- [Instructor] By now,
you're probably aware of how much I value ideas
and composition that are unorthodox,
unexpected and dynamic.
These are the best ways we have
to engage the audience
and help them remember the message.
There's an old saying,
polite people rarely make history.
I know for a fact that people in my family
are pretty polite,
and a few had a hand in history,
but let's set that aside.
By only playing by the standard rules as designers,
we risk our work becoming invisible.
We explored how to use compositional elements
such as line, shape, color, and typography
to create strong communication.
Those go hand in hand with exploring typography
as an element in three-dimensional space
and changing meaning using shifts in scale, weight,
and placement.
We also looked at negative space as a dominant tool
that can force the viewer to stop and look
and hopefully do a little thinking so the message sticks.
Tension is one of the trickiest attributes to explain.
I hope you were able to recognize how to use tension
to create disharmony
or a specific emotional response.
I explored scale and its impact
when used in an unorthodox or more extreme manner
and how symmetry can be unexpected
and asymmetry can break the rules.
We also looked at some alternative processes for layout.
Thanks for keeping an open mind here.
They may seem odd,
but oddly work.
We examined ways to use minimalism to its maximal effect
and maximalism to really hit the goal.
And finally, we examined issues around sequential design
in all forms,
using layout to create a cohesive yet vibrant solution.
As I mentioned at the onset of this course,
we can be good designers and follow the rules,
or we can push limits
and challenge the status quo.
Of course, you need to know what the limits are
before you can do that,
but perhaps this course has opened your eyes
to a few new ways of dealing with composition and layout.
I've enjoyed making this course,
but more importantly,
thank you for your time and hard work
to become the best designer you can be.