Main Topic
Randomness and (grid) systems in graphic design
Grid systems are often used as an important design principle in the field of graphic design and typography. One frequently used variant of this is the golden ratio. This harmonious proportion, which is found in many natural forms and works of art, is often perceived as aesthetically pleasing. Research on the golden ratio in graphic design and typography focuses on how this proportion can be used to improve visual aesthetics, promote balance in designs and enhance the impact of messages. Questions can be asked such as: Does a design created using the golden ratio work better and is a design that is intentionally not created this way perceived as less effective?
In contrast to using grid systems, one can also use randomness. You take a blank sheet of paper and start designing without any helpful grids to help with the aesthetic arrangement of visual elements. Here, research could investigate how randomized design is perceived. Are there differences between designs with human-generated randomness and computer-generated randomness?
Nature can also stand as a common aspect of the two themes: Golden ratio is often discovered in shapes in nature and random events are also easily found in nature.
Useful literature for further research:
- http://printingcode.runemadsen.com/lecture-randomization/
- https://www.fastcompany.com/3052333/the-value-of-randomness-in-art-and-design
- https://evaschicker.medium.com/how-to-explore-the-golden-ratio-in-design-and-typography-b124331ba378
- Müller-Brockmann, Josef: Grid systems in graphic design: A visual communication manual for graphic designers, typographers and three dimensional designers. Slugen: Niggli 2010
- Lorenz, Martin: Flexible visual systems: the design manual for contemporary visual identities. Karlsruhe: Slanted 2022
____________
Other topic ideas
Face as an element in graphic design
The face is one of the first recognizable symbols that children draw and create. They are fascinated by facial expressions and draw their first portraits, emphasizing faces over bodies, especially the eyes. Before children can read words, they develop a visual vocabulary to understand faces. Portraits and their expressions are an early method of communicating stories. A portrait is more than a drawing of facial features; it also shows and conveys personality. ‚Theory of Mind‘ is the scientific term for ’sympatheia,‘ denoting the ability to see oneself in another and experience what they experience. People also recognize faces in everyday objects where they do not exist.1
Visual communication is widespread in our world: emojis and emoticons often replace written language. Miklós Kiss’s project ‚Emograms‘ is a response to the development of mobile and computer-based communication. In a time when we often rely on emojis and icons instead of words, Kiss reintroduces lost words into these symbols. Thus, Emograms were created, establishing a connection between lost expressions and modern communication.2
As an example, individual facial features, especially their shapes, can have effects as visual elements in design: in the field of print design, one can depict the expressiveness of the mouth using typography. By integrating mouth-inspired shapes and elements into the letters of their typography, a unique personality and visual expressiveness can be imparted.3 But even with simpler geometric shapes, facial expressions can be replicated: Molly Bang’s book ‚Picture This‘ demonstrates how abstract design principles in art can tell human stories. Diagonal lines in portraits, such as slanted glances or facial expressions, indicate movement and tension in the image.1 The research on this topic aims to determine the effects of using face-like elements in graphic design (such as branding, typography, and posters) and how to apply them correctly.
____________
Optical illusion in graphic design
Op art was a style of visual art in the 1960s, but still has an impact on visual design and graphic design today. The use of optical illusions and illusions influence how people perceive and understand visual information. But how can they be used in graphic design and especially in areas such as branding? Optical illusions have different types and can be created by numerous methods.4 Through the targeted use of visual tricks, designers can direct attention, evoke emotions and reinforce messages.
Research can also investigate the psychological and cognitive processes behind human perception. Physiological illusions are created by excessive stimulation of the eyes and brain, such as the ‚afterimage illusion‘, which continues to create visible images after the original has disappeared. Cognitive illusions are based on unconscious inferences of the brain and include ambiguity illusions, paradox illusions, distortion illusions and fictional illusions. Optical illusion can also be used to create the illusion of movement: this gives the impression of movement in static images, as in the ‚rotating snake‘ illusion. Research into these illusions allows us not only to better understand human perception, but also to develop innovative design strategies that can push the boundaries of visual representation.
____________
Literature:
- https://catherineannemoore.medium.com/facial-expression-as-key-to-narrative-portraiture-6c1dd2e7655f ↩︎
- https://emograms.medium.com/story-of-emograms-30333e65a6c ↩︎
- https://mmg-1.com/the-power-of-the-mouth-communicating-beyond-words-in-graphic-design-and-filmed-presentations/ ↩︎
- https://www.creativereview.co.uk/optical-illusions-design-book/ ↩︎
