the edge of the page, helps describe the element’s position in it.
  • 16.
    8. Page Design—Spaceand Unity 16 There are three types of figure/ground relationships Stable figure/ground • Forms are seen in an unchanging relationship of having been placed in front of their background. • The figure dominates the design if it is too large for the space or if conscious shaping of the white space has been neglected. • The white space dominates the design if the figure is very small or if the space’s shape is considerably more interesting. • Balancing the sizes and shapes of the figure and ground activates both and makes it difficult to tell which is “in front” of the other, creating a unified design.
  • 17.
    8. Page Design—Spaceand Unity 17 Stable figure/ground Centering a figure neutralizes negative space Placing the figure off-center activates negative space Bleeding the figure makes it more dynamic.
  • 18.
    8. Page Design—Spaceand Unity 18 Reversible figure/ground • Figure and ground can be seen equally. • The figure and ground interpenetrate. • A balanced figure/ground relationship creates tension where one threatens to overwhelm the other. This describes a dynamic design. • It is even possible to create an element that so extremely dominates its space that it propels itself into the background.
  • 19.
    8. Page Design—Spaceand Unity 19 Reversible figure/ground A lot of space with a tiny figure A huge figure sitting in a small space The figure and space are in size and shape equilibrium, that is, neither is “in front.”
  • 20.
    8. Page Design—Spaceand Unity 20 Ambiguous figure/ground • Elements may be in both foreground and background simultaneously. • White space doesn't literally have to be "white". It can be black or any other color. It just has to take the role of emptiness; we see it subconsciously as background.
  • 21.
    8. Page Design—Spaceand Unity 21 Ambiguous figure/ground The space between letters es reading left to right. The figure and ground are equally interesting shapes. Shown is the space between letters es reading downwards.
  • 22.
    8. Page Design—Spaceand Unity 22 Framing and framal reference • White space is the context, or physical environment, in which a message or form is perceived. • Two dimensional space is a plastic environment that can be manipulated. • In design, spatial context is bounded by the framal reference, the physical perimeter of the page or a drawn border. • Spatial context is different from ground because context does not imply a front/back relationship. • Context is the implied edge of the live area. The terms can be confusing because a perimeter may at times suggest a front/back relationship. • Spatial context and figure/ground exist at the same time. They are not exclusive of one another.
  • 23.
    8. Page Design—Spaceand Unity 23 Framing and framal reference Ambiguous white space in the House and Garden poster Is the black a background to the images of the sky, or is it a darkened interior wall in front of the windowed sky? Indeed, which matters more, the reality of how this image came to be, or the reader's perception of the photo's emptiness?
  • 24.
    8. Page Design—Spaceand Unity 24 Framing and framal reference Full-bleed photos, images that touch the edge of the page on all four sides, are examples of intentional lack of context. A full-bleed photo gets its attractive power by making its subject look so big, that it can't be contained by the page. Full-bleed photos, images that touch the edge of the page on all four sides, are examples of intentional lack of context. A full-bleed photo gets its attractive power by making its subject look so big, that it can't be contained by the page.
  • 25.
    8. Page Design—Spaceand Unity 25 Framing and framal reference Think of a photo on a page as a window into another space. The reader looks through the page at the scene beyond. Most images are seen through modest "windows." A full-bleed photo brings the outside in to the reader.
  • 26.
    8. Page Design—Spaceand Unity 26 Space must look deliberately used “One of the highest delights of the human mind is to perceive the order of nature and to measure its own participation in the scheme of things; the work of art seems to be a labor of putting into order, a masterpiece of human order.” Architect Le Corbusier (Charles-Édouard Jeanneret: 1887 – 1965)
  • 27.
    8. Page Design—Spaceand Unity 27 Space must look deliberately used It must be evident to the viewer that a design’s material has been predigested and presented in an organized way It must be clear that a set of design rules has been created and consistently applied. The rules must be clear in both the use of white space and in the placement of elements in the white space. The use of too little white space results in an over-full page. The use of too much white space makes a page or spread look incomplete, as if elements have slid off the page.
  • 28.
    8. Page Design—Spaceand Unity 28 Space must look deliberately used “White space is the lungs of the layout. It’s not there for aesthetic reasons. It’s there for physical reasons.” Derek Birdsall (1934 – )
  • 29.
    8. Page Design—Spaceand Unity 29 Space adds quality Expensive, quality-oriented stores have an open floor plan and an uncrowded look, while cost-oriented stores are stuffed wall-to-wall with merchandise. In the former, you rarely see more than three of anything because it signals rarity. In the latter, there are stacks of every item because sales volume is this store’s goal. Similar perception is valid for page design.
  • 30.
    8. Page Design—Spaceand Unity 30 Space adds quality “It is common to use space as a kind of luxury, projecting generosity or classic simplicity—a formula for ‘class.’ But if space is used only as a formula or device, it is also readily suspect as being either wasteful, arrogant, or elitist. Yet space is a human need, and the experience of space is typically an exhilarating one." Kenneth Hiebert, (a design professor Basel School of Design)
  • 31.
    8. Page Design—Spaceand Unity 31 Symmetry: space is passive • Symmetry is the centered placement of elements in space. • Symmetry forces white space to the perimeter of the design. • White space in a symmetrical design is passive because it is not integral to our perception of the positive elements. It may be seen only as inactive background. • Symmetry is a predictable arrangement that implies order and balance. • Symmetry suggests peacefulness and stability. • Passive white space shows up at the perimeter of pages as unused and unbroken into margins.
  • 32.
    8. Page Design—Spaceand Unity 32 Symmetry: space is passive • Symmetrical design is attractive and relatively easy to create. • Symmetrical design is best executed in an inverted pyramid shape • because the cone shape leads the reader to the next level of information. • The widest line should be at or near the top, and the shortest line should be at or near the bottom.
  • 33.
    8. Page Design—Spaceand Unity 33 Asymmetry: space is active • Asymmetry, which means “not symmetry,” suggests motion and activity. • It is the creation of order and balance between unlike or unequal elements. Having no predictable pattern, asymmetry is dynamic. • White space in an asymmetrical design is necessarily active, because it is integral to our perception of the positive elements. • The deliberate use of white space is necessary for successful asymmetrical design. • Active white space is carefully considered emptiness. Its shape has been planned. • Active white space is the primary attribute of documents that are perceived as well-designed and having inborn quality. Any empty shape that has been consciously created is active space.
  • 34.
    8. Page Design—Spaceand Unity 34 Centered elements create passive white space (left) while asymmetrically- positioned elements create activated, dynamic white space (right).
  • 35.
    8. Page Design—Spaceand Unity 35 Bilateral symmetry The left and right sides are approximate mirror images of each other. Radial/rotational symmetry The elements radiate from or rotate around a central point Crystallograpic symmetry The elements are evenly distributed across the space; "all-over pattern" and looks like wallpaper.
  • 36.
    8. Page Design—Spaceand Unity 36 Passive white space is static. It looks motionless and "left over." It isn't used to guide or draw the reader into the design. Passive white space is the chief offender in making documents ugly if they are noticed at all.
  • 37.
    8. Page Design—Spaceand Unity 37 One way to activate passive white space is to carve part of an image out of its background and bump that into the space. This is known as a partial silhouette . The silhouetted part of the image will be most visible, so carve out the most important and most communicative part. Partial silhouetting is a useful technique for making the image appear more real than a square halftone. In life, objects overlap and touch the things behind them, and a partial silhouette suggests overlapping
  • 38.
    8. Page Design—Spaceand Unity 38 Margins should be used to show off important elements. Margins' passive white space (left) enlivens the page by being activated (right).
  • 39.
  • 40.
    8. Page Design—Spaceand Unity 40 Wasted space Poorly used white space = “wasted space” which of course is to be avoided. The ultimate wasted space is overfilled space. It is space that has been crammed with content, artlessly and uninvitingly presented. Active space can imply motion Motion is implied by Repeating an element across space, which introduces rhythm Blurring an element Using space
  • 41.
    8. Page Design—Spaceand Unity 41 Ideas that empty space can signify include: Quality: extravagance, class, wealth, luxury, exclusivity Solitude: abandonment, loneliness Missing: lost, stolen, misplaced Clean: bleached, washed Purity: unsullied, unadulterated, virgin, unbuilt Heaven: absolution, sacredness Abundance: plenty Openness: distance, acreage, al fresco, infinity Calmness: placidity, undisturbed, inaction Ice: snow, sky, day, milk, marble, river, land/water
  • 42.
    8. Page Design—Spaceand Unity 42 Unity: Unity in design exists when all elements are in agreement. Elements are made to look like they belong together, not as though they happened to be placed randomly. Unity requires that the whole design be more important than any subgroup or individual part. Unity is therefore the goal of all design. It is the most important aspect of design, so important that its achievement excuses any design transgression.
  • 43.
    8. Page Design—Spaceand Unity 43 Unity: Unity exists in elements that have a visual similarity. Unity also exists in elements that have a conceptual similarity. Without unity a design becomes chaotic and unreadable. But without variety, a design becomes inert, lifeless, and uninteresting. Unity among the parts is achieved by manipulating proximity, similarity, repetition, and theme with variations.
  • 44.
    8. Page Design—Spaceand Unity 44 Proximity: Elements that are physically close are seen as related. On the left, the elements are seen as two groups, captions and images. On the right, each caption is correctly joined to its image.
  • 45.
    8. Page Design—Spaceand Unity 45 Similarity: Elements that share similar position, size, color, shape, or texture are seen as related and grouped.
  • 46.
    8. Page Design—Spaceand Unity 46 Repetition: Recurring position, size, color, and use of graphic elements create unity.
  • 47.
    8. Page Design—Spaceand Unity 47 Theme with variations: Alteration of a basic theme retains connectedness while providing interest. In this example the theme is small type set flush left.
  • 48.
    8. Page Design—Spaceand Unity 48 https://www.youtube.com/watch?v=FryaH599ec0
  • 49.
    8. Page Design—Spaceand Unity 49 Gestalt “unified whole” Gestalt is a German term, coined at the Staatliches Bauhaus in Weimar in the early 1920s, that describes a design's wholeness: A design's unity is more than the simple addition of its parts. In other words, each part of a design is affected by what surrounds it. By manipulating the interaction of the individual parts, you affect the cumulative perception. Gestalt is the overall quality being described when you say, “This design works.”
  • 50.
    8. Page Design—Spaceand Unity 50 Gestalt “unified whole” Gestalt principles include the four elements of unity (proximity, similarity, repetition, and theme with variation) discussed earlier. They also include the following elements: Figure/ground: The relationship of the subject to its surrounding space. Confusing the foreground and background is a visually stimulating technique. Closure (also called completion): The viewer's natural tendency is to try to close gaps and complete unfinished forms. Closure encourages active participation in the creation of the message. Continuation: The arrangement of forms so they are "continuous" from one element to another, leading the eye across space. Continuation also can lead from one page to another.
  • 51.
    8. Page Design—Spaceand Unity 51 Gestalt describes individual elements relating as a unified whole in these three ways: 1 Figure/ground: Ambiguity between a subject and its surrounding space. 2 Completion or closure: Unfinished forms can be seen as whole (right). They intrigue and involve the viewer more than stable, complete shapes. 3 Continuation: The eye follows a path, whether it is real or implied, as shown with the separated head.
  • 52.
    52 Thanks for yourattention Hasan Hüseyin Erkaya Eskişehir Osmangazi University April 2019 52