D e s i g n 1Winter ‘12

H u g oD a n i e l

S a l v e d o r e

TheDesign L a n g u a g e

The elements of design give us an objective way to analyze and critique design. They make up a language for us to communicate what is working and what is not in a piece.

How confusing would it be to try to talk about something without this language, and especially without being able to point to it, and have the other person understand? “Oh, this little thing here needs to be, um, fatter, but thinner some-times, too, and make it stand out more… some-how.” Much simpler and clearer to say, “This line should to vary in weight and it needs more space around it.” This language also helps us describe the affect of different aspects of the design on our audi-

ence. Last time, one of the things we looked at was how line can create a mood or a feeling. Just from a simple line, one of the elements of design, you can cause a viewer to feel angst and tension.Using the Elements

Design by definition is planned. Design is created to be useful. How do we know what will be use-ful? By thinking about the elements of design and how each element contributes to the delivery of the message. The elements give us as designers guide-lines when creating our work. They can remind us what’s missing or how we can use something more effectively and they give us a way to talk about our work with others.

“The elements give us as designers guidelines when creating our work.”

ShapeShapes convey meaning, aid in creating direction and can be used quite ef-fectively for drawing atten-tion to a particular section of the design. There are three basic categories to put shapes into: geometric,

natural and abstract.

ColorColor has the great ability to influence our impressions of a design and this is probably the way color is used most often. If it is mostly composed of cool colors—green, blue and pur-ple—we can feel calm or depressed, depending on how they are used. Warm colors—red, orange and yellow—make us feel strong, passionate emotions like anger or desire.

SizeOther ways to say size are scale and proportion. It is the relative largeness or smallness of an object in the context of composi-tion.

SpaceIn its most general defini-tion, space is mass; it is height and width. Space also indicates depth and the location of objects; it creates the illusion of di-

mension.

LineA line connects two points. Lines come in every shape and size. They are one way to define space and shape, and they can give the illusion of dimension.

ValueValue is the relative lightness or darkness of an object. It is the differ-ence between shadow and highlight, and all the midtones in between.

TextureTexture is the surface qual-ity of a form or shape. It is a good way to add details to your design. Notice I didn’t

say an easy way!

L o g oD e s i g n

L o g oand

M e n u d e s i g n

FORK KNIFE

FORK&KNIFE

assorted seasonal pickles with dill $4.00

crispy surf clams with

caper & pickle aioli $11.00

market lettuce salad with

olives, tangerine & walnut vinaigrette$11.00

poblano soup with

crispy pork belly, grapes & creme fraiche $8.00

bellwether farms ricotta fritters with

saba & sa�ron honey $7.00

dashi marinated yellowtail with

avocado, hash brown & tonburi $15.00

lamb neck hash with

toasted quinoa & fried jidori egg $13.00

pappardelle pasta with

pork & beef ragu & fried egg $11.00

7 oz lazy ox burger with

cantal cheese & green peppercorn mustard $14.00

P o s t e r D e s i g n

J a c k J o h n s o nP o s t e r

B o o k C o v e r

by: Arthur Visconti

M a g a z i n eD e s i g n

Guitar Legend

“fingerpicker”Tommy’s unique style – he calls it simply “finger style” – is akin to playing guitar the way a pianist plays piano, using all ten fingers. Rather than using a whole band for melody, rhythm, bass, and drum parts, Tommy plays all that – and more – on one guitar.

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