G10 1st Q E-Module.pdf

QUARTER: 1st QUARTER WEEK: 1—2 MODULE: 1 SUBJECT: COMPUTER 10 TOPIC: BEHIND GRAPHICS DESIGN INTRODUCTION TO GRAPHICS DESIGN It is a type of art, known as graphics arts, where graphical layouts and designs were made...

QUARTER: 1st QUARTER WEEK: 1—2 MODULE: 1 SUBJECT: COMPUTER 10 TOPIC: BEHIND GRAPHICS DESIGN INTRODUCTION TO GRAPHICS DESIGN It is a type of art, known as graphics arts, where graphical layouts and designs were made through graphic software. Graphics design may involve with photo editing, logo making, tarpaulin production, business card making, game sprite creation, animation frames, magazine layout, ID layout and making , etc. Difference Between Digital Arts and Graphics Arts Graphics arts and digital arts are both created through digital means and its art products uses similar software. However; despite both are done in a digital way, they still have a noticeable differences. Graphics design deals with static product were products can be printed and produced through any means (such as printer or plotter) while digital arts deals with data collection and distribution for which it involves interaction and visual design (i.e. animation, visual effects, 3D generating, digital painting, interactive elements, movie editing, etc.) were accumulation of data, such as likes, shares, reacts, dis- tribution, and reproduction is the main concern. You can say, graphics design deals with static work while digital arts deals mores on digital production and used for data—digital uses. Samples of creative graphic design created by the following artists: 2 COMPUTER 10 Designs isn’t created out of thin air. Everything must start with something. In order to understand graphics design more, one must understand its fundamentals and basics of designs. Principles, Elements, or Fundamentals of Design Design is an intricate, complicated, fun and exciting business. There’s always a lot to learn, a lot to do, and a lot to consider when you’re a beginner – not to mention the fact that technology is constantly evolving, new software is being released, and new trends are com- ing at you rapid-fire. Truth be told, it can get a little overwhelming. So, let’s slow things down a little bit. This article will take you through 20 principles of design to hope- fully give you a headstart in this creative environment. So, stay tuned, get comfy, and let’s discuss some principles. 3 COMPUTER 10  4 COMPUTER 10  5 COMPUTER 10  6 COMPUTER 10 For detailed explanation, visit this web page or by scanning this URL. https://www.canva.com/learn/design-elements-principles/ Have time to read and study the principles of design. 8 Types of Graphics Designs Graphic designs uses visual compositions to solve problems and communicate ideas through typography, imagery, color, and form. There’s no way to do that, and that’s why there are several types of graphic design, each with their own area of specialization. Though they often overlap, each type of graphic design requires specific set of skills and design techniques. Many designers specialize in a single type; others focus on a set of related, similar types. But because the industry is constantly changing, designers must be adaptable and lifelong learners so they can change or add specializations throughout their careers. Whether you are an aspiring designer or seeking design services for your business, understanding the eight types of graphic design will help you find the right skills for the job. Visual identity design is one of the most common types of design. Visual identity graphic designers must possess a general knowledge of all types of graphic design in order to create design elements that are suitable across all visual media. They also need excellent communication, conceptual and creative skills, and a passion for researching industries, organizations, trends and competitors. By this type, branding identity for business or organization can be established. When most people think of graphic design, they think of designs created for marketing and advertising. Marketing and advertising graphic design is a specific type of marketing designers to help them market their content or assets through advertising. This type of graphic design mostly focused on designing postcards, magazines, brochures, banners, images for social media, PowerPoint presentation, infographics, flyers, and any other marketing adverts. A user interface (UI) is how a user interacts with a device or application. UI design is the process of designing interfaces to make them easy to use and provide a user-friendly experience. A UI includes all of the things a user interacts with—the screen, keyboard and mouse—but in the context of graphic design, UI design focuses on the user’s visual experience and the design of on-screen graphic elements like buttons, menus, micro-interactions, and more. It’s a UI designer’s job to balance aesthetic appeal with technical functionality. 7 COMPUTER 10 UI designers specialize in desktop apps, mobile apps, web apps and games. They work closely with UX (user experience) designers (who determine how the app works) and UI developers (who write code to make it work). Publications are long-form pieces that communicate with an audience through public distribution. They have traditionally been a print medium. Publication design is a classic type of design—think books, newspapers, magazines and catalogs. However, there’s recently been a significant rise in digital publishing. Graphic designers that specialize in publications work with editors and publishers to create layouts with carefully selected typography and accompanying artwork, which includes photography, graphics and illustrations. Publication designers may work as freelancers, as creative agency members or in-house as part of a publishing company. Such publications are books, newspapers, newsletters, journals, magazines, catalogues, etc. Most products require some form of packaging to protect and prepare them for storage, distribution, and sale. But packaging design can also communicate directly to consumers, which makes it an extremely valuable marketing tool. Every box, bottle and bag, every can, container, or canister is a chance tell the story of a brand. Packaging designers create concepts, develop mockups and create the print-ready files for a product. This requires expert knowledge of print processes and a keen understanding of industrial design and manufacturing. Because packaging design touches so many disciplines, it’s not uncommon for designers to find themselves creating other assets for a product such as photography, illustrations and visual identity. Simply put, motion graphics are graphics that are in motion. This can include animation, audio, typography, imagery, video and other effects that are used in online media, television and film. The medium’s popularity has skyrocketed in recent years as technology improved and video content became king. “Motion graphics designer” is a somewhat new specialty for designers. Formally reserved for TV and film, technological advances have reduced production time and costs, making the art form more accessible and affordable. Now, motion graphics is one of the newest types of design and can be found across all digital platforms, which has created all sorts of new areas and opportunities. Examples of motion graphic design: - Title Sequences and credits - Advertisements - Animated logos - Trailers - Presentations - Promotional videos - Tutorial videos - Websites - Apps - Video Games - Banners - GIFs 8 COMPUTER 10 Environmental graphic design visually connects people to places to improve their overall experience by making spaces more memorable, interesting, informative or easier to navigate. Environmental design is a broad type of design, here are some examples: - signage - wall murals - museum exhibitions - office branding - public transportation navigation - retail store interiors - stadium branding - event and conference spaces Traditionally, environmental graphic design has produced static print pieces, but digital interactive displays continue to rise in popularity as a means of creating a more engaging experience. Graphic art and illustration are often seen as being the same as graphic design, however they’re each very different. Designers create compositions to communicate and solve problems, graphic artists and illustrators create original artwork. Their art takes a number of forms, from fine art to decoration to storytelling illustrations. Even though graphic art and illustration are not technically types of graphic design, so much is created for commercial use within the context of graphic design that you can’t talk about one without the others. Examples of Art and Illustration for Graphic design - T-shirt design - graphic patterns for texture - motion graphics - stock images - graphic novels - video games - websites - comic books - album art - book covers - picture books - infographics - technical illustration - concept art 9 COMPUTER 10 QUARTER: 1st QUARTER WEEK: 3 MODULE: 2 SUBJECT: COMPUTER 10 TOPIC: BEHIND GRAPHICS DESIGN DESIGN PROCESS Having a solid graphic design process will help you deliver better designs. Once established, you don’t need to think about the next steps each time you’re working on a new project. Just follow your approach. Then you’ll be able to focus on the most important aspect: the graphic design. Although the graphic design process is relatively standardized, there are ways to improve the workflow. Phases and Steps of Design Process in Graphic Design The graphic design process describes the different stages of a design project. It can be broken down into four sub-processes / phases (definition phase, creation phase, feedback phase, and delivery phase) and consists of 9 single steps. This approach can be used for almost every design project: PHASE 1: DEFINITION PHASE In this phase, you define what your client wants or want to create and build concepts of the possible product you wanted to produce. These are the steps included for phase 1: Step 1 : Creative brief—discussion of what will be the design and what it is for. Step 2 : Graphic design research—checking copyrights, researching ideas, looking for references. Step 3 : Brainstorming / Mood boarding - making thoughts and mixing others point of view to the plan. PHASE 2: CREATION PHASE In this phase, you will begin to create scratch and models for which will slowly lead towards the final product. These are the steps included for phase 2: Step 4 : Sketching—creating multiple designs or layouts for samples and selection for possible final design. Always with sketches. Step 5 : Design building —from sketching, you will now slowly proceed to modelling and in pace creating the appearance of the planned product. Step 6 : Refining - since the design has now been set, in this step you will make the final product as fine and refine as possible. In short, the product will be in its final completed form. PHASE 3: FEEDBACK PHASE In this phase, you will present your product to your client or you will observe and see the inconsistencies of your work. Step 7 : Presenting—in this step, you will present your work to your client. This will make sure that your design and work meets the requirements, concepts, or ideas that was planned originally. As well, in this step, you can decide what can still be changed if something looks not good. Step 8 : Revisions —in this step, it is time for you to change, correct, or revised any part of the design that needs to be corrected, modified, or changed. This will make sure that no corrections, inconsistencies or errors be present at the final work. 10 COMPUTER 10 PHASE 4: DELIVERY PHASE The final phase, the final product after all phases is now ready for packaging, distribution, selling, or use. Steps for delivery phase. Step 9 : Final Delivery—time to give the final product to the client or you producing your work by making them available for any users to acquire or use. SUMMARY OF DESIGN PROCESS These steps can be applied on any graphic designs you io create ; either with your clients, for your special someone, and or for yourself. 11 COMPUTER 10 QUARTER: 1st QUARTER WEEK: 4 MODULE: 3 SUBJECT: COMPUTER 10 TOPIC: BEHIND GRAPHICS DESIGN 10 Graphic Design Rules You Should Never Break In the world of fine art and graphic design, rules are often bent, or even broken. It’s encouraged. Breaking the rules is considered to be edgy, unique, and forward-thinking. With the career field of graphic design becoming more accessible in recent years, everyone wants a piece of the pie. Unfortunately, most newcomers to the design profession are unaware of certain graphic design rules — especially the ones they should NEVER break. By not following these rules, the end result can be a visually jarring design, forcing your target audience to lose trust in your ability or competence. By having poor graphics, potential customers can view your brand as unworthy of their patronage. That means you won’t get paid. To assist you in creating more successful designs, I’ve created a list of the 10 most commonly broken graphic design rules… Rule #1: BE CONSISTENT You have to maintain consistency across all design elements and branded materials so your target audience clearly recognizes that the brochure or flyer in their hand is an extension of the same brand they see on your website. By being consistent with your design and branding on your marketing materials, you are ensuring your brand is never mistaken for another or represented poorly to your target audience. Rule #2: AVOID POOR LEGIBILITY Legibility is of utmost importance when choosing fonts, and this applies to both web and print design. If it isn’t legible, then you won’t be able to convey your intended message, but more importantly, you might drive your audience away… And lose them forever. It’s also important to consider what fonts would appeal most to your target audience while still aligning with your brand. Rule #3: AVOID COLOR DISCORD Color is a powerful tool — but it can be used for evil! Make sure that you choose colors that complement each other — avoid creating color discord. See the next page for some insights and examples. 12 COMPUTER 10 See how the red letters against the green background almost vibrate? The red shapes are fighting for the viewer’s attention, which can be visually jarring and difficult to read. That doesn’t mean you can’t use a complementary color scheme, like the yellow and purple above. The light-on-dark scheme helps to alleviate vibration or color discord. Rule #4: PREVENT NON-PROPORTIONAL SCALING OF GRAPHICS AND TEXT Whenever you scale graphics, be sure you maintain the same proportions while scaling. To put it simply, don’t stretch your images folks — it looks terrible, it looks unprofessional, and you’ll basically get judged for it immediately. Size matters… if your image doesn’t fit properly the first time you try to upload it to your website, use it on a social media ad, or slap it on a brochure, edit it! Small images do not scale well — you may need to hire a graphic artist to fix these issues for you before preceding. The image on the left looks bad — stretched horizontally, the snowflake doesn’t maintain the same proportions when scaled down. On the right, the image looks fine — bad design always draws the eye and always distracts the reader from your message and your brand. Don’t make the mistake of distracting a customer from what you want them to buy — get your images right. 13 COMPUTER 10 Rule #5: MAKES SURE TO MAKE YOUR IMAGE SMOOTH, SHARP, AND CRISP Oftentimes, newcomers to graphic design will use raster-based images in their design. Whenever they enlarge or reduce the size of a raster-based graphic, they wind up with pixelation. You can avoid this mistake by using larger images with higher resolutions; it keeps them crisp, even after you scale them. Regarding icons or symbols, it’s best practice to use vector graphics, which can be scaled with no loss in quality. Adobe Illustrator is a vector-based application, so any icons created in Illustrator will not be- come pixelated when resizing. Smooth image and not pixelated Image is pixelated and the edge of the image looks rough Usually, raster-based graphics end up in designs because newbies use Adobe Photoshop to create their posters and flyer illustrations — that’s a rookie mistake there champ, and one you need to avoid like the plague. Rule #6: MAINTAIN ALIGNMENT Randomly placing graphic elements or text within a design can make your print or web design look unorganized and messy. Messy designs look unprofessional and reflect poorly upon your business, and honestly, it takes very little work to align objects properly. Make sure you use guides and align objects in relation to one another on the canvas/artboard, but follow a simple rule of thumb — pick a line somewhere on your page and try to align your graphics and text with it, whether horizontally or vertically, rather than randomly placing text and graphics across a page. Even a simple left alignment for every element on your page can look generations better than boxes of text strewn about the page — it makes us dizzy, it hurts our hearts, and it drives your customers away. Columns help too, and you might find that you can come up with a more complex alignment arrangement after a little thought — but put the thought in first, or you’ll end up with a brochure that only distracts your audience with its bizarre text arrangement. 14 COMPUTER 10 Rule #7: LIMIT THE NUMBER OF TYPOGRAPHY / FONTS TO BE USED To make a big emphasize for this one due to this is so flagrantly violated so often — No matter what you’re designing, limit yourself to no more than 3 different fonts. Using too many fonts is not recommended — it’s one of those graphic design rules that should be etched in stone (or heart). Make sure that your fonts are appropriate for your industry of course, and for your audience, but this is not a case where more = better. Rule #8: ESTABLISHED A VISUAL HIERARCHY You have to establish some type of visual hierarchy throughout your design. Basically, a visual hierarchy is the use of size and color to emphasize one item over another and draw the viewer’s eye to a certain item above others. This is especially important on pages with many different items of text. In most blog posts (like shown above) you can see size being used to establish a hierarchy. Look at the heading at the top of this article — it’s huge! The second level headings are large, and the paragraph text is small — but the buttons are fairly large and stand out. That’s a visual hierarchy — weighting different elements by importance and using color and size to either draw the eye or let the eye wander as it pleases. Without clear visual hierarchy to guide the viewer’s eye through the piece, they will be unable to determine the order in which the information needs to be read. In the example on the right, the visual hierarchy is almost backwards — we want to start reading at the bottom even though it makes more sense to start with the heading and even though the natural way to read this in English is going to be to start at the top. The huge letters at the bottom literally force the eye of a reader of English to start at the end. On the right, it’s clear that we start with the heading, read the body text, and then click to move on. 15 COMPUTER 10 Rule #9: WATCH YOUR GRAMMAR, PUNCTUATION, SPELLING, AND WORDS As what it is said, try to make your content as free from any errors as possible. Learn to proofread your work as many times as possible. A few typos every now and then are no big deal, but a bunch of large mistakes can kill a relationships before it even begins. Always take a little extra time at the end of each project to proofread for grammar, spelling, and punctuation (GSP) mistakes. Don’t be afraid to ask for help! Everyone makes mistakes and it can never hurt to have a extra set of eyes. If you can’t find someone to proofread your stuff, consider using software to help you, like Hemingway or Grammarly. Rule #10: EMBRACE WHITESPACE Oftentimes, people new to design want to cram as many graphics onto one poster or booklet as they possibly can. But hold on, no one’s going to hate your work for a little extra whitespace on the page. This is one of those graphic design rules that can make or break your design. Make sure to conserve your whitespace! Whitespace is the negative space (empty area) in whatever you’re designing, the part of your page that has nothing in it — no graphic elements, no colors, no icons, no text, no anything. Having ample amounts of whitespace within your design can add a greater sense of professionalism and sophistication. It also allows the viewer a moment of rest — you don’t want to cram so much information onto one flyer that the viewer becomes disoriented. NOTE! Despite the name, whitespace doesn’t mean the space should have a color white on it. Below shows an example having a whitespace. The free space you can see here that has no content nor element on it is the whitespace. 16 COMPUTER 10 QUARTER: 1st QUARTER WEEK: 5—7 MODULE: 4 SUBJECT: COMPUTER 10 TOPIC: CONCEPTS OF ART IN DESIGN ARTS AND DESIGN Each and every design needs a touch of art. Art makes the layout and designs pop-out, alive, and effec- tive. Before we proceed to the actual software, one must learn the basics of arts in design. Perspective This is method and a technique of representing an object in three-dimensional space. This creates the illusion that the object to appear not flat and actually having realism in size. All perspective needs a sin- gle point called as vanishing point, and its primary purposes is a guide where the object tend to appear shrinking as it approaches this point along the horizon line. There are 5 major type of perspectives. 5 TYPES OF PERSPECTIVE 1.) One-Point Perspective - 1-point perspective (aka frontal or central perspective) has only one vanishing point on the horizon line located somewhere within the picture plane and all the orthogonals (these are the lines that is drawn towards the vanishing point) converge towards it. Example of one-point perspective 2.) Two-Point Perspective - 2-point perspective (aka angular perspective) has two vanishing points on the horizon line, which don’t necessarily need to be within the picture plane. It creates a distortion where both ends of the object seems being foreshortened. Example of two-point perspective Here is a two-point perspective shown vertically. 17 COMPUTER 10 3.) Three-Point Perspective - 3-point perspective uses three vanishing points where two of them are on the horizon line and the third is either high above the horizon line or way below it. There are two basic types of 3-point perspective based on the position of the horizon line: A.) Worm’s Eye View - imagine yourself looking high up. The horizon line is situated very low. B.) Bird’s Eye View - imagine being Superman flying over a city and looking down. 3-point perspective offers more dynamic views thanks to all the three spatial directions converging towards their own vanishing points and creating more diagonals in our scene. Example of three-point perspective Zenith is the name of the point non- colinear to the worm’s eye view’s horizon line. Nadir is the name of the point non- colinear to the bird’s eye view’s horizon. 4.) Multi-point Perspective  This type of linear perspective is Multi-point perspective - it is the case when there are more than two primary vanishing points on the horizon line. Surprisingly, this is the most common type of perspective we can observe in the real world. Usually it uses 4, 5, or 6 vanishing points Here’s when you should use multi-point perspective: - when objects in our scene don’t lie in the same orthonogal grid - when sketching curved roads - when you want to add visual variation, breaking out from a (boredom of a) single orthogonal grid - when sketching non-orthogonal objects (like pentagon shape) 18 COMPUTER 10 5.) Curvilinear Perspective - Curvilinear perspective is another type of projection, different from all linear perspectives as it introduces curves into the grid system. The curvilinear perspective grids work with 4, 5, and even 6 primary vanishing points. They can be also divided into these categories based on their type of field of vision: Cylindrical field of vision (4 vanishing points) Hemispherical field of vision (5 vanishing points) Spherical field of vision (6 vanishing points) Fundamentals of Color Theory It is a body of practical guidance to color mixing and the visual effects of a specific color combination. In color theory, colors are organized on a color wheel and grouped into 3 categories: primary colors, secondary colors and tertiary colors. More on that later. In order to understand the color theory, one must learn the use of color wheel. Color wheel shows all useable colors that can be used to display images online and to be printed. Despite all colors are useable, not all colors can be printed by the printer correctly. All the colors that we see on digital design are called as Gamut Colors. The color gamut is the full range of colors visible to the human eye. However, not all colors can be printed from the Gamut Colors. You have to set the image to RGB (Red-Green-Blue) mode or CMYK (cyan-yellow-magenta-key color or black) mode if you wish to print the media. THE COLOR WHEEL Color wheel is the basic display of color selections and its consists of primary colors, secondary color, and tertiary color. As well, it also shows the Gamut colors. The color wheel is also arranged so that the warm colors and cool colors laid out properly. For the complete guide and shortcuts for color theory, see the next page. Feel free to visit the website for additional lecture about color theory. https://99designs.com/blog/tips/the-7-step-guide-to- understanding-color-theory/ 19 COMPUTER 10  20 COMPUTER 10 Color and its HSV (Hue, Saturation, and Value) Color is one of the most powerful of elements. It has tremendous expressive qualities. Understanding the uses of color is crucial to effective composition in design and the fine arts. The word color is the general term which applies to the whole subject - red, orange, yellow, green, blue, violet, black and white and all possible combina- tions thereof. Hue is the correct word to use to refer to just the pure spectrum colors or the pure color (without any light or dark adjustments). Any given color can be described in terms of its value and hue. In addition, the various physical phenomena and psychological effects combine to affect our perceptions of a color. If we increased or decreased the intensity of the hue, we will able to produce a saturation. Saturation (also know as tone) adds gray to a hue, thus adjusts the intensity of the color. Saturation also defines the brilliance and intensity of the color. If the intensity of the color is reduced, then it is called desaturation. If we increase or decrease the lightness or darkness of the hue, we produce a value. Value refers to how dark (also called as shadow) or light (also called as tint) the hue is. By combining hue, saturation, and value altogeth- er, the artist can create a wide and various creative form of art. However, we cannot just combine or put and colors together or side-by-side. Proper combination is needed to produce a decent effect. In order to produce such effect, one must learn the use of color palette. Color Palette A color palette, in the digital world, refers to the full range of colors that can be displayed on a device screen or other interface, or in some cases, a collection of colors and tools for use in paint and illustration programs. The color palette reveals a lot about the electronic design of the device or technology, and its visual capabilities for human users. A color palette is also simply known as palette. You can actually research online the color palette or color reference you can use and follow in order to put color on your work. Shown below are some color palette used to produce some art / design. Color palette used to paint this image Color palette used in Google logo 21 COMPUTER 10 Negative space Also known as white space, is the area of the layout that is left empty. In graphic design, negative space is often used in logos, illustrations, posters and creative lettering where it becomes an active part of the visual presentation making key objects even more expressive. Why Is Negative Space Important? Imagine yourself coming into a room fully packed with various staff. Shelves, boxes, bags, piles of books and clothes, the desk cluttered with various things. Will you be able to concentrate on such conditions? Do you really need all those things right now? Will you be able to find what you need and Example of using negative space in a logo. If you will check the white how much time will it take? Well, that’s pretty the space on the mountain shown above, you will actually see a bear drawn same what users feel opening the page or screen on it. The negative space of being empty makes an additional hidden image on the logo. without a vital air of negative space. Both clients and some designers may want to put as many elements and features as possible on one page or screen thinking that it will save the game and will be helpful for clients. But that’s a mistake: in fact, users don’t need everything at once. Even more, too many elements without enough air significantly raise the level of distraction: overloaded with information and interactive elements most of which they DON’T need, users will have to make an effort to find what they DO need. As Aarron Walter mentioned, “if everything yells for your viewer’s attention, nothing is heard”. Clarification, there is no difference between the negative space and white space. Below are some examples of negative space / white space. In this logo of SPARE, there are not letter P and R here, but Letters where there are illusions of animals on it. The because of the negative space, it creates the illusion that animals are the negative space on the letters. these two letters exist. A two negative space movie poster where it is not only reversible, but you can see the profile of Batman and Penguin here. In this logo, there is a spoon found inside the tip of a quilt pen. The spoon is the negative space of this logo. This simple document used the white space / negative space in order to make the page pre- sentable, neat, and easy to look at. 22 COMPUTER 10 Concept of Lines Lines are the barebone of every art. It can be used as your guide, as an outline, as a display, a part of an element in a document, and many more. Lines also gives multiple meaning if used effectively. On the left are some examples of lines you can use for your designs. You can draw these lines either in thin or thick way. You can curve this lines or scribble it. The uses of these lines are endless. There are other kinds of lines out there, try to research those other kinds of lines you can use for your designs. Vector Designs and Artwork Vector artwork is a term that describes any art made with vector illustration software like Adobe Illustrator. Vector artwork is built from vector graphics, which are images created with mathematical formulas. In comparison, raster art (also referred to as bitmaps or raster images) is created with colorized pixels. Enlarge pixel-based art in a raster file too much and it looks jaggy, whereas you can enlarge vector art to any size without negatively affecting its appearance. This resolution independence allows vector art to be used in a variety of forms, from small illustrations to massive billboards. Below is an example of vector arts. 23 COMPUTER 10 5 RULES OF DESIGN COMPOSITION AND LAYOUT Everyone knows to get better at any art form, you have to first understand the particular tools and procedures that form it. Design is no different from cooking food. We just can’t throw all the ingredients in one dish and call it done, we need to establish the way how we use and arrange the ingredients to produce and high quality dish. Below are the five rules for design composition and layout. RULE 1: THE GRID Most designers see an invisible grid running through all their designs. In modern web design, clean grid lines have become popular and almost impossible to avoid. There are a few simple reasons for this: grids make your designs cleaner, more efficient and easier to adapt. Grids bring organization not only to the design, but to the process of creating design. Say you want to create a poster for a lecture series. Create a strong grid and if the dates, times, images and colors all change, your basic designs will feel related. Instant consistency and less time updating and adjusting. Baseline grids also give you a great roadmap when working in a team. Every designer knows the feeling of relief that comes with opening someone else’s design and seeing a clear grid to follow! RULE 2: EMPHASIS AND SCALE The eye generally needs a place to rest or something of interest to hold it, otherwise people will look at your design and quickly move on. Say you take a photograph of your mom at a family reunion. Your purpose is to bring attention to the moment and the joy of the gathering by making your mom the subject and focal point of your composition. To communicate the message to the viewer that your mom is the focal point, you want to use scale and emphasis. You could place her prominently in the photograph and make sure she is the largest object in the photo. You could emphasize her by blurring the background to make her stand out or focus- ing her brightly colored dress. Figuring out the focal point of the design will give your eye the guide it requires to structure the composition, as well as organically build hierarchy. In the design on the right the focal point is the ridiculous cake—our eyes go right to it and then read the rest for context. RULE 3: BALANCE Keep in mind that in terms of composition, white space (or negative space) is also an element. White space gives our eyes paths to follow through the design. Give each element on the page some space to breathe and balance between positive and negative space will emerge organically. You can see how moving the elements in the web design above closer together (thus shrinking the negative space and dis- rupting the balance of the piece) makes the design claustrophobic and ultimately unsuccessful. Imagine an invisible set of scales in each design and make sure you don’t tip the scales by cloistering elements on one side of your grid. The website design on the left does this cleanly by marrying large type elements (“What We Do” “Our Works”) with smaller, equal-sized paragraphs of longer explanatory 24 COMPUTER 10 RULE 4: RULE OF THIRDS The Rule of Thirds is inescapable in design. It’s a fundamental guideline that’s so simple and effective, it often feels like a cheat: divide your design into three rows and three columns. The points where the vertical and horizontal lines meet form natural guidelines for where you should place your subject and supporting elements. Struggling with finding balance in your designs? The Rule of Thirds is about to become your best friend. For the most clear examples, look at photographs. In the example below, the focal points (the tree and horizon) are perfectly aligned with the grid created by the Rule of Thirds. If the tree was dead center horizontally and the mountains were directly in the vertical center, the composition would not be so pleasing. RULE 5: RULE OF ODDS The Rule of Odds says that pleasing compositions seem to often have an odd number of elements placed in the foreground, most commonly three. The two objects on the outside both balance the focal point in the center, creating a simple, natural balance. (If you’re a wedding photographer this is probably the most difficult rule to follow.) This is often true in logo design, where a centered mark might be offset on either side by the company name, like in Needle Records’ logo. DEVICES CAN BE USED FOR GRAPHICS DESIGN (DIGITAL MEANS) You can design digitally anything to your computer. Since you will be making designs to your computer, there are several devices you can use to create your design. Below are the peripheral devices you may use to your computer to create your graphic arts. Optical mouse Graphic tablet Pen Tablet ————- END OF MODULE ————- 25 COMPUTER 10 QUARTER: 1st QUARTER WEEK: 8—9 MODULE: 5 SUBJECT: COMPUTER 10 TOPIC: THE GIMP INTRODUCTION TO GIMP What is GIMP GIMP is an acronym for GNU Image Manipulation Program. It is a freely distributed program for such tasks as photo retouching, image composition and image authoring. GIMP is a cross-platform image editor available for GNU/ Linux, OS X, Windows and more operating systems. It is free software, you can change its source code and distribute your changes. Whether you are a graphic designer, photographer, illustrator, or scientist, GIMP provides you with sophisticated tools to get your job done. You can further enhance your productivity with GIMP thanks to many customization options and 3rd party plugins. TRIVIA: GNU is a recursive meaning which means GNU’s Not Unix Not an effective meaning, isn’t. The latest version of GIMP is version 2.10.20 GIMP Features and Capabilities The following list is a short overview of some of the features and capabilities which GIMP offers you: - A full suite of painting tools including brushes, a pencil, an airbrush, cloning, etc. -Tile-based memory management, so image size is limited only by available disk space -Sub-pixel sampling for all paint tools for high-quality anti-aliasing -Full Alpha channel support for working with transparency -Layers and channels -A procedural database for calling internal GIMP functions from external programs, such as Script-Fu -Advanced scripting capabilities -Multiple undo/redo (limited only by disk space) -Transformation tools including rotate, scale, shear and flip -Support for a wide range of file formats, including GIF, JPEG, PNG, XPM, TIFF, TGA, MPEG, PS, PDF, PCX, BMP and many others -Selection tools, including rectangle, ellipse, free, fuzzy, bezier and intelligent scissors -Plug-ins that allow for the easy addition of new file formats and new effect filters. 26 COMPUTER 10 What’s new in the GIMP 2.10.20 GIMP-2.10.16 release was skipped, due to a critical bug. It has been fixed. Here are GIMP-2.10.20 release highlights: -Tools are now grouped in the toolbox by default: Section 1.2, “Tool Icons”. -Sliders now use a compact style with improved user interaction: New sliders. -Vastly improved user experience for the transformation preview: Composited preview. -Dockable areas now highlighted when a dockable dialog is being dragged. -New 3D Transform tool to rotate and pan items: Section 4.9, “3D Transform”. -Much smoother brush outline preview motion on the canvas. -Symmetry painting enhancements -Faster loading of ABR brushes: GIMP now spends a lot less time loading Photoshop’s brushes (ABR). So if you use a lot of those, the startup time will become pleasantly smaller, by order of a magnitude. The technical explanation is that GIMP used to read the stream of ABR data byte by byte, and now it uses scanline reading instead. -PSD support improvements: PSD support improvements PSD files now load faster mostly by eliminat- ing excessive copies between the original file and the project representation inside GIMP. For large PSD files, the loading is now ~1.5 to ~2 times faster.\n Moreover, GIMP is now capable of loading CMYK(A) PSD files (only 8-bit per channel for now). It does so by converting pixels to RGB(A) float using sRGB as the profile which, we know, is not good enough for serious work. However, the plug-in is already using BABL formats to specify and communicate CMYK pixel format encodings with GIMP. This is a good first step towards better CMYK support. It can be improved both on its own as well as integrate with the ongoing work enabling general color-space support for BABL formats in the development branch. -Consolidated user interface for merging down and anchoring layers: Merge layers and Anchor layer -Update check to notify users of new releases available AUTHORS OF GIMP The first version of the GIMP was written by Peter Mattis and Spencer Kimball. Many other developers have contributed more recently, and thousands have provided support and testing. GIMP releases are currently being orchestrated by Sven Neumann and Mitch Natterer and the other members of the GIMP-Team. CIMP 2.10.20 INTERFACE Before you start using the software, you must have a general knowledge of the interface of the software. The interface of GIMP is user—friendly and even beginners can work around the software easily and conveniently. The users can also change the order and placements of the panes of GIMP for the convenience and customization of the user. See the next page for the interface. 27 COMPUTER 10  1 2 3 9 4 5 6 8 7 1. Title Bar  it displays the name of the file and some information about the file being worked on. 2. Menu Bar  it displays the basic commands and functions you can use for performing any tasks. 3. Thumbnail  it displays the over-all flat appearance of the files being worked on. 4. Tools  It shows all active tools you can used for editing or creating graphics. 5. Foreground / Background color (aka Active Color Toolbox)  sets what color to be set for foreground and background. 6. Ruler  A moveable ruler that can be set to help make guidelines and grids. 7 Tool Options  Sets the behavior, options, and settings of the current tool being used. 8. Document / Paper / Canvas - The working area of your GIMP. Anything drawn here will be displayed on the final product. 9. Pane panel / Dockable {Panels - A pane window where you can customized in order to show or display other features you want to see on your workscreen. 28 COMPUTER 10  17 10 18 14 16 13 11 12 20 15 10. Layers Panels  It consists of layers, channels, and paths. It holds the layer you will work on. 11. Tool Preset Command  Primary function is to manage the tool presets for ease of functionality. 12. Thumbnail  it displays the over-all flat appearance of the files being worked on. 13. Navigate the Image Display  Allows user to navigate around the paper without moving any single layers around. 14. Layers  The actual area where you place your work. This is where you manage your contents on the paper. 15. Layer Commands  This is where you manage, add, or delete your selected layers. 16. Scroll Bar  Allows you to see parts of the document that is not currently seen. 17. Brushes - It consists of brush tools and other available brushes you can use for you work. 18. Layer Modes - Allows the user to set the modes of each layer that will change the behavior of the currently selected layer. 29 COMPUTER 10 The Tools in GIMP 2.10.20 GIMP has many tools that you can use to perform your work. Its tools are similar to other graphic software out there. Though limited compared to SAI, Photoshop, and Clip Studio, yet it can still do the same thing like those powerful graphic software. Below are the tools for the GIMP. These are the basic tools found in GIMP. If you notice some tools has an arrow found on the lower right on it. These arrows simply tells the users that there are other tools hidden or correlated within this tools. To access these extra tools you may long press (hold) on the left mouse click or do a right click on the tool. You may also access the tools by pressing the associated / mapped short keys. Below are the names of the tools and its shortcut keys. The shortcut keys are shown in parentheses. 30 COMPUTER 10 Active Color Toolbox This sets the color of the main color to use (foreground color) and the secondary color (background color). Clicking on this toolbox will allow you to change the color of the foreground or background. Pressing X or the mini box located at the lower left will switch the color of the foreground and background. Color Swatch This shows the selection of color you can choose under the mode of Gamut color, RGB, or CMYK. You can bring swatch by clicking on active color toolbox or by accessing it on the panels. This swatch has multiple functions and commands you can manipulate. You can input the hex value of the color, in RGB code in HTML notation, to quickly select the color or play along the handles to tweek the color values to select your color. Color options will also help you set the way you select your color. Here you can decide if you like to use a color wheel, color swatch, etc. If you want to copy the color, the color pick tool here will quickly copy the color you want to use. See the next page for the color swatch. 31 COMPUTER 10 Layer Panel Before you can make your work, you need your layer. Without any layers on the canvas, you could nev- er ever draw anything on GIMP. It is suggested to make multiple layers so that you will not accidentally ruin any work drawn on the layer. Be reminded that if you have multiple layers, the layer of the top will always be visible than the layers found on the bottom. Here are the options and tools found in the layer panel. To get to know about the tools and layers, one must practice and explore the use and function-ability. Try to draw using GIMP. By time, you will get to know more and get to use the functions of each and every tool available here. And since you need to experiment or draw to get to know more about the tools, one must learn to know the use of the area you will draw upon to. You need to know about the canvas. 32 COMPUTER 10 The Canvas The canvas or work area is the actual paper you will work on. The layers will be placed upon here. If you have used Paint software before, then you might be familiar on how to use this space. Guidelines are not visible on the canvas. You can create a guideline by clicking and holding your mouse from the ruler towards the canvas. Guidelines are imaginary lines as well, it will not be printed on your work. TRIVIA: You can customize how the tools, layers, and canvas appearances. Some Shortcut Keys for GIMP 33 COMPUTER 10  34 COMPUTER 10  35 COMPUTER 10 For more details about GIMP and its tools, visit this webpage and documentation of GIMP https://docs.gimp.org/2.10/en/gimp-tools.html#gimp-toolbox-areas 36 COMPUTER 10