Monday, December 26, 2011


Designing Learning Centers Here are some of the prelim project outputs. Groups prepared different displays at rm GH 207, as Learning Centers, applying their very own resourcefulness and creativity in making different display formats as displays or exhibits for the Learning Center.
photos by Sarah

Monday, December 5, 2011


Putting your mind into actions...

In producing well -designed visuals - charts, posters, bulletin board displays, graphics for slides or television and the like- it is best to do a preliminary sketch of the intended visual.

The rough layout in commercial art is called a "blueprint" which gives less attention to artistic details and more consideration on choosing the right words and images, their arrangement, lettering style and color.

In planning your rough layout, consider the following:

A - arrangement
B - balance
C - color

to maximize
D - dynamism
E - emphasis
F - fidelity
G - graphic - harmony


A. Arrangement

- The pattern should capture the viewer's attention to relevant details.
- A geometric shape (e.g. oval, rectangle, triangle) can serve as a framework to build on.
- Apply the "rule of third". Elements along any of the one-third dividing lines takes on liveliness or movement. The most dominant and dynamic position is at the intersections of the one-third dividing lines (especially the upper left intersection). The center is the most static and least interesting point on the grid.
- Restrict the display to a single idea. In advertising this is called the "unique selling position.
- Lines add to eye movement.
- Horizontal lines give a feeling stability and rest
- Vertical lines imply strength
- Diagonal lines show movement, action and dynamism
- Crossed diagonals give a sense of conflict
- Curved lines give a feeling of motion.
- Contrast lends emphasis. There may be contrasting variations in size, shape, color, or orientation. An arrow is a pointer to direct the viewer's attention.

B. Balance

- Symmetrical or formal balance has an equivalence of elements on each side of the visual either horizontally or vertically.
- Asymmetrical of informal balance has a rough equivalence  of weights among elements. This tends to provide dynamism and interest.

C. Color

Color adds to realism, provides emphasis, and create an emotional tone.

- Blue, green and violet are "cool" colors which physiologically seem to recede from the viewer.
- Red and orange are "hot" colors which seem to approach the viewer.  Red and orange highlights help make objects leap to the viewer.
- Different colors appear to stimulate the senses: Blue is "sweet" orange is "edible" Pink, yellow and green "smell" best.  Dark red and brown evoke masculine images of earth, wood and leather.  Gold, silver and black suggest prestige and status.
- Use color judiciously in order not to lose harmony.  Choose analogous colors (next to each other) on the color wheel.

D. Lettering

- Letterings should be consistent and harmonious.
- Ornate letterings adapt to aesthetic or motivational objects.
- Simple letterings(like the Gothic or Roman Sanserif or without serif) are for informational or instructional purposes.
- Lowercase letters with capitals, only when needed are most legible.
- Short headlines may be all in capitals.
- Color of lettering should contrast with background color for  legibility and emphasis.
- For size, a rule of thumb is to adopt 1/4 inch high letters can be seen by a student at the last row of a 35-feet-long classroom.
- For letter spacing, judge distance by experience stressing an "optical" even and regular pattern.


Paz I. Lucido, Ph. D., and Milagros L. Borabo, Ph. D., Educational Technology. Katha Publishing Co. Inc., 1997