RATIONALIZING DESIGN SENSITIVITY

PART

A teaching method in Graphic Design

Creating visual order with single subject
VISUAL ORDER 01

Industrial Design Centre

Indian Institute of Technology Bombay,
Powai, Mumbai - 400 076, INDIA

Prof. Mandar Rane

Visual Communication
Industrial Design Centre, IITB
What is Order? Order is an arrangement. Elements come together in a space. Elements interact with the space to create an arrangement. All arrangements create forms.
 Why the book?  Aim of the book  About the book.
Assignments in foundation courses of design
institutes are commonly criticized as adher-
ing to a more of artistic bent and a complete
lack of methodical and scientific approach.
This issue continues to be debated and leads
to dominance of one kind of approach over
the other. Most of the time, the discourse
is predominantly about which approach is
more effective for modern graphic design
education, rather than suggesting empiri-
cal methods to create newer paradigms of
design teaching.
In the pursuit to bridge the gap between
both the approaches this book proposes a
method towards criteria based education in
Graphic Design. It means design of a teach-
ing method which is goal oriented (to foster
vertical thinking), as well as, open-ended;
free for exploration (encourage lateral think-
ing).
C.
The aim of the book is not to prove that visual
design principles form the basis of arrange-
ments. There are many excellent books
who have demonstrated and defined these
principles quite elaborately. The attempt is
to find a method to encourage and engage,
attempts towards exploration of learning
arrangements in collaboration, rather than
in isolation in front of a computer.
To explain students the act of making con-
scious decisions while creating an arrange-
ment rather than random.
To instill objectivity and anticipation during
creation. To validate the anticipated by test-
ing it with the audience or viewers.
To allow comprehension of the fact that
all visual decisions rendered by a graphic
designer while arrangement of elements
(in this case, type/letterforms) within a two
dimensional space are not just intuitive
and imaginary. In fact, these decisions are
also objective, rationale and dictated by the
need of the message to be communicated.
To create the necessary awareness that if
these decisions are misunderstood then
they get labelled as whimsical and irrational,
by novices designers attempting to discern
the principles of visual design.
The book focuses on learning creation of
Visual Order (hierarchy). Visual Order is
addressed in the context of relationships
between elements that coexists in a two-
dimensional space. The objective is to
internalize an experience by self-creation
of the required Visual Order; a planned
arrangement which facilitates easy visual
perception of the communicated message.
When one meditates, one experiences
meditation for the self. This experience of
meditation can only be told to somebody
with help of an analogy. If somebody has
to experience the experienced, it can only
be internalized by doing (i.e. Meditating). If
‘doing’ is bound by limitation of time, then
for quick understanding the act is imitated
with help of analogies. Analogies help us to
understand the reality through something
else. Thus, to begin the process of learning,
an experiment was formulated to understand
visual design principles through creation of
analogies. These analogies were further
mapped to actual (real-world) design tasks
through comparisons and initiated discus-
sions by the instructor. The experiment was
conducted over a span of four to five years
across various design institutes and has
manifest itself into a teaching method docu-
mented in this book titled, Visual Order.
 The picture of the elephant god Ganesha’s”
procession, has elements arranged along
a linear path. It directs the attention of
the viewer – person viewing the picture,
along an invisible guideline captured by
the photographer. The child looks at the
idol of the Lord Ganesha and the line of
sight traces up pointing to the people on
the top of the terrace building, watching
the procession.

The ability of the photographer to see this

composition/arrangement and freeze the
moment to create a memorable picture; an
arrangement captured through the lens of the
camera by the intelligent eye of the photog-
rapher defines the creation of Visual Order.
To be able to learn to see. 
To learn seeing!

D.
PART 1
Introduction
Tool versus the task............................................................................1
Visual order - The teaching method..................................................3
Choice of subjects................................................................................5
Task Sheet - Visual questionnaire.....................................................9

TASK 01.
Task 01 - Objective.............................................................................11
Single subject - Visual order: Increasing emphasis......................13
Single subject - Analysis...................................................................21
Example 1. Picture equivalent - Typographic Translations........23
Example 1. Analysis..........................................................................35
Example 2. Picture equivalent - Typographic Translations........37
Example 2. Analysis..........................................................................49
Conclusion..........................................................................................51
Examples from workshops...............................................................56
 Tool versus the task! 
Analog versus Digital. 
In most of the earlier traditional practices,
‘not knowing’ never dominated the domain
of ‘tools’, but always focused on the ‘task’.
With new tools for execution, maximum
effort is spent on understanding/struggling
with the tool rather than involving oneself
within the depths of the task. The task as a
result, only travels the extent of the novice’s
knowledge about the tool. Therefore the
objective of the task is dictated by the tool,
making the exploration limited and learning
distorted.

The objective of book is to introduce a method

to encourage collaborative environments for
learning, where physical participation, dia-
logue and involvement with a purpose (task)
are of prime concern. This experiment is an
attempt to balance the future of design edu-
cation, namely traditional and modern ideas,
through recognizing and associating rational
thinking with exploration and creativity.

Understanding the problem in all these

aspects, the challenge was to come up with
a teaching method which allows the creative
freedom to explore, but also validates this
freedom by objectivity and rationality.

1. Part 1. Experimenting with single subjects

the problem!
 About the method: 
In the course Visual Order, students attempt
visual solutions to a given set of task based
questionnaire (Task sheet). The visual
solutions created by the students form
analogies to explain design decisions which
dictate arrangement of elements in visual
design. The page on the right displays the
assignment format describing each task the
students have to perform, step by step. The
picture is one of the task (visual solution)
performed by the students. As we proceed
we will discuss the assignment in detail.

3. Part 1. Experimenting with single subjects

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 Choice of subjects 
For the experiment, we choose three
students from the class. Page on the right
displays the group of chosen students who
will participate as subjects to execute the
given tasks (Questionnaire). As shown in the
picture on the right, these students should
form an obvious visual hierarchy, i.e., the
height of the subjects should increase or
decrease gradually, when they are made
to stand together. One of them taller, one
medium and the last one shorter. Physically
the difference amongst the subjects should
be obvious, but gradual. Choice of subjects
with stark differences should be avoided Picture of the chosen group: 
or one particular subject might become Rahul, Kshitij & Navendu (Left to right)
unique. This has to be strictly adhered to
while choosing the subjects to conduct the
experiment successfully.

For the tasks which we conducted we chose

two sets of groups with three students in
each group. On the right hand page is the
first group and on the next page is the sec-
ond group of students who participated in
the experiment.

5. Part 1. Experimenting with single subjects

First Group - Choice of subjects to form a hierarchy
 Presented here is the second group of stu-
dents with an obvious visual hierarchy.

Second Group: Picture of the chosen group

Abhishek, Manshu, Dinesh (left to right)

7. Part 1. Experimenting with single subjects

Second Group - Choice of subjects to form a hierarchy
 Task sheet - Visual questionnaire 
Once we decide our subjects, rest of the class
is given a task sheet as shown on the right
hand page. The class will shoot black and
white pictures of the chosen subjects as per
the task defined in the task sheet. These pic-
tures have to be shot against an empty back-
ground and this is compulsory. To shoot the
pictures a digital camera should be used and
the preview on the screen should be set to black
and white. Each task will be explained as we
proceed further.

9. Part 1. Experimenting with single subjects

One subject: Create Interest...

Task 01

Two subjects: Predefined order...

Task 02 Task 03 Task 04

Shoot 2 subjects Shoot 2 subjects with Shoot 2 subjects

with predefined order reversed order in relation to the latter with equal importance

Three subjects: predefined order Ten Subjects: predefined order

(to be executed similar to task 06 and task 07) (One of the subject should be a female and she will be no.1 in order)

Task 05 Task 06 Task 7

 The page on the right displays Task01 men-
tioned in the task sheet. For the first task you
can choose any One subject out of the three
shown in the picture on the left.
First group:  Points to remember:
Rahul, Kshitij & Navendu (Left to right)
11. Part 1. Experimenting with single subjects
Task 01: In this task we shoot four black and
white pictures of a single subject in a pre-
defined format (landscape) against an empty
background. Shoot these four photographs
with incremental interest. It means that
when all four pictures are shot and displayed
together, if you compare the first and the
second picture of the same subject then…
a. The second picture of the subject should
be more interesting than the first, b. The
third picture should be more interesting
than the second. c. And the fourth picture
should be more interesting than the third,
when validated against an opinion of a
viewer/ audience.
 
The background of the subject while shoot-
ing the picture should be empty or white.
• Clothing should be neutral and not trendy,
clothing should not overpower the sub-
ject or distract attention. Black or grey
coloured T-shirts are fine. There should
be no printed text/imagery over them.
• The subjects can be either male or female
and not a mix of both.
• No props are allowed.
The pages further will display a series of
images with increasing emphasis
 1.
2.
3.
4.

Single Subject, create interest (emphasis)

TASK 01. SINGLE SUBJECT. INCREASING EMPHASIS, CREATE ORDER

 This is the first picture where the subject
stands still in the center of the picture
frame. As per the criteria mentioned in the
task sheet, the next picture should be more
interesting than the current. Turn the page to
reveal the result for the second picture.

13. Part 1. Experimenting with single subjects

 The second picture displays a gesture by
the subject carefully listening to something.
The change in posture adds a little interest.
Let us see the result of the third picture.
Turn the page.

15. Part 1. Experimenting with single subjects

 The third picture adds more dynamism as the
subject tries to attempt a dancing posture to
achieve the criteria of increasing interest.

17. Part 1. Experimenting with single subjects

 In the fourth and the last picture the subject
is brought closer to the camera to display
astonishment and excitement.

19. Part 1. Experimenting with single subjects

 All the task were rationalized by comparing
the subject to a written word. Typographic
solutions were worked out for each frame
by the instructor to explain how pictures are
translated into typographic expressions for
easy comprehension.

1. In the first picture, as the subject has a

personality, character and an identity; a
font also behaves in a similar fashion with
individuality, a character of its own, dis-
playing its unique identity from a family
of typeface.

2. The second picture is compared to chang-

ing of the text to italic to add a little gesture
and dynamism.

3. In the third picture the element of fun and

expression from the subject is translated
into the font.

4. In the fourth and the last picture the sub-

ject is compared with increase in font size,
trying to attract more attention by scale/
increase in size.

21. Part 1. Experimenting with single subjects

1. 2. 3. 4.
 This teaching method of Visual Order was
experimented across various design insti-
tutes in the country. Presented here are a
few examples of the results of students work
at these institutes.
23. Part 1. Experimenting with single subjects
Task 01  :
The act was similar as Task01; to shoot
pictures of a single subject with increasing
interest and design typographic translations
for the same. In this case the number of pic-
tures were reduced to three instead of four.
In the task, what do we mean by a typo-
graphic translation? A typographic transla-
tion is to create a picture equivalent with the
help of type as a medium for expression.
A comparison of the shot picture to the
arrangement of type in a given space. We
translate the contents of the picture frame
into a typographic translation.
What needs to be translated? 
There are primarily three things that we are
required to translate.
1. Content (subject) = What is written. (In
this case, the name of the subject, choice of
font)
2. Space and content interaction = Resulting
in proportion. (Scale, emphasis)
3. Expression of the Content (subject) =
Expressing emotion through type
The page aside displays the first picture in
the series of three (incremental interest),
followed in the consecutive page is its typo-
graphic translation.
 Typographic translation of the previous
picture. Typographic variables are explored
to create picture equivalent, typographic
translation.

25. Part 1. Experimenting with single subjects

 NISHANT
NISHANT NIS
NISHANT NISH
NISHANT NISHA
NISHANT NISH
NISHANT NISH
NISHANTNISH
NIS
NISH ANT NIS
NISHANT NISHANT NI
NISHANT NISHANT NISHA
NISHANT NI NISHANT
NISHA NISHA NISHANT N
NISHAN NISHA NISHANT NI
NISHANT NISHANT NISHANT NIS
NISHANT NISHAN NIISHANT NIS
NISHANT NISHANT NIS
NISHANT NISHANT NISHANT
NISHANT NISHANT NISHANT NIS
NI SHANT NISHANT NISHAN
NIS HANT NISHANT NISHANT
N ISHANT NISHANT NISHANT NI
NISHANT NISHANT NI SHANT
NISHANT NISHANT NI SHAN
 Second picture in the series. Appropriate-
ness of the picture validated against the
criteria of incremental interest.

27. Part 1. Experimenting with single subjects

 Typographic translation for
the second picture.

29. Part 1. Experimenting with single subjects

 NISHANT
NISHANT NI
NISHANT NISH
NISHANT NISH
NISHANT NISH
NIS
NISHANTNIS
NISHANT NIS
NISHANT NISHANT NISHANT NIS
NISHANT NISHANT NISHANT NISH
NISHANT NI
NISHANT NISHANT NI
NISHANT NISHA NISH
NISHANT NISHA NISH
NISHANT NISHA NISHA
NISHANT NISH NIISHA
NISHANT NISH NISHA
NISHANT NISHANT NISH
NISHANT NISHANT
NISHANT NISHANT
NISHANT NISHANT
NISHANT NISHANT
NISHANT NISHANT
NISHANT NISHANT
 Third picture in the series.

31. Part 1. Experimenting with single subjects

 Typographic translation for
the third picture.

33. Part 1. Experimenting with single subjects

 NISHANT
NISHANT NISH
NISHANT NISHA
NISHANT NISHA
NISHANT NISHA
NISHANT NISHA
NISHANT NIS
NISHANT NISHANT NISHA
NISHANT NISHANT NISHANT NIS
NISHANT NISHANT NISHANT NISHANT
NISHANT NISHANT NISHANT NISHANT NISHA
NISHANT NISHANT NISHANT NISHANT NISHANT NISHAN
NISHANT NISHANT N NISHANT NISHANT NISHANT NISH
NISHANT NISH NISHANT NISHANT NISHANT NISH
NISHANT NISHANT NISHANT NIS
NISHANT NISHANT NIISHANT NIS
NISHANT NISHANT NISHANT NISH
NISHANT NISHANT NISHA NISHAN
NISHANT NISHANT NISH NISHA
NISHANT NISHANT NISH NISHA
NISHANT NISHANT NISH NISH
NISHANT NISHANT NIS NIS
NISHANT NISHANT NIS NISH
NISHANT NISHANT NISH
 An overview of all three pictures and their
typographic translations together. Typo-
graphic expression corresponding to the
pictures is attempted and rightly achieved.

Student explores the typographic variables,

Scale and Value in a given space objectively.
Picture becomes a reference to review the
typographic attempt. There are numerous
ways to execute the picture-equivalent
typographic translation. Each and every
approach is considered valid and encour-
aged in this method. So, the resultant is
never a single right answer to this task, this
makes the task exploratory. This exploration
is objective since it is validated against the
three points mentioned in the criteria.

1. Content 
2. Content + Space interaction  
3. Content + Expression 

In the next page we will see one more

example, where the same task is executed
with another subject.

35. Part 1. Experimenting with single subjects

 NISHANT
NISHANT NIS
NISHANT NISH
NISHANT NISHA
NISHANT NISH
NISHANT NISH
NISHANTNISH
NIS
NISH ANT NIS
NISHANT NISHANT NI
NISHANT NISHANT NISHA
NISHANT NI NISHANT
NISHA NISHA NISHANT N
NISHAN NISHA NISHANT NI
NISHANT NISHANT NISHANT NIS
NISHANT NISHAN NIISHANT NIS
NISHANT NISHANT NIS
NISHANT NISHANT NISHANT
NISHANT NISHANT NISHANT NIS
NI SHANT NISHANT NISHAN
NIS HANT NISHANT NISHANT
N ISHANT NISHANT NISHANT NI
NISHANT NISHANT NI SHANT
NISHANT NISHANT NI SHAN
NISHANT NISHANT NIS HANT

NISHANT
NISHANT NI
NISHANT NISH
NISHANT NISH
NISHANT NISH
NIS
NISHANTNIS
NISHANT NIS
NISHANT NISHANT NISHANT NIS
NISHANT NISHANT NISHANT NISH
NISHANT NI
NISHANT NISHANT NI
NISHANT NISHA NISH
NISHANT NISHA NISH
NISHANT NISHA NISHA
NISHANT NISH NIISHA
NISHANT NISH NISHA
NISHANT NISHANT NISH
NISHANT NISHANT
NISHANT NISHANT
NISHANT NISHANT
NISHANT NISHANT
NISHANT NISHANT
NISHANT NISHANT
NISHANT NISHANT

NISHANT
NISHANT NISH
NISHANT NISHA
NISHANT NISHA
NISHANT NISHA
NISHANT NISHA
NISHANT NIS
NISHANT NISHANT NISHA
NISHANT NISHANT NISHANT NIS
NISHANT NISHANT NISHANT NISHANT
NISHANT NISHANT NISHANT NISHANT NISHA
NISHANT NISHANT NISHANT NISHANT NISHANT NISHAN
NISHANT NISHANT N NISHANT NISHANT NISHANT NISH
NISHANT NISH NISHANT NISHANT NISHANT NISH
NISHANT NISHANT NISHANT NIS
NISHANT NISHANT NIISHANT NIS
NISHANT NISHANT NISHANT NISH
NISHANT NISHANT NISHA NISHAN
NISHANT NISHANT NISH NISHA
NISHANT NISHANT NISH NISHA
NISHANT NISHANT NISH NISH
NISHANT NISHANT NIS NIS
NISHANT NISHANT NIS NISH
NISHANT NISHANT NISH
NISHANT NISHANT NISH
 A similar task by another student, shoot-
ing a series of pictures, further to render
picture equivalent typographic translations.
Page aside portrays the first picture of the
subject in the series. Task is the same as
earlier; to shoot three consecutive pictures
with increasing levels of interest.

Typographic translation for the same to be

followed on the next page.

37. Part 1. Experimenting with single subjects

 The subject renders a short form of his first
name, “Siddharth”, as “Sid” to create the
appropriate typographic translation.

39. Part 1. Experimenting with single subjects

 Second picture in the series.

41. Part 1. Experimenting with single subjects

 Typographic translation for
the second picture.

43. Part 1. Experimenting with single subjects

 Third picture in the series.

45. Part 1. Experimenting with single subjects

 Typographic translation for
the third picture.

47. Part 1. Experimenting with single subjects

 The typographic translation done by the stu-
dent is quite different from the earlier. Here
he does not attempt to trace the exact outline
to create a silhouette of the figure. The stu-
dent plays with the letter-forms as a mass of
object to imitate the qualities of the picture.

The page aside displays all three pictures

and their typographic translations with refer-
ence to the shot pictures. At the end of these
tasks students realized the act of express-
ing the required gesture through font as a
medium for the message. The message here
is referred to be translated into three parts,
Firstly the content, secondly the empty
space interaction with the content and thirdly
the expression of the subject. Students
were able to comprehend the relationship
of all three and validate the same against
the picture to rationalize the typogra-
phic decisions.

49. Part 1. Experimenting with single subjects

 So, what do we conclude from these tasks?
It is easy for the viewer to focus on a single
element in a given space since there is
nothing else to look at (see the image on
the right).

But, this does not mean we create a flat or a

bland solution. A single element in a given
space can also be treated interestingly. Turn
over to see the next page rendering an inter-
esting composition for the same picture.

51. Part 1. Experimenting with single subjects

 Interesting composition with
a single element in a given space.

53. Part 1. Experimenting with single subjects

 Left > Right >
Student : Dipto De Student : Amrita Pokarna
Institute : MIT, Pune Institute : IDC, IIT Bombay
Workshop : Visual Order Course : Visual Order

55. Part 1. Experimenting with single subjects

 Left > Right >
Student : Pankhuri Jain Student : Ajinkya Chikte
Institute : MIT, Pune Institute : MIT, Pune
Workshop : Visual Order Workshop : Visual Order

57. Part 1. Experimenting with single subjects

 Further we look in to the second part of
the book and view the creation of visual
order as the number of subjects increase.
How visual order can be designed with two
subjects in a given space.

59. Part 1. Experimenting with single subjects

PART 2
TASK 02.
Two subjects - Linear hierarchy (1-2).............................................61
Two subjects - Linear hierarchy (1-2) Group 1...............................63
Two subjects - Linear hierarchy (1-2) Group 2...............................67
Analysis..............................................................................................81

TASK 03.
Two subjects - Reverse hierarchy (2-1)...........................................83
Two subjects - Reverse hierarchy (2-1) Group 1............................85
Two subjects - Reverse hierarchy (2-1) Group 2............................95
Analysis............................................................................................103

TASK 04.
Two subjects - Equal importance (1-1)..........................................107
Two subjects - Equal importance (1-1) Group 1...........................109
Two subjects - Equal importance (1-1) Group 2...........................115
Analysis............................................................................................133
 From this section we begin the second task,
now the number of elements (subjects) in
a given space are increased. On the page
opposite are two subjects with numbers
below them, 1 and 2 indicating the order of
visual preference, in which they should be
shot as well as perceived by the viewer after
the shoot.

61. Part 2. Experimenting with two subjects

 Two subjects, create visual order

TASK 02. CREATE VISUAL ORDER. 2 SUBJECTS. LINEAR HIERARCHY (1,2)

 The subjects we chose for this task are
amongst the first group of students. We
have two subjects, Rahul and Navendu who
need to be shot in this visual order of 1 & 2.

By this we mean that when a picture is taken

for these two subjects with a digital camera
against a white background, Rahul should
stand out first followed by Navendu, when
shown to an viewer.

63. Part 2. Experimenting with two subjects

 Students fulfilled the criteria. The only prob-
lem in the solution was that, it is an obvious
solution. If you hide the face of the second
subject naturally the first subject would gain
more importance. This does not mean that
the solution is wrong, but better options can
be attempted. A creative solution is to create
a picture without hiding the second subject’s
face. In these pictures face is the identity
(attention grabbing area), in comparison to
the rest of the body. This identity and the
arrangement of the subjects dictates the
sequence of the visual order.

It requires a mention that the subjects in the

picture should be unknown to the viewer,
prior to his judgement and validation regard-
ing the appropriateness of the created/
required visual order.

65. Part 2. Experimenting with two subjects

 Shoot a picture in such a manner that the
taller guy is perceived prior to the shorter
guy when the picture is presented to the
viewer. Let’s see how the second group fares
with the Task 02.

67. Part 2. Experimenting with two subjects

 Interesting solution! The subject who
was suppose to be No.1 in visual order is
brought forward and the second subject is
sent behind. An act of conscious arrange-
ment to attain a predefined objective.

There seems to be a little ambiguity in

this solution and the preference may tend
towards the second subject to be perceived
first, the reason being his smile.

69. Part 2. Experimenting with two subjects

 Typographic translation for the same solu-
tion. It fulfills the criteria of the first subject
(Abhishek) to be seen first and the second
subject (Dinesh) later in visual order.

71. Part 2. Experimenting with two subjects

 Since there was a slight ambiguity in the
earlier picture the solution was redone. Still
it fails because the tilt in the head of the
second subject creates interest or attracts
‘attention’. Lets see the typographic transla-
tion for the picture on the next page.

73. Part 2. Experimenting with two subjects

 Interesting treatment of typography to
create different weights. The tilt of the head
is translated with change in orientation of
the letter forms (for the second subject,
i.e. Dinesh).

It fulfills the criteria of Abhishek should be

seen first and Dinesh later. The result seems
quite good, it met the required criteria.

75. Part 2. Experimenting with two subjects

 The third picture in the series is our perfect
solution to the given visual problem. Subject
No.1 is brought forward near to the lens of
the camera; to increase his importance and
the second subject is pushed behind with
nil expression/gesture to make him appear
second in the visual order.

77. Part 2. Experimenting with two subjects

 A clever typographic translation. Attracting
attention by high-lighting the starting letters
of the names of the two subjects. The larger
letterforms with different values are used to
balance the visual weight of the respective
subjects with reference to the picture.

79. Part 2. Experimenting with two subjects

 All three pictures with their typographic
translations. If we compare all the three
solutions on the right page we can conclude
that the aim is not to find a solution enough
to fulfill the criteria, but to develop a habit
of generating more alternatives for the
same problem.

In simple words, the search is not for the

right answer but, for a better answer.

The photograph on the right conveys the The photograph above conveys
same meaning as the photograph on the the same thing but more effectively.
left. The only difference lies in the visual
representation; how it is visually told.

81. Part 2. Experimenting with two subjects

 In this section we begin with the third task.
The visual order in this case is reversed,
exactly opposite of what we were suppose
to do in the earlier task.

83. Part 2. Experimenting with two subjects

 Two subjects, create visual order

TASK 03. CREATE VISUAL ORDER. 2 SUBJECTS. REVERSE HIERARCHY (2,1)

 On the right are the pictures of the subject
with the numerals below them defining the
visual order. Shoot a picture such that the
weaker subject (shorter) has to be No.1 and
the stronger subject (taller) has to be No.2 in
the visual order perceived by the viewer.

85. Part 2. Experimenting with two subjects

 The picture shot by the students seems to
meet the required criteria. The weaker sub-
ject (right) due to his strong gesture domi-
nates the scene and elevates himself to the
number one position in the visual order by
attracting attention. When the picture was
validated with viewers, the weaker subject
was the most preferred, and a few viewers
who felt sorry for the other subject chose
him for his sorry state.

This resulted in a situation where the solu-

tion was left ambiguous. A consciously
designed arrangement could not be left to
ambiguity. Could we alter the solution in
such a manner that all the viewers’s would
vote their visual preference for the weaker
subject in accordance with the given criteria
for the task. May be, yes!

87. Part 2. Experimenting with two subjects

 A change in the background dictates what is
to be seen first. Using a principle of design
‘radiation’ we could define the Visual Order
and reduce ambiguity. Now all the viewers
voted for the subject with the angry gesture,
followed by the preference for the second.

89. Part 2. Experimenting with two subjects

 Information can be informative or persua-
sive. It depends upon the context in which
the message has to be communicated. A
little modification in the radiating lines can
add a little persuasion (attraction/interest).

91. Part 2. Experimenting with two subjects

 We have so much control when we design
that we can even reverse the Visual Order.
Therefore, the act of design is planned,
conscious and objective.

93. Part 2. Experimenting with two subjects

 Lets see how the other group performs the
same task.

95. Part 2. Experimenting with two subjects

 Dinesh (left) gets preference because of the
strong expressive facial gesture of being
choked up. Apart from creating the required
Visual Order the group has also added a
story into the picture. The story binds the
two subjects together.

97. Part 2. Experimenting with two subjects

 Type expresses an emotion. Dinesh is pri-
oritized in Visual Order due to value, scale
orientation and position. An example of
expressive typography; expresses the chok-
ing of name, ‘Dinesh’ with reference to the
shot picture.

99. Part 2. Experimenting with two subjects

 One more picture performing the same task,
weaker subject to be No.1 in visual order.

101. Part 2. Experimenting with two subjects

 Three students render different typographic Imagine the difficulty an instructor would
translations for the same picture. If we com- face to explain aggression in a font without
pare all three typographical translations, the the reference of the pictures.
first typographic solution fulfills the criteria
of the word Dinesh to be seen first, but
lacks the aggression in the font as seen in
the picture.

Whereas the last/bottom (typographic trans-

lation) adjacent to the third picture reflects
expression and aggression of the subject
through the font.

103. Part 2. Experimenting with two subjects

 A picture expressing visual order with two
subjects. We can dictate the order by priori-
tizing which subject is to be highlighted or
should draw attention.

105. Part 2. Experimenting with two subjects

 Two subjects with equal visual preference.
Create visual order!

107. Part 2. Experimenting with two subjects

 Two subjects, create equal importance

TASK 04. CREATE VISUAL ORDER. 2 SUBJECTS. EQUAL IMPORTANCE (1,1)

 Task 04 was to create equal importance.
Equal importance means, none of the two
subjects shown aside should have promi-
nence over each other. In other words, a
viewer should perceive both the subjects as
a group or as a whole entity.

The viewer should either vote his visual

preference for both the subjects or to none
of them. The preference should be biased
to either of them or the required criteria of
creating equal importance for both would
fail. In this task we purposely chose a weak
and a strong subject to make the task chal-
lenging.

109. Part 2. Experimenting with two subjects

 This was their solution, they tried to achieve
uniformity with similar gestures but failed
to meet the criteria of equal importance
for both the subjects. The viewers either
preferred the left or the right subject. The
task failed.

111. Part 2. Experimenting with two subjects

 Two subjects standing apart from each
other, created distinct spatial differences
and the arrangement encouraged creation
of separate identities. Students were
told that if they had brought the subjects
closer then it could have dissolved their
individual identities.

113. Part 2. Experimenting with two subjects

 HEIGHT

DISTANCE
 Same task with the other group.

115. Part 2. Experimenting with two subjects

 A good solution! But still the subjects do
not form a group or a whole. They appear
as separate entities.

117. Part 2. Experimenting with two subjects

 Lets bring the subjects closer to each other
and overlap them. Distance (Proximity) is a
very sensitive and crucial variable to make
or break groups.

119. Part 2. Experimenting with two subjects

 We revise the difference in height to create
similarity and dissolve prominence to create
equal importance.

121. Part 2. Experimenting with two subjects

 Earlier, both subjects were identified as
separate as two entities. Overlapping the
two subjects created a single contour for
them to form a group.

123. Part 2. Experimenting with two subjects

 Typographic translation for the pictures shot
by the students. Subjects were substituted
by names of the students. The criteria was
the same, neither of the names should have
preference over each other. Both the names
can be neutral in preference. In the current
solution the word ‘Abhishek’ on the left is
read first. It does not meet our criteria of
equal importance.

125. Part 2. Experimenting with two subjects

 One more solution but still it fails. Reading
direction and position will always affect the
order of preference for the written word.

Even if we had place the words aligned left

to begin from the same position, either of the
word will be placed at the top or the bottom.
The word at the top would get preference
because of our habit of reading from top
to bottom and left to right. Students were
stuck! How does one create equal impor-
tance? At first glance the design solution
seems impossible, until it gets resolved.

127. Part 2. Experimenting with two subjects

 One more attempt fails, because similarity
creates groups. When groups are cre-
ated there will obviously be preference.
Either, or.

129. Part 2. Experimenting with two subjects

 Finally the solution works because it creates
ambiguity for the viewer regarding which
word should get preference, resulting in a
perception of the whole or a mass. Students
comprehend the idea of dissolving identities
with a conscious attempt to achieve, lack
of similarity.

131. Part 2. Experimenting with two subjects

 All three attempts together. Trying to achieve
the most appropriate solution. It defines the
objectivity of the task, amidst encourage-
ment for exploration.

133. Part 2. Experimenting with two subjects

 The background of the adjacent picture acts
similar to that of the words, Abhishek and
Dinesh in the previous typographic solution.
Neither of them shouts (demands attention).
The same idea is explained through a photo-
graph aside. Since the background is over-
exposed (out of focus) keeping the subject
in focus. Attention is directed towards the
subjects rather than the background.

“The background stands up, comes out.

Such are the words used by design instruc-
tors attempting to explain the visual design
principles to the students. On the face of it,
such comments appear irrational, but under-
neath lies a strong rational base which Visual
Order as a method of teaching attempts to
explain through a photograph.

135. Part 2. Experimenting with two subjects

 Look into the third part of the book and view
the creation of visual order as the number of
subjects increase to more than two.

137. Part 2. Experimenting with two subjects

PART 3
TASK 05.
Three subjects - Linear hierarchy (1-2-3).....................................139
Three subjects - Linear hierarchy (1-2-3) Group 1.......................141
Three subjects - Linear hierarchy (1-2-3) Group 2.......................147
Picture equivalent - Typographic Translations..........................163
Analysis............................................................................................169

TASK 06.
Three subjects - Reverse hierarchy (1-2-3)...................................171
Three subjects - Reverse hierarchy (1-2-3) Group 1....................173
Three subjects - Reverse hierarchy (1-2-3) Group 2....................179
Analysis............................................................................................181

TASK 07.
Ten subjects - Create Visual Order................................................179
Ten subjects - Criteria ...................................................................185
Ten subjects - Result.......................................................................189
Analysis............................................................................................191

Visual Order in our surroundings.................................................193

Feeling and Reasoning....................................................................218
Credits...............................................................................................219
 Create visual order. 1,2 and 3.

139. Part 3. Experimenting with three or more subjects

 Three subjects, create visual order

TASK 05. CREATE VISUAL ORDER. 3 SUBJECTS. LINEAR HIERARCHY (1,2,3)

 Subjects: Rahul, Kshitij and Navendu (left to
right). Shoot pictures of these three subjects
such that the required Visual Order is cre-
ated

141. Part 3. Experimenting with three or more subjects

 Good solution! The subject in the center
holding the other two creates a visual flow.
Subject on the left slightly looks up to
become no. 2 and the third subject almost
hiding its face to step down at No. 3.

143. Part 3. Experimenting with three or more subjects

 The task illustrates visual flow in graphic
design. It tells us how it can lead a viewer
through a pre-defined/ pre-designed visual
order. The typographic variable ‘Scale’ and
the subjects holding each other combine
together to create an arrangement, which
creates a visual flow.

145. Part 3. Experimenting with three or more subjects

 The same task as previous. Three subjects
create order!

147. Part 3. Experimenting with three or more subjects

 Solution does not work. At tention of
the viewer is allowed to scatter in vary-
ing directions. Viewer has a choice to
choose either of the subject and dictate
his order. The visual priority in the task
is ignored. Solution does not meet the
required criteria.

149. Part 3. Experimenting with three or more subjects

 Solution with high order. Highly functional
and orderly. For example, a telephone direc-
tory with an alphabetical listing. Solution
meets the given criteria but more options
could be explored.

151. Part 3. Experimenting with three or more subjects

 Empty space plays an important role in
deciding the visual order. This white or
empty space interacts with the content. A
graphic designer should be extremely sensi-
tive to this space. He should train his eyes to
see this space (to be able to see the void). On
the right is an example to study the addition
of white space. It helps gaining more atten-
tion to our subject on the left.

153. Part 3. Experimenting with three or more subjects

 Addition of white space from the right
changes the visual order. The subject on the
right becomes no.1 in visual order due to the
white space as well as he is shifted to the
center, in spite of him being smaller in size.

155. Part 3. Experimenting with three or more subjects

 Earlier solutions were obvious, therefore
students repeat the task. The solution
however fails to perceive the desired visual
order. If the second subject (on the extreme
left) had been facing towards the camera
then the desired Visual Order could have
been achieved.

157. Part 3. Experimenting with three or more subjects

 One more solution, but the attention is
captured by the central part of the gesture
as a whole, creating a group of the first
two subjects (from the right). Students will
have to revise the solution to make it better.
Lets turn over to see the next attempt by
the students.

159. Part 3. Experimenting with three or more subjects

 Now the solution works, it suffices the
predefined criteria of the visual order and
also has a story involved into it. The subject
(from the right) looks at us (into the camera)
to attract our attention first, The hand hold-
ing the head guides our visual path further
towards the second subject and finally
descending down to the third.

161. Part 3. Experimenting with three or more subjects

 A plain monotonous, flat, typographic
solution fulf ils the required criteria,
but, we need something more than
the obvious.

163. Part 3. Experimenting with three or more subjects

 Interesting, creative but a little bit ambigu-
ous, readability seems a problem.

165. Part 3. Experimenting with three or more subjects

 A little tweaking solves the problem, now the
solution is functional as well as interesting.

167. Part 3. Experimenting with three or more subjects

 All three solutions together. When we
compare all three typographic solutions
we can conclude that the first one is not
wrong, but the third one is correct as well as
interesting. We attempt to seek more solu-
tions in graphic design rather than a single
perfect answer.

169. Part 3. Experimenting with three or more subjects

 Three subjects, reverse order.

171. Part 3. Experimenting with three or more subjects

 Three subjects, create visual order

TASK 06. CREATE VISUAL ORDER. 3 SUBJECTS. REVERSE HIERARCHY (3,2,1)

 Pictures of the three subjects. The weaker
subject (from the right) should be perceived
as No.1 in visual order. A tough task.

173. Part 3. Experimenting with three or more subjects

 Excellent gesture, but the subject (from the
left) who was supposed to be perceived as
No. 3 has turned out to be No.1. Solution
fails to meet the required perception of the
Visual Order.

175. Part 3. Experimenting with three or more subjects

 A more attractive subjects gesture, orien-
tation or posture can be compared to an
unusual or a dominant element in a typo-
graphic layout. A bold font face and increase
in font size attracts and captures more atten-
tion in comparison to other elements.

177. Part 3. Experimenting with three or more subjects

 god
death
 Create visual order. Same as the previous
task but the order is reversed. The weaker
subject (on the right) should be perceived
as No.1 in visual order.

179. Part 3. Experimenting with three or more subjects

 A successful attempt. It fulfills the criteria
and creates the required order, plus has a
story built into it which explains the effec-
tive use of persuasion to create interest and
presents the result; an inviting communica-
tion.

181. Part 3. Experimenting with three or more subjects

 Tight cropping of the photography enhances
the solution. Deletes the unnecessary, focus-
ing and prioritizing the required

183. Part 3. Experimenting with three or more subjects

 Create Visual Order with ten subjects.

185. Part 3. Experimenting with three or more subjects

 Ten subjects, create visual order

TASK 07. CREATE VISUAL ORDER. 10 SUBJECTS.

 The number of subjects is increased to
ten. Amongst the ten a female subject is
introduced. Prior to the execution of Task 07
the predefined order in which the subjects
should be shot is decided. (See the picture
on the right). This picture will serve as a
proof to whether the required Visual Order
is achieved.

187. Part 3. Experimenting with three or more subjects

 Students comprehend the trouble of defin-
ing a visual order with too many elements in
a limited space. Solution fails.

189. Part 3. Experimenting with three or more subjects

 (Picture on the right), Typographic resem-
blance to the analogy of increasing subjects
within a limited space on a billboard, in the
city of Guwahati; State of Assam, India.
This example helps the students internalize
the concept explaining lack of Visual Order
in visual design solutions. The struggle to
handle too many elements in a given space
and the disturbance in perceiving a clear
Visual Order, creates clutter/chaos.

191. Part 3. Experimenting with three or more subjects

Hoarding depicting the analogy of handling too many elements with
different identities in a limited space.
 To begin with the photograph aside, a few
picture based analogies are used to reinforce
the concept of Visual Order.

In the photograph on the right, we can dic-

tate the viewer attention to a particular spot
of our interest. In a similar manner, atten-
tion can be captured while communicating
a message to your audience; either through
text or images.

193. Visual Order in our surroundings

 Till now we were only dealing with black
& white pictures. In this picture on the
right hand page the person wearing the
white shirt attracts our attention. Turn over
to the next page to see what happens if
we introduce colour. Can colour dictate the
visual order?

195. Visual Order in our surroundings

 Colour is a very powerful element of design.
If used properly it can attract attention, but
misuse can also result in distracting atten-
tion. Too much use of colour can create
multiple attention points. An element to be
used purposefully and responsibly.

197. Visual Order in our surroundings

 In these assignments with subjects as ele-
ments acting in a given space, face of the
person (subject) becomes an identity to
attract attention or dictate a Visual Order.

Similarly in an advertisement or a layout the

written text, its meaning and photographs
are the identities of that presented informa-
tion. The viewer browses through these
elements to comprehend the communicable
message. A planned arrangement of these
elements can necessarily dictate the pat-
tern of browsing. This planning is Design.

199. Visual Order in our surroundings

 (See right), If you don’t see a face we can term
that the information is flat. There is no impor-
tance given (not highlighted) to any element.
All the information is at the same level with
absence of hierarchy.

The railway timetable below presents an

example of flat information, where noth-
ing seems to be highlighted and renders a
monotonous feel to the information.

201. Visual Order in our surroundings

 In real life, we find examples of Visual Order.
The boy in the picture decorates himself to
attract attention of people passing by. Simi-
larly, a graphic designer highlights a single
element (to catch attention) in a composition;
allowing lesser priority to other elements in
the same composition.

203. Visual Order in our surroundings

 At times people decorate themselves to the
extent that you are forced to look at them.
If the person in the adjacent picture does
not decorate himself in such a manner it
would be difficult for him to make a living.
With such high presentation of Visual Order
(decoration for a single element) he makes
sure that get his alms as well as stand out in
the crowd. It is less likely that people would
miss him. The struggle is to grab attention
of the inattentive.

205. Visual Order in our surroundings

 When the number of elements increase
Visual Order becomes much more crucial.
The element who stands first in Visual Order
should interact with other elements, rather
than dominating the self and snatching away
attention from others.

207. Visual Order in our surroundings

 Therefore, the element who stands first
in Visual Order should make friends (build
relationships between elements) with others
to create a visual flow and lead the viewer
through the complete communication mes-
sage.

209. Visual Order in our surroundings

 When the number of elements increase
visual order/ hierarchy becomes much more
important, because everybody asks/ shouts
for attention.

Birth of clutter/chaos is a result of inability of

the designer to handle increasing number of
elements in a limited space.

211. Visual Order in our surroundings


What is typography?  What is visual communication?
“Typography is devoted to a clear purpose,
which is to convey meaning through the use
of type. It cannot be exempted from this obli-
gation by any kind of argument or any other
consideration. The printed product that
cannot be read has no meaning whatsoever.
Emil Ruder, 1967. pg. 8
213. Visual Order in our surroundings
So, we need to design solutions which are
 
holistic. They should persuade the viewer so
“Visual communication of any kind , whether
he is attracted/ interested to read through
persuasive or informative, from billboards
the content (remember it is also content
to birth announcements, should be seen as
dependent). Designer should plan and cre-
the embodiment of form and function: the
ate the required Visual Order.
integration of the beautiful and the useful.
Copy, art and typography should be seen as
What is a good arrangement? 
living entity; each element integrally related,
Understanding the content and mapping it
in harmony with the whole and the essential
to create the required visual order through
to the execution of an idea.
careful planning and conscious arrange-
ment.
Like a juggler, the designer demonstrates his
skills by manipulating these ingredients in a
To execute this act of designing, such that
given space. Whether this space takes the
all elements interact with each other to
form of advertisements, periodicals, books,
complete a story to be told (the communi-
printed forms, packages, industrial products,
cation message) visually, in the designer’s
signs or television billboards, the criteria are
absentia (a self-communicative story-telling
the same” - Paul Rand. Pg. 162
approach). Creating an arrangement which
is self-evident and self explanatory.
 To design is to create an order, either from
bottom to top or top to bottom, within the
given constraints of a medium.

215. Visual Order in our surroundings

 What do we do, when we design? 
As designers, our sole aim is to facilitate
ease in communication for the viewer. Cre-
ating persuasive enquiry based approach
to comprehend a hidden Visual Order, or at
times to guide him through a well-defined,
self explanatory Visual Order.

217. Visual Order in our surroundings

Feeling and reasoning   reference of picture based analogies; for
The connect between design theory and
application is difficult to grasp for a novice
student of design, because the nature of
design decisions are sometimes very subjec-
tive and contextual. Moreover, it becomes
still more difficult, when the novice tries to
seek rules or formulas to attempt design
problem solving. This does not necessarily
proclaim that there are no rules in design. In
fact, there are principles and concepts which
need to be taught and internalized rather
than rote learned. Design solutions are felt,
experienced, compared and judged. They
don’t conclude as absolutes in themselves,
because each time the context would differ.
The designer trains himself to respond to
contexts, based on the knowledge acquired
while learning principles of Visual Design.
Giving reason is a convenient approach, to
teach a skill, explain a knowledge or con-
cept. Stating reasons to do something adds
rationality to the act of doing. Rationality
also gets accepted and appreciated quickly
compared to irrational tasks. Whereas, to
operate without a reason, seems uncom-
fortable and paints an appearance of being
artistic, intuitive or subjective. May be,
therefore, quantitative results seem more
pleasing compared to qualitative, since they
are easily articulated by a rational mind.
Visual Order as a method, will face argu-
ments while explaining a concept with
Considering the current context, where the
the only reason that most of these tasks choice of a font is available at a mouse click,
are concepts to be experienced, to be felt; the method becomes extremely important
rather than being told. “Most of these tasks to act as a rudimentary level course towards
are analogous; i.e., understood by doing, instilling Visual Order as a concept amongst
seeing and comparing and not based on novices. Satisfying their rationale queries
results, translated numerically. Comparison through analogies which design instructors
provides insights, not results, as they are can answer completely.
based on learning through perception”. (Otl
Aicher 1994).
Novices joining the design discipline find
design courses irrational and consider
them subject to the whims and fancies of
the instructor. The problem lies in their prior
education pattern where they were encour-
aged and appreciated to problem solving
of an analytical nature. Sudden exposure
to exploratory approach in learning design
leaves the student confused.
Design assignments in foundation courses
are exploratory rather than conclusive (based
on reason and having a single answer).
Exploration finds it difficult to flourish within
such conclusive environments, as they are
based on a foundation of interests, rather
than reasons. The method presented in this
book attempts to strike a balance between
exploratory and analytical approach to
design teaching. To resolve the debate of
either or teaching approach and combine a
method to achieve overall development of
the design student, enhancing both modes
of thinking (vertical and lateral).
 Credits: Divya Gupta Lateral Thinking -
My sincere thanks to various institutes Kartikeya Shandilya Creativity Step by Step
for giving me an opportunity to conduct Nishant Mungali Edward De bono
this course. Monil Khare
Prashant Dixit Printing:
1. Department of Design Vikram Batra Mr. Chilap
IIT Guwahati, Assam, India Shaiz Kunhimohammed Printing Press, IIT Bombay.
Siddharth Mohan
2. Symboisis Institute of Design Sumit Nair Mr. Sundar
Viman Nagar, Pune, India Saurabh Srivastava A-Z Printers, Andheri, Mumbai
Soumitra Bhatt
3. Maeer’s Institute of Design, Rahul Bhatt Discussions on Order:
Pune, India Navendu Tripathi Prof. Kirti Trivedi
Kshitij Anand Prof. Uday Athvankar
4. Industrial Design Centre IDC, IIT Bombay
IIT Bombay, Powai, Mumbai, India Saurabh Malhotra
Sharad Chauhan Sponsorship:
5. Sir, J.J. Institute of Applied Arts Saibal Datta Prof. Moharir, Coordinator CDP,
D.N. Road Fort, Mumbai, India IIT Bombay for his support;
Amrita Pokarna giving me the freedom to work
Thanks to all my students: Ajinkya Chikte dissolving every hurdle to make
Ashish Singhal Pankhuri Jain this book possible.
Kirti Meera Goel Dipto De
Siddharth Gupta, Staff at CDP, IIT Bombay:
Jaini Shiva Rama krishna Photographs: Thanks to Mr. Sudhir
Kshitij Gupta Vinayak More
Satyendra Nainwal Location: Rajasthan (Pushkar Mela) Staff at IDC, IIT Bombay:
Satyajit Das Camera: Nikon D70 Mr. Prashanth
Vinay Mohanty Mr. Desai
Tanuj Shah Books:
Abhishek Dhal Basic typography: Design with letters
Amit Bharti Ruedi Ruegg, Van Nostrand Reinhold,
Manshu Aneja New York. 1989,
Dinesh Nagar ISBN - 0442-23913-0

219. Credits