This essay presents some conceptualized graphics as a product of color while others believed, to be stemmed from perception. This gave rise to the Color Theory and Gestalt Principles. Similarly, motion pictures enthusiasts replicated diversions on artistic beliefs. …
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From the research it is clear that early specimen of graphics manifested in the form of symbols, signs and writings on any surface. A myriad of graphic designs were developed through time applying different techniques to capture the attention of the admiring audience. It was not until the 1920s when a group of German psychologists namely: Max Wertheimer, Wolfgang Kohler and Kurt Koffka, devised a systematic approach in graphical design perception. They based their interpretation of graphical design on the notion of completion, where audiences sub-consciously view separately arranged entities as a single item.
According to the paper finding colors were incorporated into graphics. This was so because colors were able to convey emotions and moods unlike previous monotonous colors (black and white). From the latter events, it can be presumed that colors breathed life into graphics. Most people’s initial knowledge on color, seem to suggest that all colors are simple mixture of three primary colors; green, red and blue. The color theory vehemently disputes this notion. It is crucial to understand the basics of color formation so as to accurately utilize those (colors) in graphic design to imply various moods. The contentious issue of color formation dates back to the 15th century where a number of disciplines were used in explaining the concept, namely; chemistry, mathematics and physics. Not all yielded to viable conclusion.
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This is given life by use of illustrations, photographs, graphical presentations and lines. Illustrations used should be well chosen and should represent the message required to be depicted. There are different ways of visually presenting information. The method to use depends on the information content.
Graphic design results in works that are more ephemeral, fundamentally lacking the rigid laws of physics that ultimately bound architecture. When coupled with architectural structures, this results in a fluidity of design that stems from the creator’s definition of design.
The tableaux of narrative paintings were akin to Victorian art. The vocabulary of painting permeated Victorian criticism of fiction, which made frequent reference to portrait, landscape, sketch, touch, graphic delineation, color, light, and shadow-not to mention allusions to specific schools and painters.
The researcher claims that the Gothic style in architecture and design was thought to be a bit crude or even barbaric; only later did it develop into a distinct artistic style that people considered far superior and desirable to the new neo-classical style. The Gothic revival used finer, physical details in design combined with religious themes.
It is important for anyone aspiring to do designing works to realize that it is possible to perfectly come up with anything, so long as one is emotionally attached to their visions. When one loves what
The reality is that artists in all ages and times did imbue their creation with a measure of mass utility to attract public interest and support. This stands to be true whether one takes into consideration the cave drawings in
Graphic design is not only about creation of art objects for aesthetic purposes but it also entails a lively stability between society and the economy to generate long-term relationships between the user and object created. Design cuts across a wider range of fields, from commerce to politics and tradition as well as education its impacts are felt everywhere.
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