[ A designer knows he has achieved

Transcription

1 By: Amir Husaini Yusof 1 ArtGr 275 Fall 2015 Instructor: Hesham Hassan [ A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away. Antoine de Saint- [

2 2 chapter 01 FORM

3 3 The idea of form is to familirize ourselve with the very basic of design which is shape. Fom is the result of combining shapes with other shapes. It is very crucial in creating logo design. Blog Post Night after night, burning the midnight oil, doing this assignment is really the best thing I have done. Sleeping late at two and waking early at six in the morning are my normal every day life these past 3 weeks. This tiring exhausted daily life is the result of this first assignment from the Graphic Design 275 class which I need to finish as soon as possible. Not only this, I also have other works from my other 3 Graphic Design classes. Although this kind of life sounds really tiring and boring which I think a normal student will try to avoid it but for me, this life is all I wanted. I am saying this not because I am a boring person but because I want to get used to be burden with a lot of works and to be able to withstand them. As a professional graphic designer-to-be, I need to learn how to manage my time efficiently and these 3 weeks of workloads are kind of making me practice that skill. To be able to live the lifeless life in my study will give me the endures and strength to live in the busy world of industry. This assignment requires me to create 150 forms in Adobe Photoshop, Adobe Illustrator and Adobe InDesign which make up a total of 450 forms. At first, I felt really stress as they are a lot but after finishing a quarter of them, I realize that this assignment is not only making me feel comfortable with the softwares but also is helping me to develop my creativity as I created and innovated the forms with just 3 basics shapes; ellipses, rectangle and pentagon. Knowing this advantages, I try to finish it with an open heart and did it as good as possible.

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11 The end of chapter 01 11

12 12 Chapter 02

13 13 Color Color is the very basic things in design. In order to succeed in design, one must truly know the basis of color. I believe color can be the determinant to decide between a good or bad design. Think as if raibow in black and white, is it still interesting? Color is the fruit of life -Guillaume Apollinaire

14 14 Black White

15 15 Blue Red

16 16 Green

17 Warm monochrome color 17

18 18 Cool monochrome color

19 Warm analogous color 19

20 20 Cool analogous color

21 Complimentary color 21

22 22 The study of color through photography

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32 32 C o l o r is the f r u i t of life.

33 33 -Guillaume Apollinaire The end of chapter 02

34 34 Chapter 03

35 35 Image Editting images and photos is a skill that every designer must have. Through creativity, a good images can be produced. To capture a good image, a good tool used is needed

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37 50 50 Picture by Mobile mobile Phone phone 37

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45 10 Pictures with DSLR camera 10 Pictures with DSLR camera 45

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50 50 6 pictures masking clip 6 Picture masking clip

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52 52 Blog Post

53 College Of Design. Color Yourself Up. 53

54 54 S t a y S h a r p. Yo u r s k i l l s, d o n t ge t r u ste d.

55 Imagination is limitless 55

56 56 Aim The Top in everything You Do

57 57 Reflects Your mistake to get Reflects Your mistake to get better better The end of chapter 03

58 58 Chapter 04

59 59 Type Type is a the very primary way to send a message. A good type layout can not only send the message but also able to send the emotions. In this chapter, we will learn how to do that.

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61 In this project, we need to create a really bad typography layout using Adobe Photoshop. 61

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66 66 Similarity

67 This is typography created by using Adobe Illustrator. Illustrator is a good software to make typography. 67

68 68 Design Principles: Visual Perception And The Principles Of Gestalt. By Steven Bradley In 1910, psychologist Max Wertheimer had an insight when he observed a series of lights flashing on and off at a railroad crossing. It was similar to how the lights encircling a movie theater marquee flash on and off. To the observer, it appears as if a single light moves around the marquee, traveling from bulb to bulb, when in reality it s a series of bulbs turning on and off and the lights don t move it all. This observation led to a set of descriptive principles about how we visually perceive objects. These principles sit at the heart of nearly everything we do graphically as designers. This is the start of a series of posts about design principles. It begins with these principles of gestalt, because many of the design principles we follow arise out of gestalt theory. In this post, I ll walk you through a little bit of theory and offer some basic definitions of gestalt principles. Future posts in this series will consider aspects of design like space, balance and visual hierarchy. In upcoming posts, I ll point out which gestalt principles influence the aspects of design being discussed, and I ll offer more practical uses and examples of how the gestalt principles are used in Web design. The Key Ideas Behind Gestalt Theory Link The whole is other than the sum of the parts. Kurt Koffka The quote above is gestalt in a nutshell. When human beings see a group of objects, we perceive their entirety before we see the individual objects. We see the whole as more than the sum of the parts, and even when the parts are entirely separate entities, we ll look to group them as some whole. There are several key ideas behind gestalt: Emergence (the whole is identified before the parts) Emergence is the process of forming complex patterns from simple rules. When attempting to identify an object, we first seek to identify its outline. We then match this outline pattern against shapes and objects we already know to find a match. Only after the whole emerges through this outline pattern matching, do we start to identify the parts that make up the whole. When designing, keep in mind that people will identify elements first by their general form. A simple well defined object will communicate more quickly than a detailed object with a hard to recognize contour. Reification (our mind fills in the gaps) Reification is an aspect of perception in which the object as perceived contains more spatial information than what is actually present. As we attempt to match what we see to the familiar patterns we have stored in memory, there isn t always an exact match. Instead we find a near match and then fill in the gaps of what we think we should see. Reification suggests that we don t need to present the complete outline in order of viewers to see it. We can leave out parts of the outline as long as we provide enough of it to allow for a close enough pattern match. You can see examples of this a little further down under the principle of closure.

69 69 Multi-stability (the mind seeks to avoid uncertainty) Multi-stability is the tendency of ambiguous perceptual experiences to move unstably back and forth between alternative interpretations. Some objects can be perceived in more than one way. An example from below in the section of figure/ground is one you ve likely seen before. The image can be seen as either two faces in profile or as a vase. You can t see both at once. Instead you bounce back and forth quickly between the two stable alternatives. One will tend to be your dominant perception and the longer you go without begin able to see the other, the harder it will be to see that other perception. From a design perspective if you want to change someone s perception, don t try to change it all at once. Find a way to get them to see an alternative. Then work to strengthen that alternative view, while weakening the original. Invariance (we re good at recognizing similarities and differences) Invariance is a property of perception in which simple objects are recognized independent of their rotation, translation and scale. Since we often encounter objects from different perspectives, we ve developed an ability to recognize them despite their different appearance. Imagine if you could only recognize someone you knew if they stood directly in front of you and faced you, but you couldn t recognize them once they turned in profile. Despite the different visual perspective we can still recognize people. You can see these ideas in play in the principles below. The main idea is that gestalt principles are about perception and what is visually communicated by objects. The principles speak to the core of the visual language within which we work. Gestalt Principles Link Most of the principles are relatively easy to understand. There s a common theme running through many of them. All else being equal, elements that are related by X tend to be grouped perceptually into higher-order units. Stephen Palmer Many of the principles below will follow this pattern. The principles either define X or the higher order that s perceived. Law of Prägnanz (Good Figure, Law of Simplicity) Link People will perceive and interpret ambiguous or complex images as the simplest form(s) possible. This is the fundamental principle of gestalt. We prefer things that are simple, clear and ordered. Instinctually these things are safer. They take less time for us to process and present less dangerous surprises. Law of Prägnanz (Good Figure, Law of Simplicity). When confronted with complex shapes, we tend to reorganize them into simpler components or into a simpler whole. You re more likely to see the left image above composed of the simple circle, square and triangle like you see on the right than as the the complex and ambiguous shape the whole forms. In this case, seeing three distinct objects is simpler than seeing one complex object. In other cases, it s simpler to see a single object, which brings us to Closure Link When seeing a complex arrangement of elements, we

70 70 tend to look for a single, recognizable pattern. As with Prägnanz, closure seeks simplicity. Closure is the opposite of what we saw in the Prägnanz image above where three objects were simpler than one. With closure, we instead combine parts to form a simpler whole. Our eye fills in the missing information to form the complete figure. Closure. In the left image above, you should see a white triangle even though the image is actually comprised of three black Pac- Man-like shapes. On the right image, you see a panda even though the figure is several random shapes. Seeing the triangle and panda is simpler than trying to make sense of the individual parts. Closure can be thought of as the glue holding elements together. It s about the human tendency to seek and find patterns. The key to closure is providing enough information so the eye can fill in the rest. If too much is missing, the elements will be seen as separate parts instead of a whole. If too much information is provided, there s no need for closure to occur. Symmetry and Order Link People tend to perceive objects as symmetrical shapes that form around their center. Symmetry gives us a feeling of solidity and order, which we tend to seek. It s our nature to impose order on chaos. This principle leads us to want balance in composition, though our compositions don t need to be perfectly symmetrical to be in balance. Symmetry and Order. In the image above, you should see three pairs of opening and closing brackets. The principle of proximity, which we ll get to later in this post, might suggest we should see something else. That suggests symmetry takes precedence over proximity. Since our eyes will quickly find symmetry and order, these principles can be used to effectively communicate information quickly. Figure/Ground Link Elements are perceived as either figure (the element in focus) or ground (the background on which the figure rests). Figure/ground refers to the relationship between positive elements and negative space. The idea is that the eye will separate whole figures from their background in order to understand what s being seen. It s one of the first things people will do when looking at any composition. Figure and Ground. The figure/ground relationship can be either stable or unstable depending on how easy it is to determine which is which. The classic example of where the relationship is unstable is the left image above. You either see a vase or two faces depending on whether you see the black color as figure and the white as ground, or vice versa. That you can easily bounce back and forth between the two perceptions demonstrates the unstable relationship. The more stable the relationship, the better we can lead our audience to focus on what we want them to see. Two related principles can help us: Area The smaller of two overlapping objects is seen as figure. The larger is seen as ground. You can see this in the right image above. The smaller shape is the figure regardless of color. Convexity Convex rather than concave patterns tend to be perceived as

71 71 figures. Uniform Connectedness Link Elements that are visually connected are perceived as more related than elements with no connection. In the image below, lines connect two pairs of elements. This connection leads us to perceive that the connected elements are related to each other in some way. Uniform Connectedness. Of all the principles suggesting objects are related, uniform connectedness is the strongest. In the image above, even though we see two squares and two circles, we see the square circle pairs as more strongly related because they are visually connected. Notice that the lines don t need to touch the elements for the connection to be perceived. Common Regions Link Elements are perceived as part of a group if they are located within the same closed region. Another way to show a connection between elements is to enclose them in some way. Everything inside the enclosure is seen as related. Everything outside the encloser is seen as separate. The circles in the image below are all the same, yet we see two distinct groups, with the circles in each enclosure related in some way. Common Regions. The typical way to show a common region is to draw a box around the related elements like I ve done above. Placing the elements on a different background color than their immediate surroundings will also work. Proximity Link Objects that are closer together are perceived as more related than objects that are further apart. Proximity is similar to common regions but uses space as the enclosure. When elements are positioned close to one another, they are seen as part of a group rather than as individual elements. This is especially true when the elements in the group are closer to each other than they are to any elements outside the group. Proximity. The objects don t need to be similar in any other way beyond being grouped near each other in space in order to be seen as having a proximity relationship. Continuation Link Elements arranged on a line or curve are percei ved as more related than elements not on the line or curve. It s instinct to follow a river, a path or a fence line. Once you look or move in a particular direction, you continue to look or move in that direction until you see something significant or you determine there s nothing significant to see. Continuation. Another interpretation of this principle is that we ll continue our perception of shapes beyond their ending points. In the image above, we see a line and curve crossing instead of four distinct line and curve segments that meet at a single point.

72 72 Common Fate (Synchrony) Link Elements that move in the same direction are perceived as more related than elements that are stationary or that move in different directions. Regardless of how far apart the elements are placed or how dissimilar they appear, if they are seen as moving or changing together, they ll be perceived as being related. The elements don t need to be moving for the principle of common fate to be present. It s more that they are seen as having a common destination. For example, if four people are clustered together, but two are observed heading toward the right, they will be seen as having a common fate. Even if two are only looking in the same direction, they ll be perceived as having a common fate. Focal Points. The principle of focal points likely arises out of our need to quickly identify the unknown to alert us to potential danger. The principles of similarity and focal points are connected, and focal points can t be seen without the presence of similarity among other elements. Past Experiences Link Elements tend to be perceived according to an observer s past experience. Past experience is perhaps the weakest gestalt principle. In conjunction with any of the other principles, the other principle will dominate over the past experience principle. Past experience is unique to the individual, so it s difficult to make assumptions about how it will be perceived. However, there are common experiences we all share. For example, a lot of color meaning arises out of past experience. Past Experiences. Having seen traffic lights throughout our lives, we expect red to mean stop and green to mean go. You probably see the image above as a traffic light on its side, because of the three common colors. That s past experience at work. Many of our common experiences also tend to be cultural. Color again provides examples. In some countries, white is seen as pure and innocent and black as evil and death. In other countries, these interpretations are reversed. Conventions can arise when the experience is commonly shared, though again it s important to remember that we don t all share the same experiences. Summary Link Gestalt principles are important to understand. They sit at the foundation of everything we do visually as designers. They describe how everyone visually perceives objects. The principles above should be relatively easy to understand. For most of them, the definition and the image are probably all you needed to understand the principle. At the same time, understanding the basic ideas of these principles isn t the same as understanding how they influence design. In the coming weeks we ll look more at how gestalt influences design. We ll see how symmetry helps us balance a composition and how combining focal points and similarity allows us to create a visual hierarchy in a design. Before we get to either, though, we ll take a deeper look at the figure/ground relationship and consider the space in which we place elements. That s where I ll pick up the series.

73 The first Typography layout by using Adobe InDesign. 73

74 74 Design Principles: Visual Perception And The Principles Of Gestalt. By Steven Bradley In 1910, psychologist Max Wertheimer had an insight when he observed a series of lights flashing on and off at a railroad crossing. It was similar to how the lights encircling a movie theater marquee flash on and off. To the observer, it appears as if a single light moves around the marquee, traveling from bulb to bulb, when in reality it s a series of bulbs turning on and off and the lights don t move it all. This observation led to a set of descriptive principles about how we visually perceive objects. These principles sit at the heart of nearly everything we do graphically as designers. This is the start of a series of posts about design principles. It begins with these principles of gestalt, because many of the design principles we follow arise out of gestalt theory. In this post, I ll walk you through a little bit of theory and offer some basic definitions of gestalt principles. Future posts in this series will consider aspects of design like space, balance and visual hierarchy. In upcoming posts, I ll point out which gestalt principles influence the aspects of design being discussed, and I ll offer more practical uses and examples of how the gestalt principles are used in Web design. The Key Ideas Behind Gestalt Theory Link is The other whole the sum than of the parts. Kurt Koffka The quote above is gestalt in a nutshell. When human beings see a group of objects, we perceive their entirety before we see the individual objects. We see the whole as more than the sum of the parts, and even when the parts are entirely separate entities, we ll look to group them as some whole. There are several key ideas behind gestalt: Emergence (the whole is identified before the parts) Emergence is the process of forming complex patterns from simple rules. When attempting to identify an object, we first seek to identify its outline. We then match this outline pattern against shapes and objects we already know to find a match. Only after the whole emerges through this outline pattern matching, do we start to identify the parts that make up the whole. When designing, keep in mind that people will identify elements first by their general form. A simple well defined object will communicate more quickly than a detailed object with a hard to recognize contour. Reification (our mind fills in the gaps) Reification is an aspect of perception in which the object as perceived contains more spatial information than what is actually present. As we attempt to match what we see to the familiar patterns we have stored in memory, there isn t always an exact match. Instead we find a near match and then fill in the gaps of what we think we should see. Reification suggests that we don t need to present the complete outline in order of viewers to see it. We can leave out parts of the outline as long as we provide enough of it to allow for a close enough pattern match. You can see examples of this a little further down under the principle of closure. Multi-stability (the mind seeks to avoid uncertainty) Multi-stability is the tendency of ambiguous perceptual experiences to move unstably back and forth between alternative interpretations. Some

75 75 objects can be perceived in more than one way. An example from below in the section of figure/ground is one you ve likely seen before. The image can be seen as either two faces in profile or as a vase. You can t see both at once. Instead you bounce back and forth quickly between the two stable alternatives. One will tend to be your dominant perception and the longer you go without begin able to see the other, the harder it will be to see that other perception. From a design perspective if you want to change someone s perception, don t try to change it all at once. Find a way to get them to see an alternative. Then work to strengthen that alternative view, while weakening the original. Invariance (we re good at recognizing similarities and differences) Invariance is a property of perception in which simple objects are recognized independent of their rotation, translation and scale. Since we often encounter objects from different perspectives, we ve developed an ability to recognize them despite their different appearance. Imagine if you could only recognize someone you knew if they stood directly in front of you and faced you, but you couldn t recognize them once they turned in profile. Despite the different visual perspective we can still recognize people. You can see these ideas in play in the principles below. The main idea is that gestalt principles are about perception and what is visually communicated by objects. The principles speak to the core of the visual language within which we work. Gestalt Principles Link Most of the principles are relatively easy to understand. There s a common theme running through many of them. equal, All else elements being that by X are tend related grouped perceptually to be er-order into units. high- Stephen Palmer Many of the principles below will follow this pattern. The principles either define X or the higher order that s perceived. Law of Prägnanz (Good Figure, Law of Simplicity) Link ceive People and will interpret per- or complex ambiguous es as the simplest imag- form(s) possible. This is the fundamental principle of gestalt. We prefer things that are simple, clear and ordered. Instinctually these things are safer. They take less time for us to process and present less dangerous surprises. Law of Prägnanz (Good Figure, Law of Simplicity). When confronted with complex shapes, we tend to reorganize them into simpler components or into a simpler whole. You re more likely to see the left image above composed of the simple circle, square and triangle like you see on the right than as the the complex and ambiguous shape the whole forms. In this case, seeing three distinct objects is simpler than seeing one complex object. In other cases, it s simpler to see a single object, which brings us to Closure Link a When complex seeing rangement arments, we tend of ele- look for a single, to recognizable tern. pat- As with Prägnanz, closure seeks simplicity. Closure is the opposite of what we saw in the Prägnanz image above where three objects were simpler than one. With closure, we instead combine parts to form a simpler whole. Our eye fills in the missing information to form the complete figure. Closure. In the left image above, you should see a white triangle even though the image is actually comprised of three black Pac-Man-like shapes. On the right

76 76 image, you see a panda even though the figure is several random shapes. Seeing the triangle and panda is simpler than trying to make sense of the individual parts. Closure can be thought of as the glue holding elements together. It s about the human tendency to seek and find patterns. The key to closure is providing enough information so the eye can fill in the rest. If too much is missing, the elements will be seen as separate parts instead of a whole. If too much information is provided, there s no need for closure to occur. Symmetry and Order Link perceive People objects tend to as shapes symmetrical around that their form ter. cen- Symmetry gives us a feeling of solidity and order, which we tend to seek. It s our nature to impose order on chaos. This principle leads us to want balance in composition, though our compositions don t need to be perfectly symmetrical to be in balance. Symmetry and Order. In the image above, you should see three pairs of opening and closing brackets. The principle of proximity, which we ll get to later in this post, might suggest we should see something else. That suggests symmetry takes precedence over proximity. Since our eyes will quickly find symmetry and order, these principles can be used to effectively communicate information quickly. Figure/Ground Link perceived Elements as are ther figure (the ei- element or ground in (the focus) background which the figure on rests). Figure/ground refers to the relationship between positive elements and negative space. The idea is that the eye will separate whole figures from their background in order to understand what s being seen. It s one of the first things people will do when looking at any composition. Figure and Ground. The figure/ground relationship can be either stable or unstable depending on how easy it is to determine which is which. The classic example of where the relationship is unstable is the left image above. You either see a vase or two faces depending on whether you see the black color as figure and the white as ground, or vice versa. That you can easily bounce back and forth between the two perceptions demonstrates the unstable relationship. The more stable the relationship, the better we can lead our audience to focus on what we want them to see. Two related principles can help us: Area The smaller of two overlapping objects is seen as figure. The larger is seen as ground. You can see this in the right image above. The smaller shape is the figure regardless of color. Convexity Convex rather than concave patterns tend to be perceived as figures. Uniform Connectedness Link are Elements visually that nected are perceived con- related as than more ements with el- connection. no In the image below, lines connect two pairs of elements. This connection leads us to perceive that the connected elements are related to each other in some way. Uniform Connectedness. Of all the principles suggesting objects are related, uniform connectedness is the strongest. In the image above, even though we see two squares and two circles, we see the square circle pairs as more strongly related because they are visually connected. Notice that the lines don t need to touch the elements for the connection to be perceived. Common Regions Link

77 77 perceived Elements as are of a group if part are located within the same closed they region. Another way to show a connection between elements is to enclose them in some way. Everything inside the enclosure is seen as related. Everything outside the encloser is seen as separate. The circles in the image below are all the same, yet we see two distinct groups, with the circles in each enclosure related in some way. Common Regions. The typical way to show a common region is to draw a box around the related elements like I ve done above. Placing the elements on a different background color than their immediate surroundings will also work. Proximity Link closer Objects together that are are perceived related than as more jects that are obther apart. fur- Proximity is similar to common regions but uses space as the enclosure. When elements are positioned close to one another, they are seen as part of a group rather than as individual elements. This is especially true when the elements in the group are closer to each other than they are to any elements outside the group. Proximity. The objects don t need to be similar in any other way beyond being grouped near each other in space in order to be seen as having a proximity relationship. Continuation Link Elements arranged on a line or cei curve ved as are more per- related ments not than on ele- the line or curve. It s instinct to follow a river, a path or a fence line. Once you look or move in a particular direction, you continue to look or move in that direction until you see something significant or you determine there s nothing significant to see. Continuation. Another interpretation of this principle is that we ll continue our perception of shapes beyond their ending points. In the image above, we see a line and curve crossing instead of four distinct line and curve segments that meet at a single point. Common Fate (Synchrony) Link move Elements in the that direction are same ceived as more per- related ements than that are el- stationary move in different or that directions. Regardless of how far apart the elements are placed or how dissimilar they appear, if they are seen as moving or changing together, they ll be perceived as being related. The elements don t need to be moving for the principle of common fate to be present. It s more that they are seen as having a common destination. For example, if four people are clustered together, but two are observed heading toward the right, they will be seen as having a common fate. Even if two are only looking in the same direction, they ll be perceived as having a common fate. Focal Points. The principle of focal points likely arises out of our

78 78 need to quickly identify the unknown to alert us to potential danger. The principles of similarity and focal points are connected, and focal points can t be seen without the presence of similarity among other elements. Past Experiences Link to Elements be perceived tend according observer s to past an experience. In the coming weeks we ll look more at how gestalt influences design. We ll see how symmetry helps us balance a composition and how combining focal points and similarity allows us to create a visual hierarchy in a design. Before we get to either, though, we ll take a deeper look at the figure/ground relationship and consider the space in which we place elements. That s where I ll pick up the series. Past experience is perhaps the weakest gestalt principle. In conjunction with any of the other principles, the other principle will dominate over the past experience principle. Past experience is unique to the individual, so it s difficult to make assumptions about how it will be perceived. However, there are common experiences we all share. For example, a lot of color meaning arises out of past experience. Past Experiences. Having seen traffic lights throughout our lives, we expect red to mean stop and green to mean go. You probably see the image above as a traffic light on its side, because of the three common colors. That s past experience at work. Many of our common experiences also tend to be cultural. Color again provides examples. In some countries, white is seen as pure and innocent and black as evil and death. In other countries, these interpretations are reversed. Conventions can arise when the experience is commonly shared, though again it s important to remember that we don t all share the same experiences. Summary Link Gestalt principles are important to understand. They sit at the foundation of everything we do visually as designers. They describe how everyone visually perceives objects. The principles above should be relatively easy to understand. For most of them, the definition and the image are probably all you needed to understand the principle. At the same time, understanding the basic ideas of these principles isn t the same as understanding how they influence design.

79 79 The second Typography layout by using Adobe InDesign. Type by using Adobe InDesign We are creating and comparing two same text but different character and paragraph style. This is crucial in creating a magazine or a book

80 80 Blog ost Illustrator is a really good software for typography. It is really easy. There are so many features that help the users to do a typography design. In contrary, Photoshop is the worst software to create a typography design. It is definitely not its speciality. I think Its speciality is editing photographs and images. I have done 5 typography design in photoshop and for me it is like the worst nightmare that I have. It is really hard and frustrating. There are 3 things that I really hate when doing typography design in photoshop. The first one is that, it can not perform a task in a simple way. For example; to change the size of the font, we need to highlight the texts and then change the size. It is very time consuming and frustrating. In Illustrator, to change the size, we just simply click the whole text with one click and click shift+command and < to downsize it or > to increase the size( In mac). It is really simple and easy to do. Secondly, to transform the text we need to click command + T and then transform it and then enter click. It feels really awful when every time, I need to transform it, I need to do that. In Illustrator, I can transform the text straight forwardly without clicking anything (or maybe V). Lastly, I hate it because it does not have a pathfinder. Pathfinder is a very easy tool to use in managing shapes. In conclusion, do not use Photoshop to create a typography design. It is a really horrible experience for me doing typography design in Photoshop. Again I repeat; do not use Photoshop to create a typography design.

81 81 The end of chapter 04

82 82 Chapter 5

83 Materiality In this chapter, I am doing a potato stamp. It is a tradisional way to create arts. 83

84 84 Inspiration: Flower Emotions: Hapiness Design Principle: repetition

85 85

86 86 Inspiration: Fire Emotions: fear Design Principle: repetition

87 87

88 88 Inspiration: Bubble Emotions: Sadness Design Principle: repetition

89 89

90 90 Inspiration: Night Emotions: Anxiety Design Principle: repetition, Anomaly

91 91

92 92 Inspiration: Abstract Emotions: Anger Design Principle: repetition

93 93

94 94 Blog Hi everyone. Last week, I have done something very different. It is a potato stamp. It is a very easy task to be done but it requires a lot of creativity and hardworking. There are 4 simple steps to complete a potato stamp paintings. Firstly, we need to sketch what we want to do. Second, we need to cut the potato according to the shape that we want. Third; we need to paint the potato and lastly stamp the potato to the medium that we use like paper or fabric. It is a very good experience to have as we can learn the traditional way in creating arts. Needless to say, it is very fun and I like it very much. Although, we did not use any modern software like adobe photoshop or illustrator, the final arts are quite satisfying and good. The only challenge in doing this project is cutting the potatoes. It is very easy to cut simple shape but to cut the potato into complicated shape is very hard. The potato is very soft and to cut it requires a lot of focus. One more thing to remember is that we can not undo the work that we have done. Unlike the modern software today we can just simple click command + z to undo the mistakes that we have done but in this traditional way there is no turning back. So be very Post careful when you want to do something.

95 95 Unlike the modern software today we can just simple click command + z to undo the mistakes that we have done but in this traditional way there is no turning back. [ The end of chapter 05

96 96 T h e E n d

97 97 I give a thousands thank to my instructor; Hesham hassan as he had teaches me many things, and also to those who had involve in helping me finishing this book.

98 98 Simplicity is the ultimate form of sophistication -Leonardo Da Vinci