Chapter 3 CC 2017 - Revision history

Michael: /* Exercise 6: Symmetry with patterning */ Replaced ":" with ">" for consistency/clarity

2017-01-26T00:14:36Z

Exercise 6: Symmetry with patterning: Replaced ":" with ">" for consistency/clarity

Michael: /* Exercise 4: Balanced asymmetry */ moved the image from step 2 to step 3 to maintain continuity with the instructions.

2017-01-25T22:37:45Z

Exercise 4: Balanced asymmetry: moved the image from step 2 to step 3 to maintain continuity with the instructions.

Michael: /* Exercise 3: Symmetry with less passive negative space */ replaced "the key" with "OPT" for clarity

2017-01-25T22:35:07Z

Exercise 3: Symmetry with less passive negative space: replaced "the key" with "OPT" for clarity

Michael: /* Exercise 2: Symmetry with passive negative space */ removed "...Palette" from "Color Palette" since it is just labeled as "color" in the menu.

2017-01-25T22:24:25Z

Exercise 2: Symmetry with passive negative space: removed "...Palette" from "Color Palette" since it is just labeled as "color" in the menu.

Michael: /* Chapter 3: Symmetry */ replaced "her" with "their" for consistency

2017-01-25T22:18:13Z

Chapter 3: Symmetry: replaced "her" with "their" for consistency

Michael: /* Exercise 2: Symmetry with passive negative space */ replaced "CS6" with "CC 2017"

2017-01-25T22:15:20Z

Exercise 2: Symmetry with passive negative space: replaced "CS6" with "CC 2017"

Michael: /* Exercise 2: Symmetry with passive negative space */

2017-01-25T22:13:00Z

Exercise 2: Symmetry with passive negative space

Michael: /* Exercise 2: Symmetry with passive negative space */

2017-01-25T19:34:45Z

Exercise 2: Symmetry with passive negative space

Michael: /* Preview of the remaining exercises */ Replaced preview image (CS6 version) with CC17 version

2017-01-25T01:45:05Z

Preview of the remaining exercises: Replaced preview image (CS6 version) with CC17 version

Michael: /* Exercise 7: A focal point is defined within symmetric patterning */

2017-01-25T01:42:34Z

Exercise 7: A focal point is defined within symmetric patterning

← Older revision		Revision as of 00:14, 26 January 2017
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	Gestalt psychology is important to visual creators because it provides a theory for the way humans perceive groups of shapes in a composition. While there are four distinct properties and six laws (termed, Pragnanz), one of the main themes is the understanding that viewers see a group of like objects as a whole unit before seeing the individual parts. Termed the law of similarity, the individual circles will be read only after the viewer sees the entire pattern presented here as a square. It’s nearly magic: a group of circles becomes a square.		Gestalt psychology is important to visual creators because it provides a theory for the way humans perceive groups of shapes in a composition. While there are four distinct properties and six laws (termed, Pragnanz), one of the main themes is the understanding that viewers see a group of like objects as a whole unit before seeing the individual parts. Termed the law of similarity, the individual circles will be read only after the viewer sees the entire pattern presented here as a square. It’s nearly magic: a group of circles becomes a square.

−	1. Select all four of the circles in the row in Exercise 5. Click Object > Group. Grouping objects is convenient as the separate objects maintain their autonomy while acting as part of a set that moves, transforms, and receives color information together. Grouped objects can always be ungrouped (Object: Ungroup).	+	1. Select all four of the circles in the row in Exercise 5. Click Object > Group. Grouping objects is convenient as the separate objects maintain their autonomy while acting as part of a set that moves, transforms, and receives color information together. Grouped objects can always be ungrouped (Object > Ungroup).

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 . Make another copy of this circle and drag it to the lower right of the composition.
 [[File:Fig03-Ex04-02-CC17.png]]
 =Exercise 5: Asymmetry with imbalanced visual weight=

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	In this exercise, the two new circles create a balanced, symmetric composition. The visual weight is the same in the four quadrants created by the intersection of the x and y axes; and the circles are reflective over a diagonal line. However, notice the tension between the two circles at the middle of the page. This tension is created when the two active forms are so near to each other that the eye cannot help but notice the negative space between them. The negative space fights for the viewer’s attention. Therefore, the negative space is slightly less active than it was in the first exercise.		In this exercise, the two new circles create a balanced, symmetric composition. The visual weight is the same in the four quadrants created by the intersection of the x and y axes; and the circles are reflective over a diagonal line. However, notice the tension between the two circles at the middle of the page. This tension is created when the two active forms are so near to each other that the eye cannot help but notice the negative space between them. The negative space fights for the viewer’s attention. Therefore, the negative space is slightly less active than it was in the first exercise.

−	1. Copy the black circle and move it into the second square by using the Select Tool to click and drag on the original circle while holding OPT. Drag the new copy into place and release the mouse before releasing ~~the key~~.	+	1. Copy the black circle and move it into the second square by using the Select Tool to click and drag on the original circle while holding OPT. Drag the new copy into place and release the mouse before releasing OPT.

← Older revision		Revision as of 22:24, 25 January 2017
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	1. Create a new document in Illustrator (File > New) using the default settings pull-down menu to create a letter size page in RGB color space.		1. Create a new document in Illustrator (File > New) using the default settings pull-down menu to create a letter size page in RGB color space.

−	2. Click on the rectangular shape tool to create one square that has a white fill and a black stroke. Set the fill and stroke colors before drawing the rectangle. The fill and stroke icons are stacked on top of each other at the bottom of the Tool Palette (see chapters 1 and 3 for working with the fill and stroke). Double-click the icon that is on top and select the color you want to use from the Color Picker. Once you set the color for the top icon (fill or stroke), click once on the bottom icon (if you took care of fill first, now you will set the color for the stroke) and define this color by using the Color Palette (Window > Color ~~Palette~~).	+	2. Click on the rectangular shape tool to create one square that has a white fill and a black stroke. Set the fill and stroke colors before drawing the rectangle. The fill and stroke icons are stacked on top of each other at the bottom of the Tool Palette (see chapters 1 and 3 for working with the fill and stroke). Double-click the icon that is on top and select the color you want to use from the Color Picker. Once you set the color for the top icon (fill or stroke), click once on the bottom icon (if you took care of fill first, now you will set the color for the stroke) and define this color by using the Color Palette (Window > Color).

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 The opposite of symmetry is asymmetry. Asymmetric compositions can be balanced or imbalanced, but the overall weight distribution between the positive and negative space will be uneven. The negative space in an asymmetric composition may be more active than the positive space.
-The designer chooses to create symmetry or asymmetry within the composition in order to reach the visual or psychological expectations of her audience. These decisions connect the concept of the presented material to the presentation. For example, a logo for a bank should feel secure and restful, connoting safety and trustworthiness, while a horror movie poster should feel emotionally charged, suspenseful and frightful. Logos for banks tend to be symmetric compositions, and asymmetric designs are used to convey unstable ideas.
+The designer chooses to create symmetry or asymmetry within the composition in order to reach the visual or psychological expectations of their audience. These decisions connect the concept of the presented material to the presentation. For example, a logo for a bank should feel secure and restful, connoting safety and trustworthiness, while a horror movie poster should feel emotionally charged, suspenseful and frightful. Logos for banks tend to be symmetric compositions, and asymmetric designs are used to convey unstable ideas.
 [http://flickr.com/photos/digitalfoundations/2265836214/ http://flickr.com/photos/digitalfoundations/2265836214/]

← Older revision		Revision as of 22:15, 25 January 2017
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	</table>		</table>

−	Hold the option key (OPT) and click on the original square with the Selection Tool, then drag the mouse to the right. In Adobe ~~CS6~~, Smart Guides are active by default. Smart Guides help to easily align and center objects with other objects and also the artboard. Hold the shift key to keep the movements restricted to a 0, 45, 90, or 180 degree motion (in other words, you'll position the new square along the same baseline or x-axis to the right of the original square)	+	Hold the option key (OPT) and click on the original square with the Selection Tool, then drag the mouse to the right. In Adobe CC 2017, Smart Guides are active by default. Smart Guides help to easily align and center objects with other objects and also the artboard. Hold the shift key to keep the movements restricted to a 0, 45, 90, or 180 degree motion (in other words, you'll position the new square along the same baseline or x-axis to the right of the original square)

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	8. Use the Select Tool to position the squares into place. Be attentive to the space between the margins of the page and the space between the outlines of the squares.		8. Use the Select Tool to position the squares into place. Be attentive to the space between the margins of the page and the space between the outlines of the squares.
		+
		+	[[File:Fig03-Ex02-08-CC17.png]]

	9. Use the Layer Palette (Window > Layers) to lock the squares on Layer 1. Next to the eyeball at the left of Layer 1, click on the square illustrated below. A lock icon will appear, indicating that the layer is locked. Locked layers cannot be modified until they are unlocked. This is a protective measure that a designer often takes when part of a project is complete and they don’t want to accidentally select or move objects that are already established.		9. Use the Layer Palette (Window > Layers) to lock the squares on Layer 1. Next to the eyeball at the left of Layer 1, click on the square illustrated below. A lock icon will appear, indicating that the layer is locked. Locked layers cannot be modified until they are unlocked. This is a protective measure that a designer often takes when part of a project is complete and they don’t want to accidentally select or move objects that are already established.

← Older revision		Revision as of 19:34, 25 January 2017
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−	[[File:~~Fig05_Ex2_02_CS6~~.png]]	+	[[File:Fig03-Ex02-02-CC17.png]]

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 ==Preview of the remaining exercises==
-[[File:fig05 Ex7 final_CS6.png]]
+[[File:Fig03-Ex01-00-CC17.png]]
 In the following exercises (2 – 7) the compositions will each be created within one of six individual squares (illustrated here). All of the exercises are created in one single document, established in Exercise 2. For these compositions the grid is simple: the horizontal and vertical intersection at the middle of each square is the grid. See and "feel" the visual weight that is constructed between the four quadrants (upper left, right, lower left and right) in each composition.

← Older revision		Revision as of 01:42, 25 January 2017
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	2. Once the group of black circles is composed within the last composition, change the fill color of one of the individual circles to set a focal point. All of the black circles are part of a group. If the group is selected and the fill color is modified, all of the circles are modified. While this is useful, it is not our current goal. Instead, use the Direct Selection Tool to select just one circle. The Direct Selection Tool can be used to modify a path, an anchor point, or to alter one part of a group of objects. Click inside one of the circles and be sure to click inside the circle and not on the path around the edge of the circle. We do not want to modify the path, we want to modify the color of the whole circle.		2. Once the group of black circles is composed within the last composition, change the fill color of one of the individual circles to set a focal point. All of the black circles are part of a group. If the group is selected and the fill color is modified, all of the circles are modified. While this is useful, it is not our current goal. Instead, use the Direct Selection Tool to select just one circle. The Direct Selection Tool can be used to modify a path, an anchor point, or to alter one part of a group of objects. Click inside one of the circles and be sure to click inside the circle and not on the path around the edge of the circle. We do not want to modify the path, we want to modify the color of the whole circle.

−	[[File:~~Fig05_Ex7_02_CS6~~.png]]	+	[[File:Fig03-Ex07-02-CC17.png]]