Graphics Reference
In-Depth Information
cess of building a grid, but its use as an organizational idea on its own is just as valid.
This approach starts fast and loose: the designer works with the material much like
a painter does, making quick decisions as the material is put together and the relation-
ships are first seen. As the different optical qualities of the elements begin to interact,
the designer can determine which qualities are affected by those initial decisions and
make adjustments to enhance or negate the qualities in whatever way is most appropri-
ate for the communication. The method's inherent liveliness has an affinity with col-
lage; its sense of immediacy and directness can be inviting to viewers, providing them
with a simple and gratifying experience that is very accessible. The result is a structure
that is dependent on the optical tensions of the composition and their connection to the
information hierarchy within the space.
THE DESIGNER HAS CREATED
a shifting maze of positive and negative shapes to contain, as well
as work around, the text elements. The shapes take on the attributes of road signs and architecture
but appear to move about, as heavy masses, open spaces, and texture collide and separate.
I Just Might
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