Zine Updates part II

Hello friends!

A couple weeks ago Emmy and I got together and discussed the zine project. We can all agree that we need to get moving on this project, so here are some things that we decided:

• We need to simplify. So, we are doing eight pages instead of a sixteen page zine. Thumbnails for this eight page layout can be found in this folder: M:\DESIGNER\~multimedia services\MULTISERV PROJECTS\Illustration Showcase Zine. Look for the files named "8PageBrainstorm" and "8 pages thumbnails" for an idea of what we were thinking. 
• Quick run-through of the eight page layout: 
1. front cover/title
2. intro to the artists of 329/describing the setting. This will be narrative illustration.
3. Map 
4. three spot illustrations
5. three more spot illustrations, so six total
6. t-shirt designs
7. graph/other things we can do/other abilities
8. back cover/contact info
• For our story: we are going to use speech bubbles to narrate the story. An artists of 329 takes the reader through different styles of art, explaining things along the way. At the end, the character mentions that we can also do other artistic things like a, b, c, etc. (this is page seven). 
• For the spot illustrations: We want to show our stuff!! Here are some different styles for the spot illustrations, so the reader can see how diverse our skills are ;) (If you don't know what I'm talking about, see the file "8PageBrainstorm")
• flat color, limited palette, emphasis on line work
• stylized, cell shading, shape based. (maybe do a spot showing motion, this style is suited for that I think. Think sports, dance, etc)
• traditional realism (like a realistic oil painting). In a course, this might be like a historical figure portrait or something.
• art with more abstract elements, kind of like what you would see in an editorial piece
• realistic, but still somewhat stylized. Painterly, texture, has some shading
• no line work, tasteful texture, flat color, shape based. Maybe you'd see this on a website or on a t-shirt. I think science, the STEM careers. 
• a tasteful pattern w a nice color palette. Something you would see in a banner
• any of these styles can be used to do like a narrative vignette. That's always an idea.
• If you have any better ideas for styles, please throw out your ideas! Our goal for the spot illustrations is to show a good range of style and skill.

• IN CONCLUSION this is what we need: 1 character design for the narrator/artist, 1 page where we put that character in a narrative scene (intro page 2), 1 really nice map, 6 spot illustrations, a couple t-shirt designs,  and 1 cover design. Sound gewd? Oh and we need to decide on a color palette.
• If you have any other input, PLEASE ADD TO THIS OR COMMENT. Thanks!!!

Zine Updates

ZINE UPDATES

WE NEED TO COME UP WITH A STORY! 

Zines are like stories and less like catalogs! So we need to come up with a story about 329. 

Notes from Suzy:

• Make it relatable to people who are looking for a more professional look
• Keep the story more on the realistic side
• Find creative ways to advertise our products! (is the character wearing a t-shirt that we designed? How are the ideas presented? etc.) 
• We need to define vocabulary! (what does narrative illustration mean? etc.) 

Parameters: 

• 12-16 pages
• Full Color

So if you have any story ideas, please post them here so we can talk about them with our next meeting! 

Story Ideas: 

WE ARE MAKING MAILERS!

Hey there Illustrators!

So Suzy presented the idea that we make a Mailer to promote our Illustration Team to the rest of the staff here at Continuing Education. 

So it's up to us to start making some proposals to give to Suzy! 

We have been given suggestions (which are in our room on giant sticky notes), but we have free range to come up with something awesome. Write down ideas you have on the sticky note! 

We threw around the idea of a zine! It would be easy to print and our artwork wouldn't be crunched down onto one piece of paper. (It will also make people less inclined to see it as a regular flyer and throw it away)

Network folder for this project is in M:/isdata2/designer/~multimedia services/multiserv projects/illustration showcase zine.


So here are some tips while we brainstorm: 

1. We Need a Theme

Many mailers that illustrators use have a cohesive theme. Now this isn't necessarily a theme like EFY. It's more focused on Design Aspects like:

• Color
• Pattern
• Framing
• Font

Check out this link to CreativeBloq for some of these ideas: 

https://www.creativebloq.com/print-design/self-promotional-brochure-11135260

or this one: 

https://www.canva.com/learn/best-email-designs/

2. We Need Artwork

We need to come up with some illustrations to promote us on the mailer. They will be front and center! This is anything from Maps, Graphics, Narratives, Concept Art, Character Design and even Graphic Novel examples (which we have done in the past). Artwork ideas should be passed off with the team and with Suzy. 


**We talked about how the idea of zines can be a bit tricky because many employees here want to see more of this: 

and less of this: 

While we may understand that many illustrations that look cartoony and seem a little rough is considered a professional art style, many people won't know that. So we need to design this in a way that is professional, but still stays true to our work. 


Here are some events coming up (in order by date) that our work can cater to: 

Conferences: 

• AFY (June 3rd --also on later dates (check conference link below) 
• French Camp (June 10th) 
• Teachers Camp (June 10th) 
• Design Week (June 17th) 
• Twisted Tales and Evil Villians (Writing Camp) (June 24th) 
• Young Authors Academy (July 8th) 
• and more found here: https://calendar.byu.edu/categories/conferences

Education: 

• Critter Camp (June 4th, 6th, 11th, 18th) 
• Biology Bootcamp (July 10-19th, 30th-31st, Aug. 1-3rd) 
• etc. https://calendar.byu.edu/categories/education

Hope this all helps guys! Good luck! 

How to Make a Graph in Adobe Illustrator: Extra Graphs in Illustrator

Hey IS Artists!

Here I am going to give you a brief tutorial of which graph is which with point graphs, line graphs, radial graphs, stacked graphs, scatter plots, and bar graphs. It's important to know which graph our clients are wanting and how to plug in the data for them.

Luckily, like the Column Graph and the Pie Chart, all of these charts work the same. It's all about what numbers you plug in. (If you want a detailed explanation of how to make a graph refer to the Part 1 of this tutorial).

Stacked Graph

A stacked graph shows the height of the column and how it corresponds to the amount being compared. For stacked column graphs, numbers must be all positive or all negative.


Like shapes, you can select each individual box and change it's color, effect, and even give it a 3D look. Refer to the Pie Chart Tutorial for how to make something 3D.

Make sure you use the first column in the data window to put what you want on your "x-axis" (ex. 2014, 2015, dogs, etc.)

Bar Graph

The length of the bar corresponds to the amount being compared. You can combine positive and negative values. Negative values appear as columns extending below the horizontal axis.

Again, you can change the colors, gradients, and volume of the shapes in the graph just by using the direct selection tool and clicking on the bars.

Line Graph

Each column of data corresponds to one line in the line graph. You can combine positive and negative values in a line graph.



LEGENDS
**If you want to create a legend or key for your graph leave the top left corner cell blank and then
just put the information of the key on the top row of the data chart. 


A. Data set labels B. Blank cell C. Category labels 

Area Graph

Values must be all positive or all negative. Each row of data entered corresponds to a filled area on the area graph. Area graphs add each column’s values to the previous column’s totals. Therefore, even if area graphs and line graphs contain the same data, they appear substantially different.

Scatter Graph

A scatter graph differs from the other kinds of graphs in that both axes measure values; there are no categories.

• Enter dataset labels in every other cell along the top row of the worksheet, starting with the first cell. These labels will appear in the legend.
• Enter yaxis data in the first column and xaxis data in the second column.

Note: Disable the option Connect Data Points to remove connecting lines.

Note: Scatter Graphs cannot be mixed with other graphs. 

Radar Graph

Each number is plotted on an axis and connected to the others in the same axis to create a “web.” You can combine positive and negative values in a radar graph.

(c) Adobe Info

How to Make Graphs in Adobe Illustrator Part 2: Pie Charts

Hey IS Artists! 

Here is a tutorial on how to make graphs in Illustrator just by inputting data. It'll save you tons of time not having to create point by point vector pie-charts, column graphs, etc. 


Where is the Graph Tool? 

The graph tool in Illustrator is in the right-hand column of your tool set. It may look like a small column graph if you haven't used another graph tool before. 



You can bring a palette of all of your graph tools by clicking on the tool and then clicking the side bar of the window that tool brings up. But you don't have to. It's just like any other! 


Pie Charts

Similar to the column charts, select the Pie Chart tool from the Graph Tool options. 
Then click and drag where you want the chart to be/how much room you want it to take up on your artboard. 

The little excel-data window will pop up and you can enter in your data manually. The top row is where you put what your pie chart is representing (ex. Macbooks, iPods, dogs, etc.) This will also create your Legend for the Pie Chart. 

The next row will be where your numbers go in. Remember you can import your data by clicking the icon next to your data input bar. 



You can also change the font of the words by the legend by selecting the words and going up to the font drop-down menu. 




Like shapes, each piece of the chart is like a shape (even though the whole chart is grouped together). Select the piece of the chart you want and you can then change the color. 
**You have to change the legend swatch independent of the pie piece. 



Ring Pie Chart

If you are trying to make a ring pie chart here are the steps you should follow: 

Step 1: You have to ungroup the pie chart. 
***This will make changing the data no longer possible! Do so with certainty that your data is accurate! 
-Select the whole graph
-Go to Object from the to menu
-Select "Ungroup"

**Don't hit Expand!! Even though it's a common method, don't use it for this. 



This will bring up a dialogue box letting you know about the data. Hit yes and now you're ready to move on! 



Step 2: Make a circle shape in the middle of the pie chart. 
-Get your ellipse tool and draw a circle in the middle of your chart. 

PRO TIP: Hold down Shift + Alt key to make a perfectly symmetrical circle in the middle of your pie chart.

Step 3: Select your graph again. Go to your Shape Builder tool and use it to cut out the shape by drawing a circle inside of the ellipse. 

PRO TIP: HOLD DOWN THE ALT KEY TO CUT OUT THE SHAPE!

It will cut the shape out automatically following the ellipse shape you created. 
**Avoid just putting an ellipse shape over the graph and then filling it to match the background. It's important to cut out the shape for future edits (3D, etc.) 



3D Pie-Chart

Your pie chart doesn't need a ring in it to become 3D but we are going to continue using the example above for this next tutorial on how to make your chart 3D. 

Step 1: REGROUP your graph. 
-Select it
-Use the hotkey marked in the image below. Or use the drop-down menu. 



Step 2: Make your 3D Shape
-Go up to Effect from the drop-down menu up at the top of your screen
-Go down to 3D
-Click "Extrude and Bevel"



Your shape is now 3D and you can mess around with the direction and the light-source with the cube in the window that just popped up. 

If you want to do more with your light-source then click the "More Options" Button at the bottom of the window. It'll bring up a sphere with a light source. You can also change the ambient lighting, the intensity and the shading color in the drop down menus next to the light source sphere. 

You can also change the shadow plane of the new 3D object by changing it on the "Shade Color" Drop-down menu. It can be "None" "Black" or "Custom" where you choose the color you want the shadow plane to be. 

**Make sure to check your colors that they fit with the new light-source of the graph. (You want to be able to see the planes) 

**Make sure your "preview" box is check on so you can see your shape change in real-time. 


Moving Pieces of your Pie Chart

If you want to move pieces of your pie chart then turn off the 3D effect on your graph (do this by clicking the visibility marker or the eye next to the layer that says "3D". This will make your graph appear flat again. 

Then take the individual pieces you want to move and move them. 

Now turn your 3D effect back on and voila! Your pie chart looks even cooler! 



You now know how to make a pie chart! 

How to Make Graphs in Adobe Illustrator Part 1: Column Graphs

Hey IS Artists! 

Here is a tutorial on how to make graphs in Illustrator just by inputting data. It'll save you tons of time not having to create point by point vector pie-charts, column graphs, etc. 


Where is the Graph Tool? 

The graph tool in Illustrator is in the right-hand column of your tool set. It may look like a small column graph if you haven't used another graph tool before. 



You can bring a palette of all of your graph tools by clicking on the tool and then clicking the side bar of the window that tool brings up. But you don't have to. It's just like any other! 


Column Graphs

Here is a tutorial of how to make a column graph by entering in data. 

Step 1: 
Select the column tool from your graph tool set. Now click and drag onto your artboard where you want the column to be. 

Step 2: 
Once you have a graph up a small "excel-like" window will automatically pop up. Here is where you can manually enter in the data. 



Enter in your data into the first row of the chart. The graph will automatically change as you put in the numbers. There! You're done making a graph! Simple right? 

Comparison Column Graphs

To make a comparison chart simply just plug the second set of data into the second row of the chart. The chart will then appear on the right of your original chart. 


If you need to IMPORT your data, click on the icon that is directly next to where you enter in your numbers. 
**Make sure you data is in the right file format (.txt, etc.) 

• If you accidentally enter graph data backward (that is, in rows instead of columns, or vice versa), click the Transpose button () to switch the columns and rows of data.

Adding Color

Now, if you want to give your chart some flare, just treat it like a normal shape! Each box is going to act like an individual shape. Use your select or Direct Select tool to highlight one of the columns and simply use a swatch to change the color. 
**Changing a color on one graph will not change the color in the other graph! 

You can also remove or edit the outline of the columns as well. 



Changing Fonts

You can also change the font of the numbers beside your chart. Select the numbers and change the font to what you want up at the top. 




If you want to add more flare you can add effects like you would to any shape like Graphic Styles which can be found on the right of your workshop. Choose an effect and apply it to one or all of your shapes. 


If you want to change the colors of the other Graphic Styled shapes, click the "Recolor" button at the top of your screen. This will bring up a window with all of the levels of your colors on your graph. Hit the "Edit" Button and a color disc will appear. 
CLICK THE LINK BUTTON at the bottom right of the color disc and then you can change the colors by clicking and dragging the arm on the disc. Do this for each individual column. 



If you need to change some data, don't worry, you don't have to start over. Simply right click the chart and select "Data". BOOM! You now have your excel box back and you can change any of the data below. Your graph will automatically adjust even if the numbers are higher than they originally were. Your graph will compensate. Your colors and font will stay the same as well!

 

That's how you make a Column Graph! 

Splash Banner Quality

Hello pals! If you're getting frustrated with professors or designers asking you to create unrealistically rendered and refined splash banners or content images in an insanely small amount of time, feel free to use this PDF (It's chilling in the N: drive under this filepath name: N:\IS\Production\Courses\(MMS-Splash Banner Quality Guide) ) to politely remind them that we are not, in fact, magicians.

I've broken it into a 5 hr category, 10 hr category, and a 12-18 hr category to show those who aren't familiar with the artistic process that the amount of quality of the final product is directly related to how much time we are able to spend illustrating them.

Good luck, homies.
-Amelia G

Canvas RESIZE

Hey peeps here is some info on splash package resizing. Use it and you will succeed.

Spaces in Filenames!

Hey guys,

Greg has just informed me that because we are converting to Canvas from BrainHoney, when the editors are linking images into the courses for the new platform, media with filenames that have any spaces in them will not link properly in the course.

So, for example, a file named: "amelia is cool.jpg" won't link, but if you named it "amelia_is_cool.jpg" with underscores, dashes, or something else in the place of where a space would be, they link fine. Just something to consider when you're making new media for the canvas conversion or when you're renaming things. It isn't life or death if you forget to do this, but the editors will probably just not be super thrilled to delete a bunch of spaces in all the files they need to link.

Stay spicy

Melinda Beck - 25 Tips for Illustrators

Lesson 1: Where you came from may be where you are going to.

• Take your environment and background and use it

Lesson 2: Be your own muse.

• What gets you excited?
• What influences you?
• What do you collect?

Lesson 3: How to steal without getting caught.

• Take bits and pieces from all over the places and make them one thing

Lesson 4: Sketch ‘til your head hurts.

• Thumbnail for hours! Work out the idea first THEN render!
• You are a thinker before you are a renderer.
• Figure out how to portray cliches in a non-cliche way

Lesson 5: Less is more.

• Find the essence, the best solution.
• What is the story about?

Lesson 6: Sometimes more is more.

• Pushing and exaggerating can embody the story more effectively.

Lesson 7: The sky is not blue and the grass is not green.

• Choose colors that explain the story.
• Dial back and find the essence via color communication.

Lesson 8: Put a little piece of yourself in other people’s stories.

• Be emotionally involved in your piece.
• Your emotions will ring true to your audience.

Lesson 9: Some of the best art supplies don’t come from the art store.

• Use your collections in your pieces.

Lesson 10: Be delusional.

• Follow your own personal delusions.
• Pretend that you ARE (a great Illustrator, a much-sought-after artist, etc.)

Lesson 11: What you do to get away from your work will get you work.

• Use you personal passions to fuel your art and do art for the things you like.

Lesson 12: Self-promotion

• Postcards, emails, mailers, anthologies, competitions, social media, etc.
• Set a yearly plan for your promotional material.

Lesson 13: Don’t let your website get in the way of your illustration.

• Let your art be the focal point of your website.
• Your art and your name should be the biggest/only thing on your sight.
• Minimize clicking and scrolling
• Font should accentuate the art
• Easy-to-update format
• Use smaller files that load faster
• Update every 3-6 months

Lesson 14: Fail spectacularly and you will succeed spectacularly.

• Failure is normal! Everyone fails. Remember that there is a balance, and that your favorite artists fail too.

Lesson 15: How to balance work and kids.

• Don’t expect yourself to do more than you can do.

Lesson 16: How to survive a kid-tastrophe and let a project done.

• If you can say that everything will get done in 48 hours, you break your work down into bite-size pieces.

Lesson 17: What a sleep-deprived child can teach you.

• Set boundaries in your contract. What will you and will you not do? 
• Include and estimate and itemize it.
• Make sure the client is fully aware of what will and will not happen.
• Set ground rules!
• Make sure you and the client both understand the finer details (file type/size, how many sketches they get for the amount you charge, rights for each party, etc.)

Lesson 18: Everything takes twice as long as you think it will.

• Set an hour limit for your week and break it down to billable hours and maintenance hours.

Lesson 19: Watch your time and the cost of that time.

• Figure out how much you’re actually making per hour, and make sure your price is set appropriately. 
• Balance jobs that don’t pay well with jobs that do pay well.
• Adjust your process if a project is wasting time and money.
• Reach out to others if you’re stuck.

Lesson 20: Great exposure!

• Find jobs that give you great exposure.
• Sometimes a crappy job is even worth it if it will win you great work.

Lesson 21: Taming the paperwork beast.

• ORGANIZATION!
• Be so organized that you can even do your taxes yourself.
• Find a system that works for you and stick to it!

Lesson 22: Your computer likes to do paperwork.

• Quickbooks (Quicken?)
• Utilize tools that will make your life easier

Lesson 23: Don’t know what to charge? Ask a friend!

• Ask people who know, people who also get paid. What are they getting charged so you know what you should be getting paid.

Lesson 24: Pricing

• Whatever they tell you, ask 10-20% more
• What is their budget? 
• If they say no, it’s up to you. If they say yes, you get the money you may not have gotten had you not asked.

Lesson 25: Have fun!

• Remember, this is the job you wanted to do. 
• If you’re not having fun, something is wrong!

Misc Tips:

• Be diverse
• Sell products online
• Find a market where your stuff works

SVG - What is it, and how to save it

Sounds like a bug that you can catch, but SVG is Scalable Vector Graphics. It does exactly what is says, allows for vector graphics to be scalable in an online environment, which is really nice when it comes to math or science images that need to be clear at any size.

So how to take your Adobe AI file and save out a SVG version of the file for courses. Daniel has written up an explanation of why and how to do so. Go David!

Most SVG saving processes will preserve design integrity (including fonts). This will not be the case if you use the “save as” function, select “svg” under “fonts” in the SVG Options box, and save. Using the aforementioned save option, the font title will be saved in the SVG coding under its’ postscript name. This postscript name will not match up with the accurate name of the font in the system, so the font will be replaced with a generic font like myriad pro or times when viewed. The only way to fix the file would be to access the SVG’s coding, and to change the postscript font name to the name in your computer system. 

This can be avoided and font edit-ability can be preserved by using the “export as” or “export for web”, and selecting “svg” rather than “convert to outlines” under “font” in the SVG Options box. Saving in this way will include the font’s real name in the SVG coding, rather than the postscript name. Converting to outlines in the SVG Options box when saving will also preserve font integrity, but the SVG file will lose font edit-ability. 

To avoid issues, use the suggested save path:

File>Export>ExportAs>SVG (Use Artboards)>Export>(SVG Options box- Font: SVG)> OK

This should work fine for everyone, but double checking to make sure your files are saving properly is always a good idea. 

More information can be found here if needed:

https://graphicdesign.stackexchange.com/questions/27238/preserving-font-type-in-illustrator-svg-file

Banner sizes

Brainhoney/Buzz

lesson/unit - 8 x 2.25 in
obj/lesson - 4.35 x 1 in (this includes quiz banner)


Canvas

lesson/unit - 8 x 2.25 in
obj/lesson - 8 x 1 in (this includes quiz banner)


BYU Online

lesson/unit - 8 x 2.25 in
obj/lesson - 8 x 1 in (this includes quiz banner)
homepage banner uses template built in Illustrator

Copyright FAQ and Info

Where can I get help with copyright questions?

• https://copyright.byu.edu/ and
• cami.stephenson@byu.edu (our CE copyright admin)

Where to find images for use:

• wikimedia commons
• Library of Congress
• NASA
• NOAA
• lds.org  (ok for REL courses, for other courses we need to get permission from the Church or use within the Teach Act parameters)
• Stockazoo
• Pixabay
• Freepik
• Morguefile
• BYU Copyright office approved list

What can I use:

• Public Domain
• CC by 2.0
• CC by SA 2.0
• CC by 3.0
• CC by SA 3.0
• CC by 4.0 
• BYU IS generated

What needs to be recorded :

• lesson/unit (if possible)
• approval (what type is it (ie public domain, CC by xx, BYU-owned))
• title of resource (preferably the file name)
• source type (photo, painting, graphic)
• artist or creator (information is not always available, just do your best)
• size
• date of publication
• name of source (museums, agencies, stock sites)
• author or editor of source (sometimes the artist if they submitted it)
• location (URL link, if BYUIS generated please just indicate N:/ and Q:/)
• ISBN/ISSN # or ID (for clipart just include the item number for later search)
• holder (that is usually the site you pulled the image from)
• credit line (leave this blank, the editors/IDAs will include this based on the information given)

FAQ:

Q: Can we use images from the LDS.org website?
A: Yes, if the images are used for a religion course, otherwise permission from the Church or if the image fits within the Teach Act rules. There are courses that are not religion based that refer to prophets and apostles, it's ok to use their images we have clearance to do so.  Always check to make sure images are available for use, some of the images have restrictions for church use only. If you have a question about a particular image, ask Cami.

Q: Do I need to include the course banners in the copyright sheet?
A: Yes, but not individually, just lump them together as a splash banners item on the copyright sheet.

Q: If I am recreating a new image from a copyrighted image, how much do I need to change?
A: Everything you can, except the information. Remember the information is not copyrighted it's the image. Look at what the image is conveying and make it your own.

Q: How big do the images I download need to be?
A: We are trying to get as close to 1200px wide as possible, but not all are that big, do your best. If the image has an option for something larger than 1200px, use it. Save the larger version to the Art folder in the N:/ and in Photoshop resize it to 1200px and save it for web at <450KB.

Q: If an image says it's a Free Art License or CopyLeft, can I use it?
A: The FAL grants us the right to copy, distribute, and transform the image. So, the answer is YES
 

Gestalt Principles

Gesundheit! No I didn't sneeze. Gestalt principles are known as the "Law of Simplicity" or the "Law of Pragnanz". The theory is that every stimulus is perceived in its most simple form. Gestalt theorists followed the basic principle that the whole is greater than the sum of its parts, like a car. A windshield wiper is great, but it's no good without the windshield, and the windshield is no good if it's not set inside the frame, etc. You get the point. The whole carries a different and altogether greater meaning than its individual components. In viewing the "whole," a cognitive process takes place – the mind makes a leap from comprehending the parts to realizing the whole. When you go to buy a car you don't start with looking at windshield wipers, you look at the whole car (and how cool you will look in it). We visually and psychologically attempt to make order out of chaos, to create harmony or structure from seemingly disconnected bits of information. Sound familiar? This relates to the work you do here, as well as your career path choice. We are visual communicators, and as such it is our responsibility to take all of the information, whether it's a chart or learning outcomes and unify and simplify the information so that it's visually easy to convey the greater meaning.

There are 5 Gestalt Principles:

• Similarity
• Continuity
• Closure
• Proximity
• Figure ground

Similarity

• Gestalt theory states that things which share visual characteristics such as shape, size, color, texture, or value will be seen as belonging together in the viewer’s mind
• Repetition of forms or colors in a composition is pleasing in much the same way rhythm is pleasing in music, the forms aren't necessarily identical - there may be tremendous variety within the repetition, yet the correspondence will still be discernible
• Like static and dynamic tension a deliberate use of similarity in composition can impart meaning to the viewer that is independent of the subject matter of the image
• Similarity or repetition in an image often has connotations of harmony and inter-relatedness, or rhythm and movement
• good composition: regardless of the subject matter, makes some use of similarity in arranging elements and space for aesthetic advantage
  
  

  

  Image Credit: Victor Ngai, New Yorker Interiors, 2014.

Image Credit: Kadir Nelson.

Continuity

• This Gestalt principle states that learners "tend to continue shapes beyond their ending points".
• The edge of one shape will continue into the space and meet up with other shapes or the edge of the picture plane.
• Continuity in the form of a line, an edge, or a direction from one form to another creates a fluid connection among compositional parts.
  
  

  

   Image Credit: Balthus, The Living Room, 1941-43.

Image Credit: Jing Jing Tsong, Twinkle Twinkle Small Hoku, 2014

Closure

• Closure is the effect of suggesting a visual connection or continuity between sets of elements which do not actually touch each other in a composition.
• The principle of closure applies when we tend to see complete figures even when part of the information is missing.
• Closure occurs when elements in a composition are aligned in such a way that the viewer perceives that "the information could be connected."
• Imaginary lines called vectors, or shapes called counter forms, are generated by these relationships, which the eye understands as part of the composition even though there is "nothing there.
• Vectors and counter forms exert forces and tensions that are as real in defining its underlying structure as the elements that are visible.
• Linear vectors direct the path of the eye through the composition and determine where the eye will go once it is attracted by the prominent features of the composition.
• A vector can be straight or curved, depending on the relationships that form it.
• Counter forms, (or negative spaces), determine to a great extent whether or not the composition will be perceived as a harmonious whole. Counter forms "echo" the positive visual elements with "similarity," or create powerful substructures that support and connect visible elements.
• Closure can be thought of as the tension or "glue" that holds a two-dimensional structure together
  
  
   

  

  Image Credit: Bev Doolittle

  
  
  
  
  Proximity

• The Gestalt law of proximity states that "objects or shapes that are close to one another appear to form groups". Even if the shapes, sizes, and objects are radically different, they will appear as a group if they are close together.
• refers to the way smaller elements are "massed" in a composition
• Also called "grouping," the principle concerns the effect generated when the collective presence of the set of elements becomes more meaningful than their presence as separate elements
• Arranging words into sentences or titles is an obvious way to group unrelated elements to enhance their meaning (it also depends on a correct order for comprehension)
• Grouping the words also changes the visual and psychological meaning of the composition in non-verbal ways unrelated to their meaning
• Elements which are grouped together create the illusion of shapes or planes in space, even if the elements are not touching.
• Grouping of this sort can be achieved with:

• Tone / value
• Color
• Shape
• Size
• Or other physical attributes 

Image Credit: Seurat, Sunday at the Park.

Image Credit: Chuck Close

Figure Ground

• shows our perceptual tendency to separate whole figures from their backgrounds based on one or more of a number of possible variables, such as contrast, color, size, etc.
• A simple composition may have only one figure
• In a complex composition there will be several things to notice. As we look from one to another they each become figure in turn.
• Everything that is not figure is ground
• As our attention shifts, the ground also shifts so that an object can go from figure to ground and then back
• Ground is sometimes thought of as background or negative space
• Figure-ground refers to the relationship between an object and its surround. Sometimes the relationship is stable, meaning that it is easy to pick out the figure from the ground.
• Other times the relationship is unstable, meaning it is difficult to pick out the figure from the ground. Rarely, the relationship is ambiguous, meaning that the figure could be the ground or vice-versa
• Clearly differentiate between figure and ground in order to focus attention and minimize perceptual confusion
• Camouflage is the deliberate alteration of figure-ground so that the figure blends into the ground
  
  

  

  Image Credit: Stefano Vitale, On the Take, 2015

  

  Image Credit: Jon Krause, The Invisible Puppeteer, 2015.

  

  Image Credit: M.C. Escher, Day and Night, 1938.
  
  

  
  What Gestalt Principles are being used in this illustration?
  
  

  

  Image Credit: Curtis Parker, 2015.