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You have selected free tutorial of the AutoDesk for the Adobe Certified Associate (ACA) :
Adobe Certified Associate in Video Communication Using Premiere Pro CS 6/CC
Topics : Identifying Design Elements When Preparing Video : Demonstrate knowledge of visual techniques for enhancing video content.
Adobe Help:-
The element of type
The elements and principles of design are the building blocks used to create a work of art. The elements of design can be thought of as the things that make up a painting, drawing, design etc. Good or bad - all paintings will contain most of if not all, the seven elements of design. The Principles of design can be thought of as what we do to the elements of design. How we apply the Principles of design determines how successful we are in creating a work of art. Type is generally not considered a traditional element of art, but it can be a critical part of your work as a designer. Typefaces carry a lot of emotional meaning, and choosing the proper typefaces for a job is a skill that every designer needs (yet many don’t have). Like color, this area of design is so deep and has so many aspects that entire books and college courses are focused only on typography. We can’t reduce it to simple rules such as "Use three typefaces, maximum. When in doubt use Helvetica. And never use Chiller." (Even though that’s not a bad starting point!)
THE ELEMENTS OF DESIGN LINE Line can be considered in two ways. The linear marks made with a pen or brush or the edge created when two shapes meet.
- SHAPE: A shape is a self contained defined area of geometric or organic form. A positive shape in a painting automatically creates a negative shape.
- DIRECTION: All lines have direction - Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and tranquillity. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action see notes on direction
- SIZE: Size is simply the relationship of the area occupied by one shape to that of another.
- TEXTURE: Texture is the surface quality of a shape - rough, smooth, soft hard glossy etc. Texture can be physical (tactile) or visual. see notes on texture
- COLOUR: Also called Hue see notes on colour
- VALUE: Value is the lightness or darkness of a colour. Value is also called Tone see notes on tonal contrast
For the details explanation:-
One of the major traps, when talking about type, is mixing up fonts with typefaces or treating them as synonymous. Many a typographic expert has haughtily corrected a beginner for mistakenly using the word font when he or she should have said typeface. To those of us who think about fonts only when choosing one in Microsoft Word, the distinction between the terms can seem confusing, esoteric, and even arcane. Every typeface has a personality and you need to carefully match the type in your design work so it has a compatible relationship with the overall feeling of the piece. The typefaces you use also need to work together. It takes time and experience to master this balance, but over time you can become a skillful typeface matchmaker. Most artists have a few fonts they tend to lean on heavily, and that’s okay—especially at the beginning.
TYPOGRAPHY
Typography is the art of using letterforms and type arrangement to help the language communicate a message. Technically, a typeface is the letterform set that makes up the type. Helvetica, Arial, Garamond, and Chiller are examples of typefaces.
TYPE CLASSIFICATIONS
There are many different ways to classify typefaces, but we’ll rely on the Adobe Typekit classifications Adobe has been a leader in type design and technology for over 30 years. New programs like Adobe Type Concepts focus on agile font development and community feedback, while the Adobe Originals typeface collection is known for its quality, elegance, and broad language support. Find fonts for desktop or web use on Adobe Typekit.
Font families from Adobe
people divide fonts into two main categories of type that should be used for large areas of type: serif and sans-serif:-
- Serif fonts are often associated with typewritten documents and most printed books. Generally, serif fonts are considered to be easier to read in larger paragraphs of text. Because so many books use serif fonts and early typewriters produced them, serif text often feels a bit more traditional, intelligent, and classy.
- Sans serif fonts do not include serifs. "Sans" is a French word that migrated to English and simply means "without." Sans serif fonts are often used for headlines and titles for their strong, stable, modern feel. Sans serif fonts are also preferred for large areas of text for reading on websites and screen reading.
Beyond these basic types of text we use in our documents, designers use other typefaces that are not appropriate for large areas of type because they’re not easy to read in a long paragraph. Most designers consider the following fonts to be "decorative" for that reason.
- Slab serif fonts (also called Egyptian, block serif, or square serif) are a more squared-off version of a typical serif font. These fonts bridge the gap between serif and sans serif fonts and generally feel a bit more machine-built. The simple design tends to make them feel a bit rougher than their serif counterparts.
- Script fonts (also called formal or calligraphical) have an elegant feeling. These fonts are great to use for invitations to formal events, such as weddings, and in designs where you want to convey a feeling of beauty, grace, and/or feminine dignity. If you are designing for a spa, for a beauty shop, or for products or services, script fonts will carry a feeling of relaxed and elegant beauty.
- Blackletter fonts (also called old English, Gothic, or textura) feature an overly ornate style and are often used to title formal documents such as certificates, diplomas, or degrees, as well as old German Bibles and heavy metal bands. It conveys a feeling of rich and sophisticated gravitas, often hinting at a long history of tradition and reliability.
- Monospaced fonts (also called fixed-width or nonproportional) use the same amount of horizontal space for each letter. Typically, fonts use a variable spacing technique called kerning. (You’ll learn more about kerning later in this chapter.) Monospaced fonts, in contrast, use the same width for every character. Monospaced fonts are good to use when you’re trying to make something look impersonal, machinegenerated, or retro-geeky because typewriters and early computers used monospaced fonts.
- Handwritten fonts (also called hand fonts) simulate handwriting. They are popular for adding a personalized, casual, or human touch to your designs and are often used on junk mail to try to trick you into opening that "Special limited time offer just for you!" (don’t fall for it). Handwritten fonts are prefect for communicating casual and friendly feelings, but they can be tough to read in a larger block of text.
- Decorative fonts (also called ornamental, novelty, or display) don’t fall into any of the other categories. They also tend to convey specific feelings. Decorative fonts should be used sparingly and very intentionally. Never use a novelty font just because you think it looks cool; that’s a typical newbie move. Make sure you are striving to convey something very specific when using decorative fonts.
- Dingbat fonts (also called wingdings) are a special type of font that doesn’t have an alphabet but instead consists of a collection of shapes or objects.
The Principles of Design
Much like the elements of design, different artists and schools of thought will generate different ideas about what makes up the principles of design
The Princile od Design Elements are:-
- Balance: Balance suggests the arrangement of things in an image should not be evenly distributed. This is not to say that everything should be centered, and that placing something in the top right means you should mirror it with something similar in the top left. That’s how a nondesigner lays out a composition. Experienced artists learn to properly balance all of the elements—including space—in their compositions.
Balance comes in many forms: symmetrical, asymmetrical, or radial.
Symmetrical: Symmetrical balance is what most students latch on to at first. It occurs when you can divide an image along its middle and the left side of the image is a mirror image of its right (or the top reflects the bottom). Using a seesaw analogy, a symmetrical balance would have two equally sized people equally distant from the fulcrum. This is the easiest balance to execute, but it conveys a very intentional, formal, and mechanical feeling. Asymmetrical: Asymmetrical balance achieves balance with
different elements on each side (or the top and bottom) of an image. Imagine an adult on a seesaw with a child. They can balance, but only if the adult is closer to the fulcrum and the child is farther away. To achieve asymmetrical balance, you need to use space to counterbalance the different weights on each side.
Radial: Radial balance is a circular type of balance that radiates from
the center instead of the middle of a design. Many artists get the feeling that they’re
viewing a radially balanced image from above. This kind of balance is almost
always circular. An excellent example of radial balance is a kaleidoscopic image,
which can feel balanced and unified but also typically feels more static than the
other types of balance.
- Alignment:
- Unity: Unity generally communicates calm, peaceful, or cool feelings in your art. The principle of unity (also called harmony) requires that the things that go together .design should feel like a family.
- Emphasis: describes the focal point to which the eye is naturally and initially drawn in a design. Some art has a focus that’s obvious. Most marketing and advertising is that way. Other art invites you to step in and explore. It might encourage an exploration of color or texture, but it has no specific point other than the color or texture.
- Contrast: Contrast generally creates visual interest and a focal point in a composition. If you think about it, a blank canvas is a canvas with no contrast. As soon as you begin to alter the surface and create contrast, you also start to create a focus. The principle of contrast can be defined as a difference in the qualities of the elements in an image. To use contrast is to create something different from the surrounding pieces of the composition.
- Proportion: Proportion describes the relative sizes and scale of things. You can manipulate proportion and scale to create emphasis. Things that are larger than they should be appear stronger, more important, or more powerful.
- Pattern: The two principles of repetition and pattern—along with movement and rhythm—seem to be the most confusing and difficult to grasp. As a matter of fact, some artists and writers more readily connect pattern and repetition with rhythm than with movement.
- Movement: Movement refers to the visual movement in an image. Depending on the context, it can refer to the movement the eye naturally follows across an image as it moves from focal point to focal point, or the perceived movement or flow of the elements in the image.
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