In front of a design, creative piece, web page, or visual element, our field of vision is focused, unconsciously, toward a point where highlights the typography, the only purpose of selling, a characteristic element, stroke, or illustration in particular that it has been carefully chosen by the head of Art Direction.
In some situations, this priceless moment happens at the same time with the presence of an initial initial entry point s a visual element at the beginning of the reading or coding of a piece of design or graphic, regardless of their nature on offline.
In online and print media, the textual elements are clearly arranged in paragraphs, fragments, blanks, bleeds, margins, strokes, separation bars, icons, images or frames of synthesis. If all of this convention do not happens daily, the whole text and other characteristic elements of the press would be imperceptible, unintelligible and impossible to follow in its entirety.
The characteristic visual storytelling which invites the written page allows the Artistic Director, Editor, Designer or Graphic Designer, locate correctly various entry and exit points on the stain, using resources typographical, sizes or chromatic contrast.
Slogans, pretitles, intros, subtitles, headlines, captions, or other call resources can be used every day in advertising and in the press as elements or starting points in a layout.
It is believed that between the developers and designers some texts and typographic resources included in a graphic piece will be read by the user, however, the user performs only a selective, general or travel vision.
The on/offline page design changes dramatically, especially among different cultures. Absolute rules are hard to find today, but a set of patterns in the user, reader, consumer or surfer who should be considered almost mandatory form.
The way of reading in the Western world consists of a vision from left to right and from top to bottom. Coinciding with the upper left corner to the lower right corner. If we look at the set of beliefs, habits and trends in reading and assimilation of contents of several countries might be able to study and structure information of our design, setting up and organizing elements and compositional depending on their degree of importance.
If we divide the press design or piece on grid we would establish, through a line tracking a number of points of departure, arrival and continuity for each one of the elements that is part of the visual scanning of the user.
The layouter or designer should feel sensations of where to locate in the best way the elements to guide the user, reader or target and direct you to a body given body copy, a photo, illustration, or resource of interest.
Once past the point of entry, the function of rhythm in design and online composition is key. The body text, the composition, the location of modules, alignments or placement of design resources are closely linked to the rhythm in design. Pause and agility in the reading of the copys clearly depends on this item.
The turning page or the use of scrolling decreases deeply the rhythm in the composition, and this influences in the form of our attention on: icons, opinions, reviews, footnotes, headlines, articles, calls or headings; to pass to the following content of interest.
To have a control over the rhythm you can use a number of resources such as colour blocks, key visual elements, visual stops, etc.
If we consider body texts as a block and that they are not read in its entirely, most are perceived by readers as a passive element that gets an overview.
The use of typography to large size is prone to be traveled by the view, while the lighter weight invites to be read carefully. The typography on a smaller scale could function as entry element and lead the viewer into a certain point of the design part or online.
When we design on and offline pages we must understand it as a process of continued series production and not isolated. It is also not recommended to choose for a style of layout for each page of our part or project, since the design would lack cohesion, coherence and unitary consciousness. The designer or developer must, at all times, propose solutions to problems of communication that presents all creative brief, mostly without saturating areas of the composition with elements or resources.
What is really important is to know the rules in depth to be able to jump at some point, so developing a new concept of rhythm to the target. Union’s resources and unique items must allow to enrich the flow or pattern of images and text within the design layout.
In juanjook.com everyday we study resources used in visual and graphic composition to design projects, publishing, advertising and online items. Mainly so that the design meets a set of characteristics that are perceived by the public and professionals. Use points of entry and exit, rhythm, silence, white, air and balance, therefore, enrich our task and strengthen the bases of professionality in the good must design.