1 00:00:09,120 --> 00:00:11,460 In this lesson, we'll see how simplification 2 00:00:11,660 --> 00:00:14,752 helps us to organize the elements in space 3 00:00:15,080 --> 00:00:17,040 and also to favor their experience. 4 00:00:17,420 --> 00:00:20,460 I want to explain how to use proximity and alignment 5 00:00:20,740 --> 00:00:24,840 to organize the elements in less complex ways 6 00:00:25,160 --> 00:00:27,380 and thus, take advantage of your design. 7 00:00:27,776 --> 00:00:28,580 Let's see what it's about. 8 00:00:33,300 --> 00:00:34,880 As we saw before, 9 00:00:35,060 --> 00:00:39,280 our brain tends to filter the information it receives in order to process it. 10 00:00:39,400 --> 00:00:43,100 A simple composition captures the attention and is transparent. 11 00:00:44,280 --> 00:00:46,080 I'm not saying that complexity can't be aesthetic, 12 00:00:46,360 --> 00:00:49,920 but you shouldn't go beyond what's right for your purpose. 13 00:00:50,640 --> 00:00:55,880 Also, be careful because an excessive simplification can reduce the content to something very elementary, 14 00:00:56,380 --> 00:00:58,340 a design that's too obvious or boring. 15 00:00:59,500 --> 00:01:01,984 In graphic design, we can't show everything. 16 00:01:02,460 --> 00:01:05,440 You have to reduce the amount of elements in the piece, 17 00:01:05,880 --> 00:01:08,220 leaving only the main components. 18 00:01:10,304 --> 00:01:14,900 Simplifying involves reducing the shapes or attributes of the elements. 19 00:01:15,700 --> 00:01:18,540 How many types of frames do your photos have? 20 00:01:18,560 --> 00:01:22,540 How many different bodies do the titles have? 21 00:01:23,400 --> 00:01:25,900 Ask yourself if you can't make one out of two or more objects. 22 00:01:27,960 --> 00:01:30,620 We can also hide parts and dosage. 23 00:01:30,940 --> 00:01:33,640 This is evident in interface design, 24 00:01:33,640 --> 00:01:36,660 with advanced functions under the navigation menu. 25 00:01:38,080 --> 00:01:44,760 Reduce your chromatic palette when possible and apply the 60-30-10 rule that we saw in the color selection. 26 00:01:45,260 --> 00:01:50,780 A chromatic color grading system is fine for five or six colors, 27 00:01:51,260 --> 00:01:52,240 but if you have more, 28 00:01:52,360 --> 00:01:54,860 it's hard to remember and recognize. 29 00:01:55,360 --> 00:02:02,920 Submit your photos to a color filter that matches their nuances and decides on some plans and camera inclinations. 30 00:02:03,260 --> 00:02:07,620 Diversity is good when it's a key concept to communicate. 31 00:02:07,940 --> 00:02:08,960 As I said, 32 00:02:09,280 --> 00:02:14,640 two typographic families can do almost any job very well. 33 00:02:14,720 --> 00:02:17,420 If you're interested in stylistic amplitude, 34 00:02:17,460 --> 00:02:20,080 reduce some other factor to unify the piece. 35 00:02:21,260 --> 00:02:27,700 Modifying objects using a few reference lines consolidates the composition and makes it solid. 36 00:02:28,700 --> 00:02:30,680 Do you remember the proximity principle? 37 00:02:31,392 --> 00:02:34,480 Approaching and moving generates groups that simplify the piece. 38 00:02:35,000 --> 00:02:39,580 In addition, combine the created sets to have as few as possible. 39 00:02:40,480 --> 00:02:42,200 Of course, without losing coherence. 40 00:02:42,840 --> 00:02:46,260 By grouping the spaces to make simpler areas, 41 00:02:46,260 --> 00:02:49,200 you avoid too capricious whites. 42 00:02:49,660 --> 00:02:53,160 With these considerations and the ones you can share in the forum, 43 00:02:53,260 --> 00:02:55,980 it will be easier to go back to the simple. 44 00:02:56,850 --> 00:02:58,640 In the InDesign project, 45 00:02:58,640 --> 00:03:01,400 I want to show you how I started simplifying from sketches. 46 00:03:02,120 --> 00:03:03,720 I use a sketch technique, 47 00:03:03,720 --> 00:03:06,300 which is to make very small miniatures so 48 00:03:06,920 --> 00:03:09,280 that I can't concentrate on details. 49 00:03:09,820 --> 00:03:11,560 Sometimes I make them extremely small. 50 00:03:11,760 --> 00:03:12,640 When I say small, 51 00:03:12,820 --> 00:03:14,624 they are 3 by 1.5 centimeters. 52 00:03:15,420 --> 00:03:17,408 But these elements being very small, 53 00:03:17,880 --> 00:03:22,240 like miniatures, it is easier to simplify the shapes, 54 00:03:22,520 --> 00:03:24,560 the structures and concentrate on them. 55 00:03:25,060 --> 00:03:26,860 I started making, as you can see, 56 00:03:27,040 --> 00:03:28,660 a way too complex, 57 00:03:28,960 --> 00:03:30,720 with very strong angles, 58 00:03:31,200 --> 00:03:35,020 trying to make a very solid group, perhaps too strange, 59 00:03:35,380 --> 00:03:36,300 not so simple. 60 00:03:36,820 --> 00:03:38,200 I kept trying out there, 61 00:03:38,360 --> 00:03:40,720 and the groups that were generated were too many. 62 00:03:41,024 --> 00:03:46,060 It was really complicated to try to generate a simple and simple structure. 63 00:03:46,260 --> 00:03:48,680 I was adding more elements each time, 64 00:03:48,680 --> 00:03:51,380 instead of simplifying and reducing the shapes. 65 00:03:51,520 --> 00:03:55,980 So I went back to zero and started making the counterforms much more concrete. 66 00:03:56,660 --> 00:04:00,200 I also wanted the texts to be much better marked, 67 00:04:00,380 --> 00:04:02,760 that is, differentiated from the figures, 68 00:04:02,980 --> 00:04:04,700 from the other elements of the page. 69 00:04:05,060 --> 00:04:10,272 That there are photographic shapes on one side and another group that is of the text. 70 00:04:10,460 --> 00:04:14,870 That the text always has a location so in that way the design is much simpler. 71 00:04:17,430 --> 00:04:24,080 And from there I realized that some elements can be grouped to make them a little more present on the page. 72 00:04:24,530 --> 00:04:30,820 And since this is the article that deals with the new rural habits of people who move to the outskirts, 73 00:04:31,140 --> 00:04:36,580 there are many elements and I don't know if you remember that there are many little plants and many little miniatures, 74 00:04:36,760 --> 00:04:40,480 and that was a dilemma for the next double page. 75 00:04:40,720 --> 00:04:45,520 Until I found a composition that seemed quite simple and clear to me. 76 00:04:45,740 --> 00:04:53,060 I think that also making very simple structures in a small size helps you to quickly find, 77 00:04:53,060 --> 00:04:57,300 as in a not-so- if you remember that concept that we saw in the counterform, 78 00:04:57,420 --> 00:05:01,000 you already see the clear structure and in that way you already start to 79 00:05:01,140 --> 00:05:03,540 add different nuances and extra things. 80 00:05:03,640 --> 00:05:08,400 So once I did that I'm going to show you how I went through, 81 00:05:08,600 --> 00:05:11,180 for example, here I have the sketch so you can get an idea. 82 00:05:11,440 --> 00:05:13,240 There is the sketch here next to it. 83 00:05:13,540 --> 00:05:16,620 And what I did was recompose the structure a little bit here. 84 00:05:16,620 --> 00:05:17,860 And so, 85 00:05:17,940 --> 00:05:19,220 all with simulated text, 86 00:05:19,220 --> 00:05:21,760 to see how the double page looks. 87 00:05:21,760 --> 00:05:25,240 And here are some details that I would like to adjust too. 88 00:05:25,500 --> 00:05:27,860 Since I have the elements in the space, 89 00:05:28,100 --> 00:05:31,120 I realize that this photo needs to be adjusted a little bit. 90 00:05:31,140 --> 00:05:33,260 Maybe we have to make it a little bigger, 91 00:05:33,620 --> 00:05:38,360 or rather what I think is not clear is the position it has in the space. 92 00:05:38,780 --> 00:05:43,380 I think it is in that ambiguous situation of whether it is on one side or if it is on one end. 93 00:05:44,060 --> 00:05:49,580 That is why we are going to clarify it and take it a little further out of the page. 94 00:05:50,320 --> 00:05:55,840 It also seems to me that the subtitle is perhaps unnecessary for the purposes of this design, 95 00:05:55,940 --> 00:05:57,020 so I'm going to delete it. 96 00:05:57,120 --> 00:06:00,960 It is possible that now it needs that third floor to be done 97 00:06:01,060 --> 00:06:02,500 the title itself. 98 00:06:02,500 --> 00:06:05,020 So I'm going to arrange it like this at least, 99 00:06:05,360 --> 00:06:09,500 and it already begins to have a certain verticality similar to the rest of the structure. 100 00:06:09,760 --> 00:06:14,860 Another thing about this spread that I think needs to be adjusted is the location of these elements. 101 00:06:15,340 --> 00:06:18,720 Perhaps by taking it more to the extreme it will be much clearer, 102 00:06:19,020 --> 00:06:25,000 because here the cons are very similar and do not finish hierarchizing the structure. 103 00:06:25,376 --> 00:06:30,580 There again it invites me to take this a little more here and it already begins to have another type of character. 104 00:06:31,160 --> 00:06:33,720 Let's see what happens with this other double page. 105 00:06:33,960 --> 00:06:39,640 Here this idea that I took from the original has a pretty significant problem. 106 00:06:40,310 --> 00:06:42,040 Because of these spaces, 107 00:06:42,240 --> 00:06:43,100 the group is not generated here. 108 00:06:43,720 --> 00:06:47,160 A much clearer structure is not generated here. 109 00:06:48,032 --> 00:06:50,900 I think what needs to be done is to put it together, 110 00:06:50,940 --> 00:06:51,880 to group it better, 111 00:06:52,100 --> 00:06:57,040 and look at how this air breathes much more calmly the page, 112 00:06:57,400 --> 00:06:59,300 and now it becomes a group here, 113 00:06:59,440 --> 00:07:00,460 another here in the middle, 114 00:07:00,580 --> 00:07:01,220 and a third. 115 00:07:01,560 --> 00:07:08,680 Three groups following this principle of simplifying images by groups or by odd numbers. 116 00:07:11,290 --> 00:07:13,160 On the last double page, 117 00:07:13,380 --> 00:07:18,700 here what seems to me that it must be adjusted above all is this photo that was very horizontal. 118 00:07:19,280 --> 00:07:26,780 I think I'm going to need to get into this space and run this element more to the edge, 119 00:07:26,940 --> 00:07:29,220 aligning all this. 120 00:07:29,360 --> 00:07:32,300 Notice that here it already makes a very interesting cross, 121 00:07:32,300 --> 00:07:35,540 it is already a little more synthetic everything. 122 00:07:35,740 --> 00:07:39,360 And I also need an element that binds me more. 123 00:07:39,420 --> 00:07:41,960 It's like too external everything, 124 00:07:42,180 --> 00:07:42,280 right? 125 00:07:42,400 --> 00:07:45,420 In addition, those couple things, as I told you, 126 00:07:45,540 --> 00:07:48,000 can bring some kind of problems in the link. 127 00:07:48,220 --> 00:07:51,800 I'm going to take this image here, 128 00:07:51,904 --> 00:07:57,640 or rather I'm going to make a small copy to have maybe here an element, 129 00:07:58,180 --> 00:08:01,760 maybe another photo, surely, 130 00:08:02,100 --> 00:08:05,140 and I already align a third element there, 131 00:08:05,180 --> 00:08:06,912 and I think it is linked to a little better. 132 00:08:07,160 --> 00:08:11,700 If I can take this as in the first double page a little more to the extreme, 133 00:08:11,980 --> 00:08:23,720 the design of these compositions is much better perceived from simplicity imposing on each of the double pages. 134 00:08:28,080 --> 00:08:32,780 I hope that now you can take advantage of the simplification in your design. 135 00:08:32,860 --> 00:08:36,600 In the next lesson we will see balance and movement.