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the 3c method for design evaluation: global and local contrast - part 2

Continuing our guide to formulating questions to test our design decisions.

IN last part we analyzed two C: understanding the (C) context and the quality of the (C) content in the project. And today we'll talk about the last C - (C)contrast, which is divided into two parts - Global Contrast and Local Contrast.

 

Global Contrast

Determines how the developed concept is non-standard for the client's sphere, new for the creative industry and freshly executed within the chosen style.

Every job does not exist in a vacuum. Having unloaded the design for evaluation by colleagues, client or friends, it will inevitably falls under comparison with other projects. And this is either a breakthrough, or just a quality product, or neither. other.

No one needs to be taught how to do badly. They say everywhere how to do well. And to win the festival obviously, it is necessary to break through a couple or all levels of global contrast (GC). Let's figure it out.

Questions to test good global contrast:

1) What styles are typical for the client area? How am I going to avoid using them?

We monitor competitors and the info field in the category. And we do the opposite, but remember the brief. If in a proskate the party is dominated by graffiti and overload on details - we turn the concept towards ultra-minimalism. And in the design of the limousine rental service - on the contrary, we are introducing brutalism.

2) What cases in the field of the client have been implemented by other agencies? Which of them are the most non-standard?

Agencies are always at the forefront of design. They have already applied point 1. Many times. Therefore, we look at how tops are made and close another level of its uniqueness. The problem here is that there is simply no other way to do it. First, let's decompose the case into elements and do reverse engineering. Although why such difficulties when the creators they themselves talk about breakthrough work at lectures and festivals. We walk, study, reproduce the algorithm.

3) What colors are non-standard for the client area?

Helping a client to stand out at the color level is a big achievement when all the big players have taken their key shades. But if we talk about niche brands, then it is quite possible to create a unique palette in the category. If fast food is characterized by bright and naive colors, then we are trying to introduce pastel or black-white.

4) What fonts are non-standard for the client area?

Typography is a big design trend right now and allows you to create a unique signature for a brand. And he doesn't have to match the category. Make grunge fonts for beauty products, and display fonts for kindergartens ribbon antiqua.

5) What graphic images are non-standard for the client's sphere?

A good metaphor can be the single strongest element in a concept and still make it memorable. If everyone around uses mountains as a symbol of pure natural water, then the use of an urban image, such as water tower can make your product stand out.

6) What non-standard tools can I use to create unique elements?

Design is not only about graphic images, but also about the process of their creation. For the most part, modern visual decisions are hard to surprise anyone. But if mastering illustration or 3D for a project sounds like an unrealistic task, then going beyond the scope of graphic editors and using a log as a brush for lettering can be organized as one times and enjoy the process.

Combining the skills of a designer and a creator begins with the Civil Code. To make a truly unique case for all points and surprise the world, you need to look high above the project and its environment, which means developing your own watchfulness, keep track of current trends and experiment a lot.

Local Contrast

Determines how well organized the composition is in the layout.

It is important for a designer to understand how people perceive visual information. The shape of the object is read by us faster colors, and color is faster than text. And this is just the tip of the iceberg in good composition. All solutions when working with local contrast (LC) are aimed at ensuring that the viewer considers the most important with the least effort.

Let's look at the example above. We see a composition rich in details, but all elements are well read. This several factors contribute:

  • - center location - everything in the center attracts attention, this is the base
  • - circle selection - a complex silhouette of a human figure should conflict with an abundance of small details, however by placing it in a circle, we indicate its location in the layout and simplify the outer silhouette to the level geometric figure
  • - the difference in scale - both the figure and the small elements are made in white, but they do not mix, since the man is a massive spot, and the details around are made with thin, light lines.
  • - the difference in color - the background is richly warm, the circle is pastel cold, and the man is white with warm and cold reflexes, so with the help of lightness and color temperature, we helped the viewer to see the main object
 

The designer has the ability to direct the viewer's attention, and this skill is revealed in the LK.

 

Questions to test good local contrast:

1) What is the main thing in the layout and how is it highlighted? What prevents the selection and how to eliminate it?

We adhere to the rule: one layout - one message. You already know the Context and have selected the Content for the layout, now we need to take the main thing from this and highlight it graphically. Beeline draws a yellow strip under an important word in message, and Avito puts a product photo in a digital frame from the application. We study the techniques of brands, look at pictures artists and read about techniques for highlighting the main thing.

2) What is the hierarchy of elements in the layout after the main object?

We can all highlight the important, but organizing information of a secondary plan is the main part of the work above the layout. In order for the billboard layout not to turn into a challenge, it is necessary to determine, but it is better to prescribe what is what goes in order of importance. Make a route for the viewer along which his eyes will move.

3) What grid is in the layout? How versatile is it for scaling?

The grid, of course, is not a panacea, but when working with a large amount of data and different formats, it can help out. The number of columns strongly determines the density of the layout, that is, it affects the degree of digestibility information. And if you go beyond the Swiss school, then the grid can help you find fresh options for expressive presentation.

4) Is the rule of proximity observed?

The basis of the basics for grouping data in a layout. When on an intuitive level it seems “something is wrong with the layout”, then often the point is the unfortunate ratio of distances between elements. Good layout is perceived by blocks: here I I read about the benefits, here is a photo of the product, and here are the contacts of the brand.

5) Is the contrast of spots observed?

A layout consists of objects and groups of objects. These are the spots. It is important that they are different in size, because that uniformity is inconvenient to navigate in a layout and generally boring to learn. If you make an image product for half a layout, then the entire text block should not be the entire second half, but much smaller.

6) What graphic techniques are used to separate the objects of the composition?

In compositions loaded with elements, it becomes necessary to highlight the main thing not only in size and color, but also more complex methods. Highlighting, texture mapping, shadows, separator lines are just a small part of how split the layout into groups.

7) Are there nuanced elements in the layout?

Modern design can be described as highly contrasting. And a filigree touch can always become adding an object of very small size. For example, you can write a small slogan where there is free space, or draw a small icon that reflects the topic of the message in the layout.

8) How much and what kind of text do I need to make layouts well and place accents correctly?

Having received the texts for the layout, the designer must be able to split it into logical blocks and lay them out with emphasis on important information. We set the task for the copywriter to get the required text size, and if it is not there, then it looks like on this project you will pump a new skill.

Creating a good LC is closely intertwined with composition skills. Each of these 8 questions will require you to independent in-depth study of the topic. And in the end, you can decompose the composition into components and work on improving it more systematically.

Still not a panacea

This system of questions is a convenient tool for evaluating your work, but mainly for those who are used to go through questions to new solutions. This is not a universal remedy, and will not remove all dark spots at once. on your concept. But now you can not feel your layout, but understand it at the level of details and parameters, which It will help to point to pump weak areas and move forward.

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