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Graphic Design Solutions, 5e | Landa 1
Instructor’s Manual

Chapter 06 VISUALIZATION AND COLOR

Learning Objectives
01 understand how visuals are classified
02 learn about signs and symbols
03 study the basics of designing icons
04 become familiar with media, methods, and visualization
05 learn about image creation, selection, and manipulation
06 grasp visualizing form
07 acquaint yourself with drawing for designers and graphic interpretations
08 begin to learn about designing with color
09 apprehend storytelling through visualization

Overview
Draw attention to the two main roles of visualization in graphic design: 1)
visualization as visual thinking for conception, and 2) visualizing images for use in
design solutions.

Students tend to favor two visualization avenues: 1) methods they are comfortable
with and have been using all their lives, and 2) finding readymade images online.
Focus on getting students to explore new ways to visualize and to determine which
method best suits a specific design concept. Explore visualization methods together
through experimentation, alternating between using software and traditional tools
and materials, such as ink and brush on paper or cut paper. The more you do this,
the more comfortable students will become with experimentation (expect some
resistance at first).

Discourage using stock images. Encourage students to make their own using
traditional media, such as photography, drawing, model making, and more. Talk
Graphic Design Solutions, 5e | Landa 2
Instructor’s Manual

about intellectual property and copyright issues. Visit: www.graphicartistsguild.org

and www.uspto.gov.

Point out that designers often do not follow a linear process when composing and
visualizing.

Lecture 1: Classifications and Depictions & Signs and Symbols

Explain that images is a broad term encompassing a great variety of
representational, abstract, or nonobjective images—photographs, illustrations,
drawings, paintings, prints, pictographs, signs, symbols, maps, diagrams, optical
illusions, patterns, and graphic elements and marks.

Point out that grasping the classifications and depiction categories will increase their
understanding of how images communicate as well as augment their range of
visualization approaches.
Part I
▪ Explore the classifications of visuals:
➢ Show Dia. 6-1 /// Classification of images
>>Notation: a linear, reductive visual that captures the essence of its subject,
characterized by its minimalism.
>> Pictograph: an elemental, universal picture denoting an object, activity, place,
or person captured through shape. (For example, show the images denoting
gender on restroom doors.)
>> Silhouette: the articulated shape of an object or subject taking its specificity
into account (as opposed to the more elemental form of a pictograph).
>> Linear: a shape or form described predominantly by use of line.
>> Contour: a shape or form depicted through the linear outline of an object’s or
subject’s boundaries.
>> Light and Shadow: using light and shadow to describe form and the illusion of
three-dimensional space.
Graphic Design Solutions, 5e | Landa 3
Instructor’s Manual

>>Naturalistic: a visual appearance or style created by full color or tone using

light and shadow that attempts to replicate an object or subject as it is
perceived in nature.
>> Expressionistic: a style of visualization characterized by a highly stylized or
subjective interpretation, with an emphasis on the psychological or spiritual
meaning.
 To ensure students fully absorb these categories, it is helpful to ask them to
draw a common object, such as an apple or tree, in the ways just listed.
▪ Define the three basic classifications of depiction:
➢ Show Diagram 6-2 /// Three Basic Classifications Of Depiction:
Representation, Abstraction, Nonobjective
>> Representational: a rendering that attempts to replicate actual objects as
seen in nature. The viewer recognizes the image.
>> Abstraction: a simple or complex rearrangement, alteration, or distortion of the
representation of natural appearance, used for stylistic distinction and/or
communication purposes.
>>Nonobjective (nonrepresentational): a purely invented visual that is not derived
from anything visually perceived. It does not relate to any object in nature and
does not literally represent a person, place, or thing.
Part II
▪ Clarify the meaning of signs and symbols:
➢ Show Dia. 6-3 /// Signs and symbols
>> Sign: a visual mark or a part of language that denotes another thing.
Show:
• a picture of a dog and the word dog
• $ denoting money
• the written letter H is a sign for a spoken sound
>> Icon: an image to represent objects, actions, and concepts. An icon resembles
the thing it represents or, at a minimum, shares a quality with it. It can be a
Graphic Design Solutions, 5e | Landa 4
Instructor’s Manual

photograph, a pictorial representation, or an elemental image.

➢ Show:
• An elemental image, such as a magnifying glass desktop icon
• Arbitrary image, such as the radioactive sign
• Symbolic image such as a lightning bolt to represent electricity
>> Index: a sign that signifies through a direct relationship between the sign and the
object, without describing or resembling the thing signified.
➢ Show examples:
• a cue, a pacifier is an indexical sign for an infant
• an index by its proximity, a diver down flag means someone is under water
• by pointing, an arrow at an intersection on a roadside
• by being physical evidence of it, a photogram of a hand or a hoof print on
the ground.
>> Symbol: a visual that has an arbitrary or conventional relationship between the
signifier and the thing signified.
➢ Show a dove and the peace symbol, Dia. 6-4 /// Peace symbol
▪ Review functions of symbols in graphic design. They can be stand-alone images,
such as a pictograph of a woman on a restroom door or a mobile icon, or
components of a broader design solution, such as a sign system that is part of a
visual identity program.
➢ Show Fig. 6-1 /// Chart: The Talk Chart

Project 6-1 Image Classifications and Depictions

01. Choose one image, such as a tree, bird, house, or flower.
02. Depict the chosen image as a notation, pictograph, and silhouette.
03. Depict the same image in the following modes: linear, light and shadow,
naturalistic, and expressionistic. (Research fine art examples of these modes.)
04. Create ten thumbnail sketches for each depiction.
05. Choose the best of each and refine into comps.
Graphic Design Solutions, 5e | Landa 5
Instructor’s Manual

Presentation
Present all the depictions in black and white only.

Lecture 2: Icon Design

▪ Focus on the role of icons in graphic design—from desktop icons to mobile apps
to wayfinding symbols.
▪ Students should understand:
>>Who is the audience?
>> At what size will the icons be seen?
>>What is the context and where will the icons be seen—on screen, close-up,
lighted, from a distance, in print? At which perspective or angle?
>>What are the communication goals? What do the icons represent—actions,
figures, places, objects, creatures?
>>How reductive or elemental do they need to be to work? Totally no-frills?
>> Are these icons part of a system?
>>Which style will work across the system and is appropriate for the entire design
project?
➢ Show Fig. 6-4 /// Icons and Preliminary Sketches
➢ Show Case Study: Glasgow 2014 Commonwealth Games Pictograms by
Tangent Graphic
▪ Make clear:
>>Designing a system requires a clear design concept and a consistent use of
scale, perspective, shapes, and formal elements, such as line, color, and
texture.
>>The signs or icons in a system must look as if they belong to the same
family.

▪ Review Icon Design Tips:

Graphic Design Solutions, 5e | Landa 6
Instructor’s Manual

>> Accurately depict the shape of the object to allow users to recognize and
decipher the icon at a glance.
>> Aim for elemental form. (Stress this.)
>> Represent an image from its most characteristic angle.
>> Select commonly recognizable images that people around the world will be
able to understand.
>> Select color and/or values for impact, legibility, meaning, brand storytelling,
and context.
>> Treat all icons in a system consistently in terms of style of visualization,
perspective, and near and far.
>> Use a consistent single light source on all icon objects, if using light and
shadow to depict form.
>> Visualize icons to work well on both white and black backgrounds.
>> Scale the icon for different sizes.

Lecture 3: Media, Methods, And Visualization & Image Creation, Selection,

And Manipulation
Part I
▪ Expound on the decisions a designer has to make about:
>>Media and Methods: How the graphic components will be created,
visualized, and displayed on screen or in print.
>>Mode of Visualization and/or Style: This is how you will render and execute
the visuals and type for a project.
▪ List the media and methods include illustration, drawing and painting,
photography, graphic illustration, collage, photomontage, layering, and type as
an image.
➢ Show Fig. 6-5 /// Poster: Avila/Weeks Dance
▪ Emphasize the difference between using stock images and commissioning
artwork from illustrators and photographers.
▪ Point out issues about rights management and intellectual property. Visit a
Graphic Design Solutions, 5e | Landa 7
Instructor’s Manual

stock image house online, e.g., www.gettyimages.com/.

Part II
▪ Explain ways of altering images, such as by:
>> Combination: merging two or more different or related images into a
unique whole
>> Cropping: cut part of a photograph
>> Deliberated camera angle and viewpoint: the perspective from which you
position your camera (still or moving)
>> Economy: a reductive visualization
>> Exaggeration: a modification that embellishes, amplifies, or overstates
>> Silhouette: removing the background of an image leaving only the outline
of an object or figure

Lecture 4: Visualizing Form & Graphic Interpretations

Part I
▪ Students should understand that there are many ways to visualize forms.
Again, explain that learning this will expand their repertoire of image making.
Also explain that even graphic designers who are not illustrators can create
unique images.
>>Sharpness Versus Diffusion
>>Accuracy Versus Distortion
➢ Show Fig. 6-6 /// Poster: The Pretenders (example of distortion)
>>Economy Versus Intricacy
>>Subtle Versus Bold
>>Predictable Versus Spontaneous
➢ Show Fig. 6-7 /// Poster: Low and Behold (example of spontaneity)
>>Opaque Versus Transparent
➢ Show Fig. 6-8 /// CD Cover: Authentic Flavors (example of
transparency)
>>Linear Versus Painterly Modes
Graphic Design Solutions, 5e | Landa 8
Instructor’s Manual

>>Hard Edge Versus Brushy

➢ Show Fig. 6-9 /// Symbol: “Day Without Art” (example of both hard and
brushy)
>>Proximate Vision Versus Distant
>>Vision: Modes of Representation
>>Singularity Versus Juxtaposition
▪ Visualizing techniques include:
>> Line Drawing: An image created with line, using a tool such as a stylus or
pencil, with no solid areas or shading effects other than cross-hatching
>> Contour Drawing: Emphasis is given to the outline of an object or figure, to
its specific contour, to render mass and form
>> Elemental Flat Shape: Basic shape depicts a form using flat colors or
neutrals
>> Tonal Drawing: A form is depicted through varying tonal values, through
shading, rather than through line
>> Sketches: A rapid visualization technique
>> Rendering: Drawing to define three-dimensional spaces or objects
>> Cartoon Drawing: Simple rendering of figures and situations
>> Caricaturing: Drawing that captures particular expressions and features
▪ Lecture on Visualizing Techniques:
• Light and Shadow
• Linear
• Outline
• Open
• Geometric
• Silhouette
• Spiral
• Pattern
• Icon
Graphic Design Solutions, 5e | Landa 9
Instructor’s Manual

• Changing Line Weight

• Texture
• Cropped
• Sketch
• Transparent
• Positive and Negative Shapes
➢ Show Dia. 6-5 /// Visualizing techniques

Exercise 6-1 Drawing for Designers

01. Choose one image, such as a tree, bird, house, or flower.
02. Sketch or draw the chosen image twenty different times, trying different
sketching styles. Experiment with drawing or sketching tools.

▪ Lecture on Presentation: Margins, Rules, Borders, Cropping, and Bleeds

➢ Show Dia. 6-6 /// Presentation
>>Point out that how one presents an image affects communication.
>>Questions for students to consider:
• Will you crop it? Bleed it? Isolate it? Combine it? Juxtapose it?
Frame it? Silhouette it?
▪ Talk about considerations:
>>Margins: the blank space surrounding a visual on the left, right, top, or
bottom edge of a page can frame a visual,
>> Rules: thin stripe(s) or line(s) used for borders or for separating text,
columns of text, or images
>> Borders: a graphic band that runs along the edge of an image, acting to
separate the image from the background
>> Cropping: the act of cutting an image, a photograph, or an illustration to
use only part of it, not using it in its entirety
▪ Focus on cropping an image to edit it, to improve it, or to delete visual
Graphic Design Solutions, 5e | Landa 10
Instructor’s Manual

information that might distract the viewer from the communication.

 Ask students to take a photo with a focal point in mind but with unwanted
background imagery. Then ask them to delete any visual information (in
Photoshop) that distracts from the focal point.
>> Bleed or full bleed: type or a visual that extends off the edges of the page,
filling the page with an image. A partial bleed can run off one, two, or three sides

Lecture 5: Using Color

▪ Explain that many essential color relationships start with the pigment color
wheel, which diagrams basic color harmonies:
>>Analogous colors are any three adjacent hues.
>>Complementary colors are opposing hues.
>>Split complementary colors are two near hues in opposition to one hue.
>>Triadic are three hues at equal distance from each other.
>>Tetradic are two sets of complements.
➢ Show Dia. 6-7 /// Pigment color wheel
➢ Show Dia. 6-8 /// Fundamental color relationships on the pigment color
wheel
▪ Cover color as focal point
➢ Show Dia. 6-9 /// Saturated color as focal point
▪ Go over Color Temperature | Cool vs. Warm
>>Begin a discussion of color temperature by asking students what visual
temperature they associate with various colors. List cool and warm hues.
➢ Show Dia. 6-10 /// Color temperature
▪ Introduce Color Schemes
>>Stress that when designing with color, always consider hue, value, and
saturation. Changing the value or saturation of a color will affect how it works and
communicates. Also tell them to consider how colors will appear and interact on
screen or in print.
▪ Give examples:
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Graphic Design Solutions, 5e | Landa 11
Instructor’s Manual

• Monochromatic color schemes employ only one hue.

• Analogous color schemes employ three adjacent hues. Due to
their proximity on the color wheel, analogous colors tend to
be a harmonious or congruent color palette. The harmony
is created because of the colors’ similarity to each another.
• Complementary color schemes are based on a relationship
between any two opposing hues on the pigment color wheel.
These opposing hues tend to visually vibrate and can express
tension or excitement through their strong contrast. Used in
small amounts placed close together, complementary colors
may mix optically to form grays or to shimmer, which is called
mélange optique (optical mixture).
➢ Show fine art examples, for instance, The Channel at Gravelines, Evening
by Georges-Pierre Seurat, online at moma.org
• Split complementary color schemes include three hues: one color plus the two
colors adjacent to its complement on the color wheel. A split complement’s
vibratory nature is high contrast but somewhat more diffused than a
complement and is less dramatic than a complementary color scheme but still
visually intense.
• Triadic color schemes include three colors that are at equal distance from
each other on the color wheel. Basic triadic groups are the primaries and
secondaries. An example of another triadic relationship is red-orange/blue-
violet/yellow green. The inherent equilibrium of a triadic group is visually
diverse with good hue contrast yet harmonious.
• Tetradic color schemes are composed of four colors in two sets of
complements (a double complementary). Tetradic palettes offer great hue
diversity and contrast.
➢ Show Dia. 6-11 /// Color schemes
▪ Finally, expound on the notion of storytelling through a single image.
 Show an image to the class, such as a door or a spilled glass of milk on a
Graphic Design Solutions, 5e | Landa 12
Instructor’s Manual

tabletop, ask them to tell a story about it.

➢ Show Fig. 6-12 /// Environmental Graphic: “Splash”

Project 6-2 50 Visualizations

This assignment is based on advice from Alice E. Drueding, Professor and Graphic

and Interactive Design Area Head at Tyler School of Art, Temple University.

1. Choose one image, such as a cat, dragon, tree, or crab. It is important to pick

an image that has an interesting shape.

2. Render the image fifty ways, utilizing different rendering techniques and

media. Experiment as much as possible. Try as many techniques as possible,

including experimental ones (drawing or painting with unusual tools and

substances), sewing, stitching, using fabric, natural materials, and building or

composing with found objects, found papers, or recycled materials. For

example, did you know that you can paint with black coffee? Did you know

that you can paint with rubber cement to mask white areas of paper, then

paint over it, and remove the cement to reveal a white silhouette? Also, feel

free to make some of the images three dimensional.

Presentation

Present as a book, poster, on a grid—any way you think works well to

showcase the differences among the depictions.

Topics for Classroom Discussion

o What are the different image classifications?

Graphic Design Solutions, 5e | Landa 13
Instructor’s Manual

o What purposes do icons serve?

o Explain how you go about selecting a color palette for a design solution?
o Name some color schemes based on the pigment color wheel.
o List a variety of ways to visualize an image.
o How does one image tell a story?
o How do you know which visualization method to employ?

❖ Find more Graphic Design Solutions Exercises and Projects online.

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