Final Project Reflection

By: Isabel Freedman

Throughout the course of COM220, I gained knowledge in several useful areas. I felt that the most beneficial aspect to COM220 was the fact that the course was able to cover a variety of topics in such a short amount of time. I now feel comfortable enough to use Adobe workshops such as Photoshop, Illustrator, and Premiere. I also gained editing skills within video, audio and photography.

I think that introductory courses such as COM220 are vitally important, because they provide the necessary knowledge that will benefit students and open doors for opportunity. Even though I am not advanced in any of the subjects above, I feel that I have learned the appropriate amount of knowledge in each topic. One of the aspects I enjoyed the most about the course was the fact that we did not go into great depth on only one subject.

I also thought that the sustainability theme was a nice aspect of the course, because it encouraged students to focus on a topic that they main not have chosen otherwise. Of course, we used creativity in all of our projects, but it was nice to have a central theme incorporated throughout the course.

All of the skills that we learned throughout the semester can be applied to a variety of jobs, and it is important to have experience with them, even for non-design majors. The vast amount of vocabulary that we learned this semester will benefit our knowledge of design. By learning the basic skills of Photoshop, I am now able to manipulate photographs, create posters and web pages. I also feel confident in Illustrator, and I am now comfortable creating logos within this workshop. I am very satisfied with the projects that I created throughout the semester, and they will all benefit my portfolio.

Not only do I have solid additions to my portfolio, but I learned how to create an online website and portfolio through this course.

Overall, COM220 was an enjoyable course that did not have one defining useful aspect, but many. This course will benefit all Communication majors, regardless if they intend to go into the field of design or not.

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Hue, Chroma and Value: The Munsell Color System

By: Isabel Freedman

Munsell Color System 

                 In 1898, Albert Henry Munsell, an American artist, created an influential color-modeling system that included these three aspects. With the creation of his color sphere, Munsell created a rational way to describe color with a decimal notation.

We may categorize and simplify one color, but there is more depth and complexity to just “one color.” Many colors are created through the combination of these three elements. The properties of hue, value and chroma are able to express various color tones, and draw out certain emotional associations in people.

 Hue

                According to Munsell, a hue means the actual pigment or wavelength of a colored surface or projection, such as the colors red, blue, green, yellow and purple. A hue is a way to distinguish one color from another color. On Munsells color wheel, he had selected those five colors, and created intermediate colors that would be placed on a compass like wheel. Munsell’s created an organized system of color that has been a helpful guide for artists and designers for centuries.

Color, Munsell, Design

Hues: Red, yellow, green, blue and purple

 Value 

                     The lightness or darkness, or the grey level of the color can describe the value of a color. The lighter a color is, the more light it emits. On Munsells color sphere, the notion N was used to denote the value on any point of the axis. The higher the number, the lighter gray value would be, and the lower number would refer to a darker value of gray.

Value, Design, Color, Elements

This image is an example of a low and high value of color

 Chroma

                  A chroma refers to the saturation or intensity of the color, a highly saturated color will have more pigment to it. A less saturated color will be dull and washed out. A chroma can distinguish the derreence from a pure hue to a gray shade. Munsell did not see a uniform pattern for chroma, and saw that it could be achieved throughout the color sphere. The term “fullest chroma” would mean the highest saturation of the color, and the lowest chroma would be a less saturated version.

Chroma, Color, Saturation, Design, Elements

The red in the image above is an example of low and high chroma (saturation)

Over time, Munsell’s color system has been studied and revised, but the original color sphere has been internationally accepted and recognized for centuries. This methodical and organized color sphere recognizes three vital elements of color that may benefit all designers and artists.

Food Photography: The Basics

By: Isabel Freedman

Food Photography

                      Food photography is essential for cookbooks, magazines, advertisements and commercials. The photographs that are placed in the pages of a cookbook determine whether or not you will actually want to make this food. If the chicken in the photograph looks gray, greasy and unappetizing, you might as well throw out the book altogether. Here are some basic tips on photographing food that will assure some quality images.

First off, make sure that you are capturing all of the foods best traits. Just like a model, you want to enhance all of the best qualities of the food, and capture the right angles.

Natural Light

Natural light is essential for food photography. The best time to shoot is on a sunny day, in a shady spot. This will give your food a nice natural glow, without the tint of indoor lighting. Never place your food directly in the sunlight, this will only give it harsh glare and it will wash out all of the texture and shape. If you are shooting indoors, find a spot by the window where natural light floods in.

Natural light, Design, Food, Photography, Apple

The natural light in this image captures the smooth texture of the apple

Flash vs. No Flash

Do not use your in-camera flash, not matter how bad the lighting it. A flash will create a glare along with harsh reflections. The flash can also make the food look fake, or not as authentic as it should look on a page. Sometimes, a flash can make the food look like it is floating in mid-air, throwing off the entire composition of the photograph.

Photography, Flash, camera, design

Although this Pizza looks appetizing, the flash creates an odd glare, and it does not look professional

Composition

Composition in food photography is essential, and it includes elements such as angle, focus and rule of thirds. The focal point of the photography should always align along the sides or the intersections of the rule of thirds. If you are photographing multiple apples, you may want to just focus on one, by creating a shallow depth of field. This will create a sense of depth, and allow the viewer to see the texture and color of the apple.

Depth, Apples, Design, Elements, Food, Photography

This image of apples is a good example of composition, specifically by using a shallow depth of field

Angle

Angle is an element of composition in food photography, and it can either sell or destroy an image. Depending on what the subject is, the angle must be manipulated to make this dish look appealing. For example, a hamburger should be shot at eye-level, so that you are able to see the actual hamburger. If it was shot from a high angle, you would lose the content of the burger. If you shot a flat pizza at eye-level, you would not be able to see the pizza. Flat food should be taken at high angles. If the food has dimension, such as this tower of ice cream, it should be taken at an angle that compliments the round shapes.

Food, Photography, Ice cream, Angle

The angle of this image compliments the sphere shapes of the ice cream

Be Creative

Have fun with food photography. There is a lot of room for creativity and interaction. It is okay if the image does not come out the way you intended it to be, and you will probably have to take multiple shots with a variety of different elements.

The Do’s and Don’ts of Web Design

By: Isabel Freedman

An effective web page should have a killer design that conveys the intended message to the viewer. If you are designing a web page for your new company, here are some Do’s and Don’ts to keep in mind during the process.

DON’T: Overdo it with words

There is nothing worse than opening web page to see long paragraphs of text. The viewer will most likely not read the content of text, or they may leave the web page altogether. A whirlwind of text is overwhelming and can be confusing, two things that people do not have time for. If you want to put informative information on the webpage, do not overload it all to the homepage.

Text, Webpage, Design, Do, Don't

This webpage has too much text, and it is very difficult to read

DO: Keep it simple and break it up

If you are including a significant amount of information on the website, break the paragraph up so that it is easily readable. Include graphics or other design elements so that the viewer is not just reading plain text. Depending on the content, visuals may help explain in a fast and efficient way.

DON’T: Only use images

If your entire webpage only consists of images, it could be unclear of what the website is actually about, or it may send out a message that the designer was too lazy to actually write anything.

Text, Image, Web, Design, Page

This webpage has too many images, and not enough text

DO: Use images in moderation

It is important to have some visuals included in throughout the webpage. In order to have an effective webpage, there should probably be visual elements to assure the viewer of what they are looking at. Use images sparingly, and only when appropriate. If the text only briefly mentions something, do not provide a visual for this. Only provide visual images when they are important.

DON’T: Have 6 different fonts in 20 different sizes

It is important to play up your fonts and sizes, but not by too much. If the webpage has script, modern, sans, sans-serif and decorative fonts, this will not only visually confuse the viewer, but it will confuse them on the content as well. If a chic and modern website has five different fonts going on, this may send out the wrong message to the viewer.

DO: Use the right fonts and sizes

Play up your fonts and sizes, and make sure to use an appropriate variety of fonts and different sizes. If the whole page consists of one font, and one size, the page will be less legible and not as attention grabbing. Think of a webpage as a blank canvas, you want to great depth in your design. Be mindful to only switch it up when necessary, for example in headlines, titles or significant information that is intended to stand out from the rest.

DON’T: Have 20 different colors

Colors can be extremely overwhelming, and they can completely destroy a webpage if there are too many competing with one another. If there are too many color schemes going on, they will distract the viewer from actually reading the webpage. It is important to keep colors along the same color scheme, so that one color doesn’t look out of place.

DO: Choose the right color scheme

If you are designing a webpage for a wedding dress company, your color palette should be light neutral colors. If the color scheme consisted of bright reds, oranges and browns, the bride to be may rethink her designer.

These are just a few of the basic DO’s and DON’T of web design, and there are much more than can be learned about the design aspects of a web page. For more information on design, check out my other blog posts on WordPress!

International Student Documentary

By: Isabel Freedman

For our International student documentary, Leslie Gill, Lauren Cuddy and I interviewed Iria García. Although born and raised in Coruña, Spain, Iria has been an international student in the United States for 5 years now. During the documentary, Iria speaks about her freshman year and how welcomed she felt by the community. Before the interview, Iria seemed to be a bit nervous in front of the camera, but once the camera started rolling her bright and charming personality came out, and she felt more comfortable speaking.

We met Iria at our on campus sorority house, which ended up being a perfect place to shoot. The on campus house has a warm and friendly environment that would not make anyone feel uncomfortable or exposed. This was also an appropriate place to interview Iria, because she spoke about her organization and how it helped her through her Freshman year of college. She will also be living in the on campus sorority house next year, and her face lit up the minute she stepped into her future home.

Iria was nervous to come to school in the United States in the first place, and she was the only one out of her friends at home who decided to do it. At first, Iria was unsure if she wanted to even go to college, after finishing high school in the states. Many of her friends at home were not pursuing a college career, and when she was home with them over the summer, she had second thoughts. However, the minute that she visited Elons campus, she knew that she belonged here for the next four years of her life. Although it was a tough decision, Iria did not show any signs of regret.

Later on in the interview, we asked Iria more about the culture in Spain, and how it related to the culture here at Elon. Specifically, we asked about the sustainability efforts in comparison. Iria spoke highly of the sustainability efforts on Elons campus. Back in her hometown, Iria frequently visited fresh farmers markets that sold healthy and sustainably produce. When Iria discovered the Elon Community Garden this Spring, she was pleasantly surprised by the familiar vibes that she encountered while visiting the garden.

Overall, I enjoyed speaking with Iria, and getting to know her more. Although we have known one another for a couple months now, I never knew her experiences as an international student. It was interesting to hear about different cultures, and how the sustainability efforts were in comparison. I will be studying in Barcelona next fall, so I was extremely curious about the country.

3 Essential Documents for Freelance Work

By: Isabel Freedman

In order to become a successful freelancer, you should be informed of three essential documents, the job proposal, the proof approval form and the invoice of services. These three forms of documentation will protect the designer from possible lawsuits or future legal trouble.

  1. Job Proposal

In order to have successful freelance work, there has to be an initial job proposal to work from. A job proposal entails a meeting between the designer and client, design concepts, research, layout, sketching and at least one round of revision. The projects must be described in detail, and include important information regarding the creation and scope of the design. It is essential that the client and designer agree upon a budget for the design. This proposal protects both the client and the designer from future lawsuits because it provides specific terms and conditions that were agreed upon. For example, if the job proposal clearly states that there will be an additional fee for fine artwork, the client must pay for the additional charges if they are needed. Overall, the job proposal is the foundation for freelance work, and it is the initial form of agreement between the client and designer.

  1. Proof Approval Form

The proof approval form is a written form of approval between you and the client. This form is important because it verifies authorization and acceptance of a project, after an in depth review. The proof approval form proves that the client has looked over overall the project aspects: design, color, spelling, layout and the designers contact information. If the client wishes to change any of these aspects, they must request a new proof from the designer. If there are changes that need to be made before the final product is produced, the proof approval form acknowledges this. This form is an essential component of communication between the client and designer.

  1. Invoice of Services

The invoice of services is a documentation of transaction between the company and client. The invoice records the evidence of sales, and protects both the client and consumer from future lawsuits. This document is proof that business transaction occurred, and without this form, there is no evidence that the sale happened. This agreement protects property rights and payment. If a company does not provide a viable form of payment to the designer (within 30 days), the invoice of services would be a legitimate document to bring to a lawyer for a possible lawsuit.

6 Essential Elements of Design for Photography

By: Isabel Freedman

It is important to understand the various elements of photographic design if you want to create beautiful, compelling photographs, so I thought I’d share my thoughts on six essential elements of design that should be considered.

 

Color

Color is an essential element of design, one which heavily influences the viewer’s emotional response to an image. There are an infinite number of colors, and each one can stimulate a different feeling, memory or emotion. Cool tones, such as blue or green, create a fresh, tranquil vibes. The saturation (intensity) of the color can also affect the emotion that is elicited. For example, a deep dark blue often creates a feeling of darkness or somberness. Alternatively, a bright robin’s-egg blue creates a light, cheerful mood. One of the first things we notice when we look at an image, whether consciously or subconsciously, is its colors. Is the palette bright or dark? Warm or cool? Saturated or washed out? High or low contrast? The human eye is highly sensitive to color, and this is why it is one of the most essential elements of design.

Color, Design, Element, Spring

The color of this Robins Egg creates a light cheerful mood

Texture

Although texture may not be instantaneously obvious to the eye, it can add impact to images. If texture is used properly in a photograph, it can create drama, convey information, add an aesthetically pleasing contrast and/or stimulate a feeling of physical familiarity. For example, a photograph showing the complex, patterned texture of a rock can create drama when counterbalanced against other objects in a photo..  Second, texture can provide information. In a photo of a painting, for example, a rough, distressed looking frame would suggest that the painting itself is old. A close up photo of the trunk of a tree may be used to highlight the bark, simply in order to create an image with a jagged, harsh pattern. For example, a photo of a soft blanket may elicit the feel, and even the smell, of our own childhood blankets. We recognize this texture, because we have felt it ourselves.

Bark, Texture, Tree, Design, Elements

The texture of this tree bark is familiar to us

Line

The effective use of lines can also create compelling photographs. Lines are one of the most important elements of composition. There are many different types of lines, including diagonal, horizontal, vertical, and curved. Diagonal lines are the most visually dynamic, and they can create a visually appealing composition. Horizontal lines create horizons and also divide the image into separate parts. These lines tell the viewer where to look, and also from what angle the photo was taken – if the horizon line is above eye-level, one may imply that the photographer took the photo from a low vantage point. Vertical lines create a feeling of permanence, power and structure. The lines of a tall tree, skyscraper or flag-pole are all examples of vertical lines. Curved lines create a calming, relaxed feeling, because of the smooth and soft shape that they create. The curvy lines in water, or on a leaf, create a soft and gentle look. Lines can create depth by leading inwards, as depicted by the path in the image below. Lines sometimes also lead the eyes to a focal point in an image. These are called, not surprisingly, “leading lines,” and they can be useful for emphasis and direction.

Path, Line, Dimension, Element, Design

The lines of the pathway create dimension and direction. They lead the eye inwards

Shape

For design purposes, there are two main categories of shapes: geometric and organic. Geometric shapes include triangles, squares, circles, rectangles and the other polygons that are derived using mathematical formulas. Organic shapes refer to those of the natural world, such as a plant or animal. Shapes add information, dimension, depth, emotion and familiarity. For example, the silhouette of the hiker in the background of this picture creates depth, mood and perspective and conveys information. The silhouette tells us that the photograph was taken late in the day, creating a mysterious and adventurous mood. The organic curves and shape tell us who this person is, and where they are.

Shape, Hiker, Sunset, Design, Element

The silhouette of the figure in this image creates an organic shape

Viewpoint and Camera Angle

The perspective of a photograph is one of the first things we notice about it. Photos may be taken from many different angles, but the basic ones are low, canted, birds-eye, wide, telephoto and fish-eye. Low angle shots are taken by pointing up towards the subject. They create a feeling that the subject is dominant and powerful, because it is higher than and looms over the viewer. In contrast, high angles are taken from above the subject, and they suggest vulnerability and weakness in the subject. Canted angles, also known as “Dutch Tilt,” are images taken from diagonal, unusual or slanted angles. These images are meant to create an uneasy, disoriented effect within the frame. Canted angles are often seen in action shots, and they also convey a message of motion and ambiguity.

 

Canted Angle, Design, Elements, Angle

This action shot is an example of a canted angle. The tilt of the frame creates an unusual viewpoint

Space

There is positive and negative space in a photograph. Positive space is that which forms a shape, subject or object. Negative space, also known as white space, is everything else. Space can convey a feeling or elicit emotion in the viewer. For example, a vast amount of negative space in the background of a photograph can create a sense of loneliness and isolation. A photograph with little negative space can create a claustrophobic feeling of entrapment or suffocation. If the subject is looking towards negative space, we immediately wonder what is beyond the frame, and what exactly she is looking at. When negative space is used this way, it creates a sense of mystery and ambiguity.

Space, Design, Elements, Negative

The vast amount of negative space in this photograph creates a feeling of loneliness and vulnerability.

Of all six of the elements of design, not one of them is more important than another. Each one of them has a unique way of delivering a message, whether it is through texture or negative space, through color or the curve of a line. I hope that this explanation of essential design elements is helpful, especially for those who are looking to evoke specific meaning through their photographs.

Classify Basic Typefaces: A Brief Overview

By: Isabel Freedman

 

Today there are thousands of typefaces available to designers, printers, writers and artists. The typefaces all have their own histories and specific uses. On the surface, two typefaces may look similar, but there are always slight differences that make them unique. I hope that this brief overview will help you distinguish the characteristics of some basic typefaces.

Typefaces are usually categorized into two main groups: Serif and Sans-serif. A “serif” is a little projection at the end of a stroke of a letter, like this:

Typeface, Serif, Font, Style

Example of a Serif style font

As you might imagine, Serif typefaces include these little lines, and Sans-serif typefaces do not.
Serif Typefaces

Serif typefaces are divided into six subgroups: Blackletter, Humanist, Old Style, Transitional, Modern and Slab Serif. These typefaces are commonly used in magazines, newspapers and books, and are considered particularly readable in large blocks of text.

  1. Blackletter was the first letter-form to be widely used throughout Germany and other European countries. These typefaces have heavy, angular strokes that create an overall old fashioned feel. Some examples of Blackletter include Textura, Schwabacher, Cursiva and Fraktur. The image below is an example of Blackletter Fraktur, which is the most common form of the typeface.
Blackletter Fraktur, Typeface, Font,

Blackletter Fraktur is an example of Blackletter Typeface

 

  1. Humanist typefaces have a softer feel than Blackletter, but are still traditional, with gentle and round strokes, and slanted and bracketed serifs. These typefaces are distinguishable because of the sloped crossbar in the lowercase e.
Humanist, Font, Typeface, Example

Example of a Humanist Font

  1. Old Style typefaces are popular for printed text, and are characterized by wide, rounded serifs. Caslon, Garamond and Bembo are all examples of Old Style The photo below is an example of Garamond.

 

Garamond, Font, Old Style, Typeface

Garamond Font is an example of an Old Style Typeface

  1. The most commonly used typefaces today for printed text are called Transitional. These typefaces have an appearance somewhere between Old Style and more modern contemporary typefaces. Transitional typefaces have wider letterforms compare to Old Style. The well-known Times New Roman font is in this category, and so are Baskerville and Georgia.
Times New Roman, Transitional, Typeface, Font

Times New Roman Font is a well known Transitional Typeface

 

  1. The previously described traditional typeface groups have as their origin the pen-based letterforms used at the time by writers, calligraphers and scriveners. A break with that connection to handwritten lettering occurred in the twentieth century when Modern typefaces were first created. Many Modern typefaces are used for titles and headlines, because they are not as readable in small font size. These typefaces can be visually striking, and are often used in advertising copy.

    Modern, Typeface, Font, advertising

    Modern Typefaces are commonly used in advertising

  2. Slab-Serif. These typefaces, direct precursors to our current Modern typefaces, are also used for advertising, and were designed specifically for this purpose, and not for blocks of text in books and writings. They were introduced during a time of rapid industrialization. This new age called for promotion, which created a need for bold and eye-catching typefaces. Billboards, posters and flyers used Slab-Serif typefaces, demanding attention from onlookers.
Slab Serif, Typeface, Font, Serif

This is an example of a Slab Serif Typeface

Sans-Serif Typefaces

 

Moving on into Sans-Serif typefaces, early typeface designers appear to have found these unattractive, referring to them as gothic or grotesque (which actually became the names of a couple of Sans-Serif typefaces). This kind of typeface became extremely popular in the 20th Century, and can be broken into three categories: Humanist, Geometric and Transitional.

Sans-Serif typefaces are ideal for digital text and print headings because the absence of serifs makes them have a particularly clean appearance when used over electronic media. For example, Veranda, a Sans-Serif typeface, was designed especially for digital use.

Verdana, Sans Serif, Typeface, Digital

Verdana Font is a Sans-Serif Typeface that was designed for digital use

Other Typeface Groups

 

There are some other typeface groups as well, that cannot really be classified as Serif or Sans Serif.

  1. Script typefaces are modeled from pen or brush strokes, and are recognizable because of their similar appearance to handwriting. There are several different Script typefaces used for various occasions, but they are commonly used for formal text in designs such as invitations or certificates. The thin and angular strokes of these typefaces are not always easy to read, so they are not useful for lengthy text. The example below is of Lucida Handwriting.
Lucida Handwriting, Font, Typeface, Script

The Lucida Handwriting Font is a popular Script Typeface

  1. Here comes the fun: Decorative typefaces are those that are not designed for readability, but rather have unique personality, and allow the designer the most creativity. They are used for specific reasons, because they are able to draw out certain emotions, moods or attitudes. These typefaces are designed to draw attention. Therefore, they are commonly found on posters, billboards and headlines. Although Decorative typefaces should be used in moderation, they are my personal favorite. Here is an example:
Decorative, Typeface, Font, Style

This graphic image is an example of a Decorative Typeface

This concludes my overview of the most common typefaces. There are so many more to check out!

Electronic Portfolio

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http://ifreedman9.wix.com/portfolio

                  When I created my electronic portfolio, I designed it in a way that represented my personal style. I chose neutral, calm colors with a modern and simplistic approach. In my opinion, sites with an overwhelming variation of fonts, colors, and shapes, are distracting to the eye. I created a geometric logo that was eye catching, but did not take away from the information on the page. I also chose this logo because it could be incorporated on each page, without looking out of place. I designed each page with a different theme, but the designs work cohesively because of the similarity of color scheme, font style, and shape. Although I have included various samples of my work, they all inform the reader that I have a strong passion for art and design. I believe that my portfolio consists of a wide range of multimedia work that I have created over time. Although I have not limited the website to one particular area of interest, I hope that people will see my work and view it as a range of multiple skills and open-mindedness. I am open to several possible internships in the future, however I am mostly interested in the design field, specifically graphics. As of now, I hold a position on the creative team at Live Oak Communications, and Apparel Chair for my sorority organization. I am a Communications Design major, with a Digital Art minor, and I am currently enrolled in several classes where I am constantly learning, and strengthening my skills. I hope that my electronic portfolio represents some of the skills that I have obtained through these courses, although there is still so much that I have to practice and learn. For my writing page, I included work from my Media Writing course and my Global course. I included a link to a presentation I created, which reveals some of my graphic skills. I chose creative writing and journalism samples, to show different sets of writing styles. In my Writing for Visual Media course, I have been working to perfect my master resume, which I included on the website. I would still like to improve some areas of my resume, but overall, I am content with the design approach that it has. For the future, I would like to add more of my work to my electronic portfolio, specifically with projects that I am currently working on. Even though there are still many things to be added, I hope that my electronic portfolio portrays my passion for art, my curiosity towards learning, my open-minded attitude and my ambition to create great work.