Basic Graphic Design

TASK 1 : Role of a Graphic Designer


LOGO
A graphical mark used to identify a company, organization, product or brand. Logos can be displayed along aside - or in lieu of - a company's name in order to generate awareness of the company's association with a particular product or service. The particular graphic used may be a stylized version of the company lettering(such as a word mark) or abstract (such as a shape unrelated to the company lettering)

example :

ICON / SYMBOL
Mark, sign, or word that indicates, signifies, or is understood as representing an idea, object, or relationship. Symbols allow people to go beyond what is known or seen by creating linkages between otherwise very different concept and experiences. All communication (and data processing) is achieved though the use of symbol.

example :

WEBSITE
Virtual location on WWW, containing several subject or company related webpages and data flies accessible through a browser. Each websites has its owns unique web address (see uniform resource locator) which can be reached through an internet connection. The opening page of a website is usually called homepages which contains hyperlinks to other pages on the same or other site(s). A single web server may support multiple websites and a single websites may resides on multiple web server, sometimes thousand of miles apart.

example :

CORPORATE STATIONERY
Pertaining to corporations. Corporation are the most common from of business organization, and one which is chartered by a state and given many legal rights as an entity separate from its owners. This form of business is characterized by the limited liability of its owners, the issuance of shares of easily transferable stock, and existence as a going concern.

example :

ADVERTISEMENT
Paid, non-personal, public communication about cause, goods and services, ideas, organization, people, and places, through means such as direct mail, telephone, print, radio, television, and internet. An integral part of marketing, advertisement are public notices designed to inform and motivate. Their objectives is to change the thinking pattern(or buying behavior) of the recipient, so that he or she is persuaded to take the action desired by the advertiser.

example :

BOOK DESIGN
Book design is the art of incorporating the content, style, format, design, and sequence of the various components of a book into a coherent whole.

example :

BROCHURES
Publication consisting of one folded page, or several pages stitched together but not bound. Used mainly for advertising purposes. See also booklet.

example :

BILLBOARDS

Brief announcement identifying the sponsors. It is broadcast at the beginning and/or at the end of a sponsored radio or television program. Large outdoor advertisement for which rent is charged according to three factors: the amount of traffic that passes its location, its visibility, and its size.

example :

PRODUCT PACKAGING
Packaging is the science,art,and technology of enclosing or protection products for distribution,storage,sale,and use.Packaging also refers to the process of design,evaluation and production of packages.

example :

POSTERS

A posters is any piece of printed paper designed to be attached to a wall or vertical surface. Typically posters include both textual and graphic elements, although a posters may be either wholly graphical or wholly text.

example :

GREETING CARD

A folded card bearing a message of greeting, congratulation, or other sentiment, usually sent or given on a special occasion or holidays.

example :

TASK 2 : Element of Graphic Design

The Elements of Good Graphic Design are the components or parts of a work of art or design. More simply put, they are the ingredients of art. Take one part color, a pinch of texture, and a whole lot of shape and the result will be some well designed graphic design.

The elements are :

Line

Lines, in graphic design, can be used for a wide range of purposes: stressing a word or phrase, connecting content, creating patterns and more.

Color

Colour is used to generate emotions, define importance, create visual interest and unify branding.

Texture

Texture relates to the surface of an object. Using texture in graphic design adds depth and visual interest. This can be applied graphically in the form of pattern or through the choice of printable surface.

Size

In graphic design, size is used to convey importance, attract attention and create contrast.

Shape

The three basic shape types are Geometric (Circles, Squares, Triangles etc.), Natural (leaves, trees, people etc.) and abstract (icons, stylisations and graphic representations). Use carefully to create a visually pleasing design and eye-catching design.

Space

Balanced or these is three basic shape types are Geometric, Natural and abstract. Use carefully to create a visually pleasing design and eye-catching design.

Value

Value is how light or dark an area looks in a design. It is everything from the darkest of blacks through to the brightest of whites. Used correctly it will create depth, contrast and emphasis.

TASK 3 : Typography

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading, adjusting the spaces between groups of letters and adjusting the space between pairs of letters. Typography is performed by typesetters, compositors, typographers, graphic designers, art directors, comic book artists and graffiti artists. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users.

example of typography

TASK 4 :  Generating idea and Concept (POSTER)

Theme - LOW POLY ART


Background study


Understanding low-poly begins with understanding the terminology. And that’s a slightly more complex task than it first appears.

Asking “What does ‘low-poly’ mean?” is a bit like asking “Who’s buried in Grant’s Tomb?” In both cases, there’s an answer that seems glaringly obvious—and yet that answer also entirely ignores the nuance in the question.

While a point of diminishing returns exists, as a general rule, the more traditionally realistic an artist wants any 3D-rendered object to appear, the more polygons she needs at her disposal. The fewer she has, the less able she is to mask that, rather than an actual “object,” the final product is a digital construction stitched together out of individual geometric units.

Between the hardware and the game engines that first enabled 3D-rendered artworkin the mid-‘90s, there simply wasn’t enough in-game processing power to be equally generous with two core components of a game’s visuals: the polygon count and the frame-rate. The polygon count is a mercifully self-explanatory term. The frame-rate demands a little more unpacking, especially in order to grasp its importance in this context.

Like the other forms of motion pictures that preceded them—film, hand-drawn animation, flip books, et al—videogames “move” by bull-rushing our eyes with a progression of ever-so-slightly different still images. The frame-rate describes the speed at which the stills in any “moving image” medium travel. For games, the accepted low speed limit is usually 30 frames per second (fps), meaning the hardware and software together render a new full-screen still every one-thirtieth of a second. Any pace slower than 30 fps risks degrading what should be a smooth visual traffic flow into the type of choppy, stop-and-go affair that incites actual motorists to road rage.

Although it’s slightly reductive, the frame-rate’s relationship to poly count can be thought of as a matter of rationing. With limited graphics resources available in mid-‘90s hardware and game engines, the poly count, and therefore the artwork as a whole, had to languish on table scraps so the frame-rate could be given first dibs. Otherwise, the resulting slow-downs, image chop, and delayed gameplay responsiveness would have transformed early 3D-rendered games into one teeth-grinding episode of coitus interruptus after another.

Cort Stratton, a senior graphics programmer working to maximize PlayStation visual capabilities as a part of Sony’s ICE (Initiative for a Common Engine) group, explained the trade-off in a Polygon story earlier this summer: "For all the games I've worked on, the frame-rate target is the fixed point against which all other [graphics] performance decisions are made. If your target is 30 fps, then you cut whatever corners are necessary to hit 30 fps as consistently as possible—reduce the scene complexity, use cheaper/lower-quality algorithms or...render at a lower resolution."




Final Task

I’m really like digital art such a low poly art. I like this thing because is fun to create an 3d image.  



My Objective

• Improve my digital art 
• To make a good poly art portrait

Object

• Polygonal lasso tool 
• Move tool 

Techniques

• Adobe Photoshop

My Poster

Descriptions of my poster

I used polygonal tools many times for my poster and change the selected to blur effect. This picture is Lee Ji Eun (IU) a singer, songwriter and acters from South Korea. I pick her picture because she is talented and position and shape of picture is easy to doing the low poly art.

Conclusion

Simple is not a problem in the drawing or art. Sometimes they have an excellent skill but they don’t realized or less confident in their mind. But, if we try to change or improve ourselves, everyone can be an artist!