Dabner David - Graphic design school: the principles and practice of graphic design

Contents

A QUARTO BOOK

Copyright 2014 Quarto Inc.

Published by John Wiley & Sons Inc., Hoboken, New Jersey

Published simultaneously in Canada

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Library of Congress Cataloging-in-Publication Data

Dabner, David.

The new graphic design : a foundation course in principles and practice / David Dabner. -- 5th edition.

pages cm

Originally published: Graphic design school. 1991.

A quarto book.

Includes index.

ISBN 978-1-118-13441-2 (pbk.)

1. Graphic arts. 2. Commercial art. I. Swann, Alan, 1946- Graphic design school. II. Title.

NC845.D33 2013

741.6--dc23

2013018920

ISBN: 978-1-118-13441-2

QUAR.GRS5

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Cover Design: Michael Rutkowski

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Publisher: Paul Carslake

Introduction

This book is written with the intent of providing an introduction to the underlying principles of good graphic design, whether it is print-based, web and interactive, or environmental. The content has been constructed to mirror, in part, how the subject is taught in college design programs, and the illustrations, which are a mixture of student projects and professional design work, have been carefully chosen to illuminate specific teaching points. Many of the sections contain step-by-step exercises and assignments, offer practical advice, and point toward further resources.

The first part of the book, Principles, supports the idea that a thorough understanding of design principles should support the process of creating design works in response to specific briefs and problems, while allowing room for self-authored experimentation and visual freedom. As you are introduced to the basics of research, typography, color, photography, and composition, you will learn to become visually aware and able to articulate these design principles into your future works. You will also gain some understanding that these principles cross disciplines and are the vocabulary of visual literacy.

In the second part of the book, Practice, you will be introduced to invaluable practical skills that are important support systems to the skills sets in research and creative process you have read about in Part One. They do not replace them, but serve as methods and practices for developing critical problem-solving skills, and learning to manage complex projects. Designers need the whole range of skills to be truly successful, and expertise will come with continued study and practice in both areas. Unless you learn the practical skills and technology of design production, including how to manage images, create digital files for specific media, and build and structure a website, you will be unable to bring your brilliant concepts to life.

None of these visual skills can be viewed in isolation from the context in which design happens and its larger role in society and the world. Designers are visual communicators, often giving visual voice to new and provocative ideas. They create images that can inform, persuade, and entertain millions of people. This comes with great responsibility, and it is crucial to be aware of the role of design in shaping the world we live in, and changes in the discipline that transcend trends or the latest software. While any kind of comprehensive account of these topics stands outside the scope of this book, becoming visually literate and technically skilled should go hand in hand with an understanding of such issues as communication theories, global audiences, systems theory, sustainable issues in design, and the changing role of technology.

Finally, design education is a lifelong experience that can bring great personal satisfaction and reward. With this book as a gateway, a new way of seeing the world may lead you to a career path that will be a constant source of surprise and delight.

The first part of this book is concerned with design principles, the building blocks that connect the basics of all good design. Every discipline has its own sets of rules, methods, specialized technologies, and technical requirements. Each one is rooted in the interactions of its history, theory, and practice, but unlike learning law or biology, the language of design is visual. It involves the need for a highly developed awareness of visual relationships, proportion, the perceptions of visual principles, and of the modern world and its complex events and practices. A good designer can filter this information and create relevant, engaging, visually eloquent design that responds to multiple problems, needs, and contexts. While a design student needs to develop the research, concept-development, compositional, and organizational skills associated with design, he or she also needs to be engaged with the world, and interested, aware, and sensitive to the changing contexts in which design plays a part.