- When it comes to visual communication,
there may be a few obvious approaches we think of
when looking to establish a visual hierarchy
in our design.
In previous videos,
we learned how contrast in layers, scale, color,
and space can help catch the eye initially.
But what happens thereafter?
Visual hierarchy is more than just what the eye sees first,
but also where you want to lead the eye
after you have caught the initial attention.
Typically, a message has a beginning, middle, and end.
So to help communicate a message effectively,
you'll want to help the viewer navigate
through a presentation to clearly comprehend your message
as effectively as possible.
Now, if you're new to graphic design and layout,
there will be lots to learn about some
of the delicacies you can incorporate into your design
that can help not only present clear information,
but a clear visual hierarchy.
In graphic design,
there are principles of design that can be considered
which we can keep in mind
in order to develop and create successful design.
These principles all have a relationship between each other
and appear in every well designed piece of work you see.
Understanding and harnessing design principles
will enable you to create good visual communication
and design in a variety of ways
to make specific, appropriate, and meaningful impressions.
This is what typically separates good design
from bad design.
In the previous video,
I discussed one of the key design principles, hierarchy.
In that video, we looked
at the key ways hierarchy could be achieved
in poster design.
In poster design, hierarchy can be achieved
in a variety of ways using contrast in layers,
contrast in scale, contrast in color,
contrast in space, and contrast in direction.
Now it's important to mention
that these techniques don't have to be used exclusively
as some can be used together
to develop a clear hierarchy in your design.
In this video, we are going to look at one
of the key ways to achieve hierarchy in your poster design.
I'm going to take you
through a quick presentation where we can look
at some examples
of how hierarchy could be achieved
using contrast in direction in poster design
and the lessons we can learn to incorporate
into our own design.
So let's get into it.
(upbeat music)
So let's take a look at how contrast in direction
can help develop visual hierarchy.
Now a quick recap, hierarchy is created
by contrast between visual elements in a composition.
Contrast helps distinguish elements
from each other, which helps with legibility.
Typically, visual elements
with the highest contrast are noticed first,
and then depending on the position and alignment
of supportive elements,
will determine where the eye is led thereafter
through a composition.
Depending on the choice of positioning
and the shape and form of the elements,
a designer can control what the eye sees first
and seek to create an order, direction,
and flow through a composition.
Here, you're inviting the viewer to start at point A
and move through to points B, C, and so on.
Effective use of direction can create more dynamic,
unpredictable, and unconventional experiences.
Dynamic use of direction can add movement and energy
to a composition, which makes them more engaging.
Now direction is particularly prominent
in publishing, packaging, leaflet, brochure,
and magazine design
where pagination and direction is fundamental,
but direction can also be prominent in poster design.
Some poster designs arrange elements in such a way
that it will clearly lead the eye in a certain direction.
Here are some examples that utilize direction well
in a variety of ways to establish a clear hierarchy
to first draw the eye
and then lead the eye through a composition.
Some use image and shape very cleverly
to suggest a clear direction.
Now this is normally the most practical approach
and can be done in a literal way or a suggestive way.
In these examples, we see the use of arrow shapes
used in a literal way to encourage
where the eye should move through the composition.
In this example, the frightening image of the shark
works as the primary hook to first grab your attention
and then works to point up
to where the composition wants you to look next.
Here, the image is subconsciously working as a pointer.
In these next two examples,
image and shapes are used to suggest perspective
to draw our eye in a particular direction.
First, we are drawn to the primary hook,
and from there, we naturally move along
with the perspective of the shapes.
In each of these examples,
it's clear to see where the eye is initially drawn
and the direction we are encouraged to move thereafter.
To achieve this outcome,
we require planning and design.
Skill and a creative eye will be required
to see an opportunity to arrange visual elements
in such a way to create direction through a composition.
This approach can be taken
when you want to suggest a clear direction
through your composition, while at the same time,
creating impact, movement, and energy.
The difficulty level for this technique is challenging.
Now some posters use type to suggest a clear direction
and this is where it can get a little more tricky.
In the previous examples,
we saw how shape and form was used
in a literal way to suggest direction.
Here, we see how type is used and arranged to make shapes
to, again, suggest direction.
In these examples,
we can see how scale has been applied to type
to establish the primary hook
with a careful arrangement of supportive type elements
to suggest where the eye should lead thereafter.
Whether it's from the top-down, bottom-up,
left to right, or sometimes even multiple.
In each example, there is a clear starting point
with a composition wants you to begin
and a clear direction where your eye is encouraged to flow.
To achieve this outcome will require planning and design.
Scale with typography
and a creative eye will be required to work
with typography carefully
to place type in such a way to establish a primary hook
and prompt the eye through a composition.
Again, this approach can be taken
when you want to create high impact, movement,
and energy in your composition.
If done well, this can create far more visually intriguing
and appealing results.
The difficulty level for this technique is hard.
Now, some posters use a combination
of image, shape, and type together,
and this is where it can get really exciting,
however, more complex.
In the previous examples, we saw how image and type
can be used alone to suggest direction.
Here, we see how both type and image can be used together
to create really compelling results.
It's not easy to place type and image together on a poster.
There will need to be a synergy and balance
between the visual elements
in order to prevent a composition
from looking messy and too busy.
In these examples, we can see how scale has been applied
to either type or image to establish the primary hook
with the careful arrangement
of supportive type or image elements
to suggest where the eye should lead thereafter.
Again, to achieve this outcome
will require planning and design.
Scale and a creative eye will be required
to work with both image and typography carefully
to place them together
in such a way to establish a primary hook
and prompt the eye through a composition.
This approach can be taken
when you want to create a dynamic movement,
rhythm, and energy in your composition.
If done well,
this can create very attractive and impressionable results.
In these examples,
we see how elements have been used together well.
The difficulty level for this technique is hard.
Now, lastly, some posters will go as far
as to use type and image to suggest multiple directions.
This is where standard layout
and design conventions are challenged.
Here, we see how both type
and image can be used together
to create more unconventional results
with more flare and spontaneity.
Unlike the previous examples
that appear to have a clear starting point and direction,
in these examples,
even though there is a clear starting point,
the eye is encouraged to look
around more sporadically thereafter.
In these examples, there is more friction
between the visual elements
because of contrasting arrangements.
Now this could be regarded as busy and complex,
but there is a certain quality to them
that can be appropriate for a specific context.
Now, this may not be a common approach
when establishing visual hierarchy,
but can be taken if high energy, movement
and contrast is required for a design.
More complexity can sometimes be more engaging
and more stimulating to behold.
However, achieving this outcome
will require planning and design.
A lot of skill and a creative eye will be required to work
with both image and typography carefully
to place them together
in such a way to establish a primary hook
and prompt the eye through a composition.
If done well, this can create very engaging
and captivating results.
In these examples,
we see how elements have been used together well.
The difficulty level for this technique is hard.
So in conclusion, as a beginner,
it can be easy to overlook direction in our design.
Though remember, a clear direction will give overall flow
to your composition
which can help a viewer navigate communication well.
Careful consideration of scale, alignment,
and proximity or visual elements can suggest flow
and movement through a composition.
So what can we learn?
Well, without taking care
to establish a clear visual hierarchy,
a design will be confusing and difficult to comprehend.
Establishing a clear starting point in a design
and neglecting to suggest where to go next
can lead to an uncomfortable user experience.
It's easy to take direction for granted,
but it can be crucial to add energy, movement,
and flow to help establish a clear sense
of visual hierarchy.
If harnessed in a strategic way and applied cleverly,
contrast in direction can produce more compelling
and attractive design.
So in application, when you're designing posters or anything
for that matter, be sure to consider contrast in direction
to establish a clear visual hierarchy if appropriate.
Also, when you look and observe other designs, ask yourself,
"How has hierarchy been considered?"
"Is there a clear sense of hierarchy?"
"How have they used contrast
in direction in their design to achieve it?"
"And how well does it work as part of the design?"
Well, I hope you enjoyed this design theory lesson.
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Now this lesson is part of a bigger series on poster design
and part of my poster design ebook.
If you want to take a closer look
at the examples I demonstrated in this video
and learn more about poster design
with tutorials on how to make poster design
and undertake poster design challenges,
you could invest in the poster design ebook.
Link is in the description.
Now this video was created
for all my members of the GDS Design School Community.
If you'd like to join the GDS Design School Community
where we chat about design,
give each other feedback,
and where I set design challenges,
you are all welcome to join for free.
Again, link is in the description
and I look forward to seeing you there.
So until my next design lesson,
unleash your creativity,
and I'll see you next time.
(upbeat music)