Page 92 - Graphic Design and Print Production Fundamentals

80 Chapter 3. Design Elements, Design Principles, and Compositional Organization
a strong focal point, but unlike the radial system, the composition creates rings, not rays, that expand
from the centre. Other examples of this system are the iris of the eye or representations of sound waves.

Random/Spontaneous

Creating a composition that does not follow any compositional principle is not as easy as it sounds.
Finding examples of randomness is also one of the most difficult exercises for design students. Random
design does not follow any rule, method, direction, or pattern. If a project calls for randomness, it is
best to start with materials that are conducive to spontaneity like Jackson Pollock’s paint throws. Allow
the elements that fall to organize themselves naturally — eventually, a dynamic and fresh composition
should emerge. Random compositions exhibit visual qualities that are not patterned, aligned, or
horizontal. Instead, they tend toward compositions that exhibit overlapping, cropping, angling, and
textures.

Transitional

The transitional typographic system is defined by the layering of lines of text into informal textured
planes and shifting tonal bands. The shapes and bands created with this layering approach are not aligned
with one another, and create an overall organic atmosphere. This visual approach is often used in Post
Modern design where the clear legibility of text is not as important as the visual atmosphere of the
design. Text planes in Post Modernist works point the viewer to the main theme of the message rather
than articulate the message in clean, concise text arrangements.

Compositions using the transitional approach have a light, airy look that abstractly imply cloud
formations or wood grain patterns rather than solid concrete shapes created by using the grid or axial
systems. A transitional composition has lively and active negative space, and can create an excellent
ground for a vital focal point if it is in sharp contrast to the rest of the composition.

Attributions

Figure 3.32
Image includes: Photo by Stefanus Martanto Setyo Husodo used under a CC0 license and Cape Nelson
Lighthouse, Portland, Australia by Joshua Hibbert used under a CC0 license.

Figure 3.33
Image includes: Photo by Stefanus Martanto Setyo Husodo used under a CC0 license and Cape Nelson
Lighthouse, Portland, Australia by Joshua Hibbert used under a CC0 license.

Figure 3.34
Image includes: Photo by Stefanus Martanto Setyo Husodo used under a CC0 license and Cape Nelson
Lighthouse, Portland, Australia by Joshua Hibbert used under a CC0 license.