Issue link: https://nbm.uberflip.com/i/1362655
G R A P H I C S - P R O. C O M 2 0 2 1 S E P T E M B E R G R A P H I C S P R O 3 1 G R A P H I C S - P R O. C O M 2 0 2 1 S E P T E M B E R G R A P H I C S P R O 3 1 and rotations to further the most critical design mes- saging. Above all, be sure one design element reigns high in the design hierarchy — let that one element be the focal point. Along and within your matrix and hierarchy comes the leading character, prominence. It appears as the hero. All of the immediate attention and value is placed here, as layout priority number one. To note, the most prominent part of any design does not have to be a visual image. Oftentimes, a typographic headline or a color blocked panel garners the most attention, sets the mood, and has the everlasting effect on the consumer. If you ever find yourself struggling with a less than stellar im- age, try using that bold and attention-getting headline front and center, letting the visual play a supporting role in the number two slot. Your vocation in this matrix ministry should therefore be the protector of balance and genuflect to the masters that came before us (and figured all of this out). As your design or layout starts to take shape, stir in some flavor. As any good chef will tell you, the plated dish is only as good as the sum of its best ingredients. This recipe or intermingling of newly added elements becomes the design gumbo. From a strategically placed dash of color to a design element seemingly rotated to an obtuse angle, the unexpected use of such items delivers unique- ness and flair. While I'm working to achieve design harmony, I am also cogni- zant of anything that may be considered superfluous or unneces- sary. Are you finding ruled lines, dingbats, widgets, and second- ary images distracting? Delete them. Does a too-large logo work against that wonderful, prominent image? Reduce and scale the logo accordingly. A harmonious design that incorporates good geometry, image structure, and attention to color (or lack thereof ) transforms the singular pieces into a powerful design synthesis. Sometimes a design project requires something different or rath- er, something very much the same: repetition. Not to be confused with that same-old- we-have-seen-this-before/déjà vu, repetition is a stellar way to use art im- ages to tell the story again and again. This technique does more than your step-and-repeat wallpaper patterns — in fact, it does the opposite by adding images in multiplicity (though not identical); motion is indicated or implied as well as a sequential fluidity. Using images that are much alike can reiterate the message in the simplest of layouts by generating a rhythm. Last in my short list for a design recipe comes my favorite: flavor. It's the most bodacious, spicy, and individualistic thing in your design kitchen. Are you (or your artist) known for a cool and distinctive style? Use it with self-assurance and swagger. That special seasoning you add can vastly alter the initial ap- proach of an also-ran design layout to one now capable of critical acclaim. Without doubt, some very simplistic ideas have shined brightly because of that bite the art delivered. Defy convention and design the unexpected; the nonconformist in you will smirk with deliberate delight. To recap, the tactics are matrix, hierarchy, prominence, gumbo, repetition, and flavor. TO FIBONACCI OR NOT? Several years ago, I was the guest lecturer at Tulane University in New Orleans for students of advertising and marketing. During one of the lectures, I was questioned on the veracity and use of the fabled Fibonacci Sequence and additionally, the subject of the Golden Ratio. and rotations to further the most critical design mes- saging. Above all, be sure one design element reigns high in the design hierarchy — let that one element Along and within your matrix and hierarchy comes the . It appears as the hero. All of the immediate attention and value is placed here, as layout priority number one. To note, the most prominent part of any design does not have to be a visual image. Oftentimes, a typographic headline er, something very much the same: be confused with that same-old- we-have-seen-this-before/déjà vu, repetition is a stellar way to use art im ages to tell the story again and again. This These large-format printed pieces ranged from 48' outdoor boards to on-vessel, vertical posters. Hierarchy of visual elements went from bottom up on adverts, and left to right (with rotated images that also cre- ated interest and tension) for billboards. The strong visual was used alone on buttons, decals, and patches. (Images courtesy Matt Touchard)