Your storyboard should explain what you want to accomplish with your video, how you will produce it, what equipment, props & talent will be necessary, and how you will deliver the finished product.
The more in-depth you go with your storyboard planning, the easier the filming and editing portion of your video will be.
I will be going over the storyboard I have created for my self promotional video in detail so that you can see what a storyboard can entail!
Panel 1
GHS – Front Building
Text fades in slowly, with the background, then expands.
Font: Plante Green
Long shot of the front of the building to a close up of the front doors.
Panel 2
GHS – Front Doors
Outfit #2
I walk out of the right door, off to the right.
After the door closes, the text falls to the ground all at once.
Door opening noise
Footsteps
Font: Source Code Variable Concept Green
Close-up of the front doors.
Stationary, then pans over to follow me
Panel 3
USD – Sioux Falls Bridge
Outfit #1
Scene transitions from GHS to the USD – Sioux Falls bridge as I cross the edge of the screen.
As part of my portfolio for school, I am required to conceptualize, produce, edit & deliver a self-promotional video. The first stage is the pre-production. This includes research, brainstorming, storyboarding & script writing.
Video Requirements:
2-3 minutes in length
Must include composite video or kinetic type using After Effects as well as footage captured with a video camera.
Must have professional lighting & sound quality.
HD 1080p formatted for Vimeo/Youtube & mobile
Begin with rough sketches, then refine the storyboard using more detailed drawings or photos.
Video Objectives
Promote my employable skills through video:
Photoshop
Illustrator
InDesign
Dreamweaver
After Effects
Premiere Pro
Bridge
Digital Photography
Photo Editing
Video Storyboarding, Filming, & Editing
Organization, Planning, & Coordinating
Teamwork
Management
Communicate my ideas visually through detailed sketches and planning.
Capture and edit a sequence of video clips to create a mood and message to the viewers.
Composite text, images & video in a visually appealing and professional way, using Adobe After Effects.
Brainstorming Ideas
The main idea I have for my video is to do a timeline, showing my college/job experience from when I graduated college in 2020 to finishing the Media Design Technology Program in May 2025.
I will be using my transcript as a reference for the classes I have taken and which year and semester they where in.
I think that a timeline, “Progression Over-Time,” would be a good way to show the things I have learned over the years and how I have ended up in my current position.
This video will be very visual, with moving text and the backgrounds being the focus. I do want to get some royalty free background music as well to help with the feeling and mood of my video. I do not think there is a need for any talking in the video.
I will be using my transcript of my classes as a guide for the type that will be in my video. I will also be going through old pictures of me to get a feel for what I looked like during each year so I can try and re-create the feeling of going back in time.
I plan to film at Garretson High School, the USD Community College for Sioux Falls, Southeast Technical College, and North Central International to show the places I have gotten my education and experience so far.
Prior experience and associations to the form creates meaning.
Shape, size, linearity, & mass tell us what a form is.
Pictorial images show recognizable subjects like objects, figures, and spaces
A designer might choose to represent an idea pictorially by using photographs, illustrations, or a mix of both. Images must provide informational clarity in a way that resonates and delivers secondary and tertiary messages, associational, and branded messages.
Empirical Pictorial Images
Empirical pictorial images depict the characteristics of objects and scenes as they are observed in space. This type of image is usually used to help describe or explain subject matter better and to suggest that the message is grounded in real life. Photographs are the most empirical of any type of imagery.
For example, in an ad for a photographer, you would want to use real photographs of their work. If they are a wedding photographer, showing a good photo of a wedding couple they have taken would let the viewers know that this is the type of work they do and that they know what they are doing.
If you showed an illustrated version of a photo they have taken for a wedding, this would confuse the viewers and send mixed signals because the information of the ad and the photo doesn’t match up.
Stylized Pictorial Images
Recognizable to reality but add a conceptual or metaphorical overlay of meaning. For example, reality TV & animated shows. In reality TV, the scenes and imagery that are being shown are being stylized by the director to convey certain themes, context, and emotions in the viewer. The scenes are contrived and edited from real life to become a stylized version of reality.
Animated shows take this to a whole new level by representing real life or fantasy in a completely stylized way. The characters of animated shows may look more or less realistic depending on the style of the show. This form of imagery is really good for envisioning things that are not naturally occurring. We can envision the world in a way that is very unnatural to us and would be impossible to do filming actual people.
Reductive Pictorial Images
Represent real-life places, people, or things in a very simplified way. This would be like graphic translations or icons where the form is very distinct and recognizable right away. For example, there is usually always a sign on bathrooms that is either a female icon, male icon, wheelchair-accessible icon, or family icon. These are very easy to identify right away because the symbols are just pictures of people, reduced to the simplest forms.
This ad has an image of a lady with white teeth smiling, as well as literall photos of the product and its package to help explain the message of the ad better. The image has been stylized and is no longer in its most natural form, but the toothpaste is depicted exactly as in reality and helps to bring credibilty to the ad. This also helps the viewer to know exactly what the product looks like so they can spot it better in stores.
The correct mode you should use depends on the kind of message you are creating and how you want the viewer to interpret it
Icon
Icons should be used when you want to literally represent the subject or idea in a way that will be descriptive and straightforward to the viewer. A photograph can be used as an icon if it exactly represents the subject matter.
This ad uses icons in the form of the cleaning bottles. Instead of using an actual image of cleaning products, a simplified graphic reduction is used. This helps to tell the viewer what that ad is about right away and backs up the headline, “Squeaky Clean Services.” I did think that the cleaning products do remind me the most of a laundry detergent bottle, so this might confuse the message a little bit.
Indexical Sign (Index)
Indexical signs (indexes) are visual signs that point to a signified object indirectly. For example, an image of a tree with the leaves falling might be pointing to autumn.
This ad uses imagery of an open road as a background to help point to and signify the message about what kind of people use Nike shoes. If the image only had a runner without the background it has, the meaning and emotions of the ad wouldn’t be communicated the same. The open road background signifies that Nike is, “natural,” “rugged,” and, “adventurous.”
Symbol
Symbols are used when you want the information or idea to be more open-ended for the viewer to interpret. Symbols are interpreted differently depending on the cultural, social, and historical context that the viewer may or may not be aware of. Therefore, symbols must be used carefully to achieve the desired effect on the viewer.
This ad uses a large, red, graphic swoosh to symbolize the lipstick on a social, historical, and cultural level. The large red swoosh goes with the icon photograph of the lipstick container as well as a lady wearing the lipstick to add deeper meaning and significance to the ad. To me, the large red swoosh physically represents the color and texture of the lipstick but also conveys feelings of lust, love, passion, romance, boldness, and rich velvety color. This meaning is interpreted differently by the viewer and their unique experiences and knowledge of colors, shapes, and forms.
Supersign
Supersigns combine icons, symbols, and/or indexes to create a more layered and complex meaning.
This ad uses a mix of icons, indexical signs, and symbols to create enhanced meaning. A photograph icon of the teacup is used to literally show what the product is. A symbol of the shape of steam is used that has an indexical image of fields with green leaves and a sunny sky in nature to connect the idea of where the tea came from with symbols of warmth, sunniness, and nature. These different forms of image representation combine into a supersign. The literal image of the teacup juxtaposed with the symbol of the feelings they want you to associate with their tea combines to create a more complex message for the viewer to decode and experience.
Designers can achieve their communication goals through different forms of imagery.
Images are symbolic and emotional in nature and can be representative of real places, people, or objects, or they can be artificially contrived and abstract. Images create a visceral connection to experiences described by written language, bringing more context and meaning to a composition.
Images can be powerful communicators on their own, but usually they are integrated with other visual elements to enhance their meaning.
Pictorial images show recognizable subjects like objects, figures, and spaces.
Empirical Pictorial Images
-depict the characteristics of objects and scenes as they are observed in space.
This type of image is usually used to help describe or explain subject matter better and to suggest that the message is grounded in real life.
Photographs are the most empirical of any type of imagery.
For example, in an ad for a photographer, you would want to use real photographs of their work. If they are a wedding photographer, showing a good photo of a wedding couple they have taken would let the viewers know that this is the type of work they do and that they know what they are doing. If you showed an illustrated version of a photo they have taken for a wedding, this would confuse the viewers and send mixed signals because the information of the ad and the photo doesn’t match up.
Stylized Pictorial Images
-recognizable to reality but add a conceptual or metaphorical overlay of meaning.
This form of imagery is really good for envisioning things that are not naturally occurring.
We can envision the world in a way that is very unnatural to us and would be impossible to do filming actual people.
For example, reality TV & animated shows. In reality TV, the scenes and imagery that are being shown are being stylized by the director to convey certain themes, context, and emotions in the viewer. The scenes are contrived and edited from real life to become a stylized version of reality. Animated shows take this to a whole new level by representing real life or fantasy in a completely stylized way. The characters of animated shows may look more or less realistic depending on the style of the show.
Reductive Pictorial Images
-represent real-life places, people, or things in a very simplified way.
This would be like graphic translations or icons where the form is very distinct and recognizable right away.
For example, there is usually always a sign on bathrooms that is either a female icon, male icon, wheelchair-accessible icon, or family icon. These are very easy to identify right away because the symbols are just pictures of people, reduced to the simplest forms.
Semiology
-the process of perception and cognition for visual understanding and describes the process of a visual signifier gathering meaning in our brains. This is also referred to as syntax to semantics and explains why different forms create and signify different visual meanings.
All forms carry meaning.
The shape, size, linearity, and mass of a perceived form tell us what the form is (syntax), while our experiences and prior understanding of these characteristics create the meaning (semantics).
Interplay of forms and images also creates additional meaning beyond the base syntax of the form.
For example, round objects are usually associated with being natural because of our experience and knowledge of other round objects (sun, moon, earth, unity, cycles of nature). Square objects are usually associated with being unnatural or man-made because of our experience of other geometric shapes (architectural, artificial, intellectual, shelter, order, math).
A designer might choose to represent an idea pictorially by using photographs, illustrations, or a mix of both.
Images must provide informational clarity in a way that resonates and delivers secondary and tertiary messages, associational, and branded messages.
Images come in different modes, and the correct mode you should use depends on the kind of message you are creating and how you want the viewer to interpret it.
Icons
-used when you want to literally represent the subject or idea in a way that will be descriptive and straightforward to the viewer.
A photograph can be used as an icon if it exactly represents the subject matter.
Symbols
-used when you want the information or idea to be more open-ended for the viewer to interpret.
Symbols are interpreted differently depending on the cultural, social, and historical context that the viewer may or may not be aware of.
Therefore, symbols must be used carefully to achieve the desired effect on the viewer.
Indexical signs (indexes)
-visual signs that point to a signified object indirectly.
For example, an image of a tree with the leaves falling might be pointing to autumn.
The visual relationships describe how certain elements in a design interact with each other to create visual meaning. These relationships aid in establishing the primary and secondary principles in a design composition.
1.) Density
(I do not own this material and am using it for informational purposes only.)
This poster has a high density of shapes on the lower, right side of the image.
The juice bottle, red splash, and watermelon pieces are all overlapping and located within the same area.
Your eye is drawn to the busiest area of the poster, without the image being too crowded.
2.) Direction
(I do not own this material and am using it for informational purposes only.)
This poster immediately pulls you in, with the big red tomato at the upward center.
The stems lead your eyes outwards and down as you start to notice the red text.
As you read the text, you start to notice all the objects within the tomato.
The tomato comes to a point at the bottom that leads your eyes downwards to the pasta sauce bottle.
3.) Discord
(I do not own this material and am using it for informational purposes only.)
This poster is in discord because it has too many different things going on.
There are multiple sizes, angles, styles, and colors of type. This makes the poster lack harmony.
There is also text overlapping the check mark, X, and birds that is visually distracting. This makes the poster way harder to read.
The birds do not match the theme of the poster.
4.) Economy
(I do not own this material and am using it for informational purposes only.)
This advertisement has very few words and images, making the design clean cut and simple.
Even though the design looks simple, it is very well thought out.
Ford is able to get its message across, “The city is in your hands,” by showing a city scape as the edge of the key.
This is a very clean, fresh, and interesting design.
5.) Focal Point
(I do not own this material and am using it for informational purposes only.)
In this advertisement, your eyes are immediately drawn to the lady in the middle.
She takes up about 2/3 of the frame and has lots of interesting shapes and colors.
Once you see her, your eyes are led up with her hand, and you can see the brand name.
Following her lower hand leads you to the drink that is being advertised.
6.) Harmony
(I do not own this material and am using it for informational purposes only.)
This poster is consistent with its colors, font choices, images, and background.
The black and white image of a lady, goes well with the black and white crocodile head. These elements mesh nicely to backup the idea presented, “Reimagine your world.”
The background is split in half equally. The top teal half matches the rectangles framing the text at the bottom.
All the text is the same style and white.
7.) Motif
(I do not own this material and am using it for informational purposes only.)
This advertisement displays motif by using the same type of style for all three icons.
The hammer, pencil, and magnifying glass icon are all contained in yellow circles.
These circles are the same size.
The icons are spaced evenly apart and have a coordinating caption that explains them.
8.) Tension
(I do not own this material and am using it for informational purposes only.)
•This advertisement shows a lot of visual tension with the placement of the fire, the main characters, and the scene in the foreground.
•The chaotic scenes in the foreground clash with the seemingly romantic main characters.
Her arm is overlapping the foreground, splitting it up into two distinct scenes.
•The fire in the background seems like it is coming off the characters, giving them an air of passion and danger.
9.) Theme
(I do not own this material and am using it for informational purposes only.)
This advertisement shows an overlapping theme through its text, color, and layout choices.
The light pink text matches with the border at the top and bottom of the image. This color also helps to represent the idea, “Land of the Sweets.”
The blue and white colors in the image back up the idea of it being cold and tie in with the snowflakes.
The lady on the right looks like she is signing and dancing, previewing what the show is going to be like.
Visually, the text nicely frames the woman. This leaves enough space for information, while retaining the pretty background and other elements.
The elements of design encompass what designers use within a composition.
1.) Space
(I do not own this material and am using it for informational purposes only.)
This panel from the manga Fruit’s Basket uses white space to draw your eye to the intended focus.
The text bubbles have a lot of white space around words, making them stand out from the busier background.
The text that is meant to be read in the character’s head, doesn’t have a text bubble.
Tohru’s thoughts are just outlined with white strokes, distinguishing this text from the background and spoken text.
The pages of the manga have a white area in the center, where the pages turn. This is necessary, so that the important images and text are not cut off in the page fold.
2.) Shape
(I do not own this material and am using it for informational purposes only.)
This panel, from the Nancy Drew graphic novel, shows the element of shape.
Through its use of splitting up the rectangular images diagonally, the scene is presented in a more interesting way.
The image of the bear in the top right corner is draws you in first, then you notice Nancy coming out of this frame and connecting to the others.
Nancy breaks up the rectangle shape of the first image to create a dynamic shape that draws your eyes downwards.
By following her outline, you are led to read and view the scene in order.
The bottom images being sliced in half adds drama and tension to the scene, and gives the impression of sharp claws.
3.) Size
(I do not own this material and am using it for informational purposes only.)
The proportioning of the text, foreground, background, and subjects in this book cover support hierarchy in this composition.
The text at the top of the composition takes up about 1/3 of the cover. This splits up the text information up from the image below so you can focus on one or the other.
Making the title, “Nancy Drew” larger than the other text shows its importance.
Nancy takes up about 1/3 of the image, showing her as an important character.
The dove in the foreground is larger than the doves in the background, showing the perspective of them flying towards Nancy.
4.) Line
(I do not own this material and am using it for informational purposes only.)
The lines in this composition frame the character Kyo perfectly and lead your eyes down the scene.
Manga panels are read from right to left and up to down, so your eye would be drawn to the top right image first.
The line framing the right side of the top image leads your eye down to the corner. Your eye is then led to the bottom right of the top image.
This repeats for the next two images under the top image, running down the right side of the composition.
Your eye is then led over to the left. The lines framing the right-side images, also frame Kyo.
The lines in this composition helps the reader make sense of what is happening and in order.
5.) Color
(I do not own this material and am using it for informational purposes only.)
There are complementary colors in this book cover that bring visual interest and contrast.
The blue text “Drew” stands out against the bright yellow background. This bright yellow also contrasts with the black text, “Nancy.”
The use of color variety, saturation, and temperature help to promote the theme of the book. The color usage catches attention, while retaining a unified look.
The cool blue color promotes the cold temperature they are feeling in the air.
Nancy’s fiery orange hair and Beth’s red outfit are warm colors and contrast with the cool colors in the background.
The main colors in this cover are blue, yellow, red, and black. The limited color range helps to control variety.
6.) Pattern
(I do not own this material and am using it for informational purposes only.)
There are two different patterns shown in this panel from Fruit’s Basket.
The first pattern appears in the top two images as repeating flowers.
The flower is repeated in the same style and spaced evenly apart. This creates a darker, more interesting background for the two characters.
In the bottom half of the composition there is a pattern of intricate circles.
These patterns add to the composition by adding interesting backgrounds, as well as helping to visualize Tohru’s mindset.
The patterns in the background help you visualize Tohru’s change from confused at the top to shocked and freaking out in the bottom.
7.) Texture
(I do not own this material and am using it for informational purposes only.)
This panel composition from Maximum Ride uses texture to bring the mountain, cave, and trees to life.
Instead of drawing every individual leaf and rock, texture is used to create the illusion of depth and detail.
The texture on the trees is distinct from the texture on the mountain and in the cave.
The textures in this image help to set a realistic setting for the characters.
The trees overlap the mountain, creating the feeling of depth. This tells your eyes that the trees are closer than the mountain.
The cave walls in the foreground also create depth, by being brighter and having more detail than the back of the cave. This creates the visual atmosphere of a tunnel.
8.) Typography
(I do not own this material and am using it for informational purposes only.)
This title cover represents the themes of death and justice shown in the manga through its choice of typography.
The title Deathnote is all conjoined as one word, in a font type that looks like black specs. This creates a dark and mysterious look. The letter “E” is backwards, and the letters “A” and “T” are sideways. This variation from the other letters creates a feeling of tension and unease.
All the type in this composition is black, white, or grey. The use of white and black in the title represents the conflict of the story. The white is how Light sees himself, while the black is the reality how the world sees him.
The grey text on the sides of the cross is in a gothic style and fades more into the background. This text is less noticeable and readable, but still adds to the composition.
9.) Contrast
(I do not own this material and am using it for informational purposes only.)
This title displays color contrast, in its use of very dark colors overlapping very bright colors.
The wolves’ bright red eyes stand out against their dark bodies.
The bright white and pink symbols in the background stand out against the black wolves in the foreground.
The smooth and delicate nature of the background pattern also clashes with the jagged, harsh edges on the wolves.
The wolves and the characters are facing in opposing directions, giving the impression that they are against each other.
The secondary principles of design are very important to any good design.
1.) Emphasis
(I do not own this material and am using it for informational purposes only.)
This advertisement shows the principle of emphasis by making the words HAPPY HOUR the primary focus.
This sign immediately stands out with its use of dark, big, bold text on top of a bright background.
We immediately see this sign and know that it is the primary theme of this poster.
2.) Movement
(I do not own this material and am using it for informational purposes only.)
This movie poster uses the principle of movement through its use of a dark frame that draws your eyes toward the middle.
The text being stacked vertically, draws your eyes downwards as you read the text.
The foreground of the poster also creates two diagonal lines that frame the characters in the center.
3.) Proximity
(I do not own this material and am using it for informational purposes only.)
This advertisement for Listerine uses the principle of proximity, by placing the animals as if they are coming out of the bottle.
This placement creates an association that Listerine cool mint is as cold and fresh as the arctic.
The ice growing around the bottle backs up the association to Listerine tasting like a cold, fresh, burst.
4.) Repetition
(I do not own this material and am using it for informational purposes only.)
The repetition of the links, colors, and characters create unity in this poster.
The colors used throughout this poster are mostly green and white. This ties the links, text, and logo to the background.
The repeating numbers and characters in the background represent data on your computer, and tie into the theme of data security.
The repeating chain links lead your eyes from the top left corner, to the paperclip in the center. This is where the repetition of the strong clear link, is replaced by the flimsy paperclip.
5.) Rhythm
(I do not own this material and am using it for informational purposes only.)
This poster showcases the principle of rhythm through its use of spacing, lines, and shapes.
The background has three panels that are all equal. This gives the poster a look that is centered in the middle and matches on either side.
Visually, there are five lines that run downward. The two lines in the background tie in with the line running through the center of the tire.
The gradient in the background also forms a circle that matches with the tire in the middle.
6.) Scale
(I do not own this material and am using it for informational purposes only.)
This poster for Shrek uses the principle of scale to show a clear hierarchy, as well as making the characters look right.
The Letter ”S” in the center is the most dominant aspect of the poster. It is scaled up to fit almost the whole poster, giving it heavy importance and priority.
The characters are scaled down to be proportionate to each other. This lets you know that Shrek is much bigger than his human counterparts.
The names of the actors are in large print, making them stand out. They are all equal sizes though, showing that all four acters have the same importance in the movie.
The primary principles are 6 design rule that are used to create effective designs.
Unity
Unity is the control of variety. To create a unified look in a composition you can use up to 2 typefaces, create a color scheme, and make sure certain elements are repeating. You want things to look like they belong together but its also ok to have some variety and contrast.
Variety
Variety complements unity and is essential to adding contrast and interest to a design. Variety can create a focal point, and aid in the meaning of messages.
Hierarchy
Hierarchy refers to an arranged order. Using hierarchy in any composition is important to leading the viewers eye, establishing the importance of certain elements, and establishing depth. A hierarchy can also help in a practical way of breaking up information and helping readers quickly decipher information.
Dominance
Dominance is the prevailing influence of one element over another. This principle is similar to hierarchy. Dominant elements within a composition help to add contrast and a focal point in your composition.
Proportion
Proportion refers to the size relationships within a composition. Using appropriate proportions will make a design more understandable to the viewer. You want to make sure your elements feel like they are size and placed appropriately, relative to each other in order to establish the depth and hierarchy you are going to.
Balance
Balance is the visual distribution of elements in a composition. The four types of visual balance are symmetrical, asymmetrical, radial, and crystallographic.
Symmetrical designs can be split down the middle horizontally or vertically and the reflecting sides would be very similar. This portrays a sense of evenness as the visual weight is the same reflected both ways.
Asymmetrical designs are not the same on each side but both sides feel like they have about the same amount of space being taken.
There are different ways that type functions as texture within a composition as well as how the spacing and placement of type affect the visual and verbal meaning of the type. Type, like an image, is abstract and visual in nature. Individual letters, words, and paragraphs are made up of a series of dots, lines, planes, and fields of texture. Designers can learn how to influence type to better support their verbal and visual message within a composition. While all type should be functional and legible, type doesn’t have to be boring. Typographic color describes the way that type is placed in a format, its rhythm, and its spatial and textural qualities. While the chromatic color of type also influences its texture, space, and meaning, typographic color refers only to the value of the type and not the hue itself. Typographic color separates type from the surface of the design and introduces the illusion of spatial depth.
Larger type appears closer to the reader, while smaller type recedes into the background. The size of type is measured in points and is controlled in the character panel in indesign. The larger type takes up more space, making it stand out more. The larger type standing out more also mimics our visual perception of the world, where objects that are closer to us are larger and objects that are farther away get smaller and smaller until we can’t even see them any more or tell what they are. It is standard in design that an 8-12pt font is appropriate for larger bodies of text. If the text becomes smaller than 8 points, it may be too hard to read easily, especially for screen viewing. Designers must also take into consideration how far away the viewer will be from the design when they are reading it. A flyer will probably be very close to your face when you are reading it, so you can have some type that is smaller, while a billboard will be viewed from a great distance away, so the type must be very large in order to read it. Type size supports the visual hierarchy in the way that the type that is the largest will draw the most attention and stand out first, and then the next largest, etc. You must keep in mind though that if type is too large, it may lose meaning as a letter and become more of a shape to your eye because the shapes, lines, and planes of the letter will stand out more. You must also make sure that your type isn’t all the same size, or it will be very hard to distinguish the visual hierarchy. But if your type is all the same size, like in a book, you can use spacing, bolding, and itilizing instead to create visual hierarchy and interest.
In a composition with a white (or light) background, lighter type will appear to recede into the background, while darker type will appear to be closer. This is because the darkest type will have the highest contrast with the background color, making it the most noticeable. This can be used to create depth and aid in visual hierarchy. For example, you may want your headline on a white background to be black, while the body copy is 75% black. This will help the viewer to see the headline first and then the body copy. The value of text can also be used to emphasize certain words or letters. With the body copy, you may have 75% black, but have a few words be in full black so that they stand out more against the paragraph. When you have a black or dark background, the opposite is true. The lightest text color will stand out the most, and the darker text colors will start to recede and blend in with the background color more.
Textural weight is affected by how thick or thin the individual letters of type are. Thicker type will appear to stand out more and have the effect of being louder and more heavy. The thinner type appears to stand out less and has the effect of being quieter and lighter. The weight can be changed by changing the style of the font. Some fonts have more style variations than others, but you can also create a different style manually by adding a stroke or changing the horizontal scale of the letters to be over or under 100% of the original.
Textural density is made up of a combination of space apart from letters and words, sizing, and weight. The closer together letters in a word are, the more dense they appear to be, and it gives the effect of being spoken faster. The farther apart the letters in a word are, the less dense they appear to be, and it gives the effect of being spoken more slowly. Words are more associated with one another when they are closer together, and this aids in understanding verbal messages in a design. Words that are farther apart from each other are more distinctive and are less associated with each other. It is important to make sure that words in a paragraph do not become too far apart vertically because there is a certain distance apart that makes the white spaces between the lines of type more distinctive. Spacing within a paragraph and word can be controlled by leading, tracking, and kerning. Placement of the type also affects the space in a design.
1.) Type Size
(Photo screenshotted from my Instagram. I do not own this material and am using it for informational purposes only.)
The phrase “I’m lovin’ it,” in this advertisement, immediately catches your eye, because it is the largest font size of all the type within the composition. You will notice “THE ANGUS THIRD POUNDER…GET YOURS TODAY!” next because it is the second largest type size in the composition. Next is the type on the bottom right corner, and then on the bottom left corner. The varying type sizes within this composition help to distinguish a visual hierarchy of information, break up different bits of information, and lead your eye down the layout.
2.) Type Value
(Photo screenshotted from my Instagram. I do not own this material and am using it for informational purposes only.)
The type in this composition appears to be either white (the lightest value) or black (the darkest value). Against the dark blue sky, “LISTERINE POWER TO YOUR MOUTH” stands out because the light value of the type has high visual contrast. Against the white label on the mouthwash bottle, “LISTERINE COOL MINT,” has very high visual contrast because it is the darkest value. The other information on the product does not stand out as much because the type is the lightest value against a lighter blue-green. The contrasting values of the type with the background colors help with visual hierarchy and create focal points that your eyes are drawn to.
3.) Type Weight
(Photo screenshotted from my Instagram. I do not own this material and am using it for informational purposes only.)
The type, “SKINCARE BUNDLES,” has the thickest characters within this composition. The thicker weight makes the phrase appear to be the loudest, standing out the most out of the other type. It is very in your face and noticeable compared to the other type. The other type that is thicker is the website. The thicker lines stand out against the other type even though it is not the largest type in the composition. The thicker lines add visual weight, making the type heavier, while the type, “DISCOUNT 20%,” has a very light weight because of the thinner lines. The varying type weights in the composition help to add contrast and visual interest and aid in the tone and cadence of the words.
4.) Type Spacing
(Photo screenshotted from my Instagram. I do not own this material and am using it for informational purposes only.)
The spacing around, within, and between the words in this composition helps to aid with reading comprehension, visual hierarchy, and direction in the composition. The type, “ANNA FARIS ALLISON JANNEY,” is placed very close to the type, “Mom.” This very close placement between the words lets you know that these two names are very closely related to the show title, presumably the names of the two ladies on the left. This lets you know that these are the leading actresses in the show. The other type on the bottom half of the composition is also grouped together to create a new idea, but they are spaced away from the title. This physical distance creates a differentiation of ideas and breaks up the information so it is easier to read and comprehend.
5.) Type Density
(Photo screenshotted from my Instagram. I do not own this material and am using it for informational purposes only.)
The type in this advertisement, “THE THING YOU WANT WHEN YOU ORDER SALAD,” appears to be very dense and heavy in the composition. The characteristics that make this type appear very dense are that the characters are very thick, large, and close together. The density makes the type pop out, takes up a lot of space, and almost creates a shape of its own. The type at the bottom of the composition, “I’m lovin’ it,” is very light, subtle, and has a low density. The type is very small, has thinner letters, and the letters are not as close together.
