In what I take to be a modern classic in graphic design education, Making and Breaking the Grid (Rockport, 2002), Timothy Samara makes the obvious preliminary point. “Pictures and symbols, fields of text, headlines, tabular data: all these pieces must come together to communicate.â€
In my last post, I argued that visual display is an integral part of the communication. The messages a Web page delivers are not all in the words, or the content of the images. It’s a mistake to separate ‘content’ from ‘visual display’, and to insist that handling the first must precede development of the second—just as it would be a mistake to insist that the words of a song must all be written before it’s set to music. (We would never have had Paul McCartney’s ‘Yesterday’ if he hadn’t woken up with the entire tune in his head. Then he wrote the words.)
I promised you a few more examples of what I mean.
Layouts themselves communicate a message. Just as a sonnet in praise of anarchy would be incoherent—or deliberately ironic—so would a Web page for (say) an anarchic rock group which had a clear hierarchy and in which every element occupied an orderly place. To work properly, the page needs clashing colours, headlines at the bottom, tilted images with ragged edges, etc., etc. The display is the content.
Colours have obvious meanings. Porn sites convey a sense of excitement and danger by exploiting red and black. Sites for law firms need to be in more subdued colours, with some blue to suggest calm and stability. Sober colours say, “We are solid and reliableâ€, just as bright colours say, “We can cheer you up.â€
Animations, depending on their form and position and colours, say things like, “We are fizzing with ideas†or “We are sophisticated and up-to-date†or “This site will energise you.â€
Enough. You can probably make up many more examples yourself.