Graphic Design Planning Essentials
Translated by
ScribdTranslationsGraphic Design Planning Essentials
Translated by
ScribdTranslationsRIBEIRO, Milton. Planejamento visual gráfico. Brasília. LGE, [Link], 2003.
Type
The bold typeface is characterized by its strong and black features. It is frequently used to highlight certain
words or sets in a continuous text. The types of Uppercase, Small Caps, and Capital are the terms
used to denote uppercase letters, with Versalete being those that are size
similar to that of the lowercase letters in the same series.
There are five factors that influence the readability of characters, the first being simplicity,
because the simpler a character is, the more legible it will be. Secondly, we have the size of the letters.
When very small, they make reading fatiguing and discourage the reader. When very large,
they cause a kind of discomfort due to the applied excess. Third, we have strength. Thick letters.
and the low ones become dark due to the little background that appears between their stems. It is necessary that
there is harmony between the height and width of the letters. Orientation is the fourth factor, which consists of the
maximum use of characters oriented in the vertical direction, as the more oblique they are,
the readability will be lower. Harmony, the last factor, states that a text should be composed of a
unique style and not by the diversification of various types.
Point of attention
The focal point of a graphic project is not the geometric center determined by the intersection.
the diagonals. Attention is focused on the optical center located above the central point, which can
suffer some variations depending on the relationship between width and height. If an object orients
Attention to the right, the optical center will be located above the mathematician to the left. If by the
on the contrary, the same process is followed. Within the rectangle of a composition, the strong points
can be found at the intersections of the two vertical and horizontal lines that divide it,
providing the deviation of the main element or subject from the center.
Composition
A composition can be symmetrical or asymmetrical. When we draw a central line vertically and
both sides are analogous, we have a dignified and restful composition. However, the symmetry does not
it draws a lot of attention because it is static. When asymmetric, the composition gains dynamics and makes it easier to
variety, which is why it is widely used in advertising. Unity should prevail within it, eliminating
discordant elements that do not resonate with the whole. Harmony must be established by line
and shape, size, idea, and color. It is necessary for there to be simplicity, in order to avoid
ambiguous interpretations, facilitating the collective examination. The atmosphere, which is the general climate of the whole,
it needs to be harmonious. The elements must be combined with a sense of order and
unity, through the law of proportion. Balance is such a sensitive factor that it can be severe and
rested or to have greater grace, subtlety, and action. The indication of movement allows the reader to wander
with the eyes on the composition, with brief stops at points of interest. The highlight of one or
more elements about the set is fundamental for performance in communication, because if all the
If the set has the same value, the attraction and interest will be diluted. Contrast is widely used.
as it increases expressive strength, causing a sense of variety. Rhythm is a major element
of strength in the composition, being one of the main factors that impress and favor the
memorization. Rhythm is action, movement, which can be classified as dynamic and stationary.
Brand, Symbol and Logo
The expressiveness of the brand is superior to the name of the organization itself. Much beyond
From the graphic representation, the brand must create the sympathy that distinguishes and sells the representative agency.
Ribeiro believes that it should be the easiest to identify, with simplicity being an imperative factor.
Thus, three basic elements must guide its execution: the conception,
construction and graphics. The symbolic sign replaces the logo - the company’s commercial signature - and
It has existing relationships between drawing and reality. It should not be confused with the symbol.
allegory, which is extremely arbitrary, where the figure does not resemble the real image.
Thus, the author structures graphic signs into three fundamental categories: starting from the word
or letters, based on a representation of an image related to the function and based on shapes
arbitrary. In the first case, we can highlight the logos, which is a very particular representation.
from the word, transformed into a brand. In the second, citing an example from the author himself, he calls for
design a gas company. In the third and last, signs that at their origin are empty of
meaning only comes from a convention that gives it significance. The universe too much of
signs make it impossible to create something that is extremely original, but originality is a factor
that must always be taken into account. Another essential aspect is that the signal alone is not
enough to establish a visual identity. It is through its programmed use and its
relationships with other elements of communication that can create a global image before the
public.