How does one compose something visually? Or better yet, how does one compose something visually in a successful manner? John Bowers discusses the different principles and methods used to do just that in Chapter five of his book Introduction to Two-Dimensional Design: Understanding Form and Function.
Visual language is a way in which we speak to others without words. The way we arrange any given set of images is a vital process if we want it to successfully communicate a certain thing. For example, if we were to design a map for a theme park we might want to make sure there is a lot of continuity so that the organization of different types of rides and restaurants makes sense through an underlying structure of the map. Whereas through an eye-catching brochure of Washington State’s landmarks we might want a bit more contrast in the images to better hold the eyes attention making the viewer more intrigued to visit those places.
Another important set of principles to consider are hierarchy and emphasis. Hierarchy can be the difference between viewing the name of a band on an event poster first or the less important information like the venue that band is playing in. As designers we have to understand what is the thing is that we need viewers to be seeing loud and clear before anything else. I don’t know about you, but if I saw a venue name written in type much larger than the actual band that is playing there I probably wouldn’t continue looking at that poster to find other information. The viewer will stay and read the lesser information if their eye is caught by the main attraction (what band is playing). With that, we can do a multitude of things to create emphasis. Adding the bands logo to the center of their concert poster can create emphasis or even using a different color for the type used to write the bands name can create emphasis. It’s all about making sure that you are creating something that is successfully making the viewer stop and get all the information you want them to get.
Another way to keep the viewers eye moving through a piece is by creating rhythm and/or using time and sequencing. We often see this use of rhythm in patterns because it is the same visual being repeated over and over. As we view something that has this it has a rhythmic effect in our minds, we begin to bounce subconsciously through the image. Time and sequencing are used to evoke certain feelings as one moves from image to image. It essentially manipulates a sense of time, direction, and emotion.
Other methods that must be considered involve a bit of math and solidity. For our designs to have the most success there needs to be an underlying structure, set of grids, and means of proportioning, geometry, and ratio. To achieve this we must have a game plan before putting type and imagery on a page. In magazine layouts set structures and grids are used for the most organized outcome. This aids in the ability to move the viewers eye in the direction or order of information you need it to. Having a map in exact increments for where the next image needs to start and stop adds continuity and balance to your piece.
According to Christian Leborg in pages 38-51 of Visual Grammar, there is so much room for activities in our pieces. These so called “activities” are ways of further activating the space in which our art lives. This can be done through repetition, Rhythm, mirroring, rotation, upscaling/downscaling, direction, displacement, and so much more. Although there are various ways to achieve this, it is up to the designer to decide what activity would be most useful for the thing they are communication. If you are designing a logo for a paper company for instance and you have a cute little paper airplane as their image, you might want to consider the direction that airplane is moving. If it’s moving in a downward direction that might indicate the company is plummeting, whereas if it were flying up and away that would indicate looking towards the future and capability. It is little decisions like this that can make or break a design.
This painting by Robert Delaunay is a great example of creating rhythm through a repetition of shapes and line. It leads your eye around and around through the piece.
The Great Wave off Kanagawa is a prime example of using the golden ratio to have perfect balance with an image. Using the golden ratio as a guideline can instantly improve your piece.
https://www.ucsart.com/learn/blog/learn-the-golden-ratio-for-your-artworks-on-canvas
This magazine layout shows a clear use of a grid structure to create continuity among each page. Without this grid, the information wouldn’t be as appealing to the viewer and it wouldn’t have the rhythmic effect that is does.
https://www.smashingmagazine.com/2013/02/creating-visual-hierarchies-typography/
This web design for the Guggenheim in New York has a clear use of hierarchy with the title of the museum being the largest type and by being placed at the top. This causes viewers to know exactly what they are about to explore and read about.
https://www.smashingmagazine.com/2013/02/creating-visual-hierarchies-typography/
Book Credit:
Leborg, Christian. Visual Grammar. Princeton Architectural Press, 2006.
Bowers, John. Introduction to Two-Dimensional Design Understanding Form and Function. John Wiley & Sons, 2008
Haley Locke 