Vision and Design (Illustrated)

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We mix classic design elements with innovative ideas in a one-stop shop that makes marketing easy and effective.

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The right design and descriptions will engage customers, driving direct, online, and in-store sales. When you want your message to stand out from the crowd, create an impact with custom 3-D displays.

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Because the lessons are structured around small tasks, students will become proficient with one rendering skill before moving on to another. The text and numerous illustrations reinforce each other to make the lessons easily accessible to visual learners. The comprehensive coverage includes instruction in rendering architecture, finishes, fixtures, furniture, accessories, and plantscaping.

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Do they look as if they are of the same length? However, at first sight, the lower stripe looks shorter than the upper one. One more picture of the two stripes. Has anything changed? I applied optical compensation for the lower stripe. Allowing the spikes to go 20 pixels beyond the length of the upper stripe is the way to compensate a gap between the spikes and make both shapes optically equal. And now some more sophisticated examples of differently shaped stripes.

And what about aligning plain text and paragraphs that have a background?


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It depends on the visual density of the background. A different approach can be utilized for a dense background. On the picture, the black background is aligned with the rest of the text while the white text inside of it is placed with indents.

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The same principle will work with buttons and input fields. The button is moved a bit rightwards to look balanced with the rectangular input fields above. Look at the buttons below. The trick is that on the right button I moved the word a bit to the left since the right edge is triangular. Moreover, the arrow-like button is 40 pixels wider to look optically equal to the rectangular one. Not only do text buttons have horizontal alignment, but also they have the vertical alignment of a word and a background.

Basically, the space above and below an uppercase letter and the edge of a button is equal. It makes sense because command names usually are written in title case and English letters have more ascenders, upper sticking out parts l, t, d, b, k, h than descenders, lower hanging parts y, j, g, p. Another approach is to align a name and a background using the height of a lowercase letter of a font so-called x-height. This approach also makes sense because the main optical weight of a text is concentrated in the area where lowercase letters are placed. Is there any difference between these approaches?

Yep, there is a difference.

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More examples for comparison below. The situation with icon buttons is slightly different from text buttons. Which variant looks more visually balanced? It happens because of different alignment methods.

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The first option treats the icon if it was a rectangle. The right variant shows the icon placed the way all its sharp edges have equal distance to the circular button background. If you prepare a file for a developer, you need to reserve some area, so that they can center the icon on the background optically right.


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If you want to position the triangle optically better, encircle it and align this circle with the button background. What can be more circular than a circle? I used to think that nothing, but as I said at the beginning of this article, our eyes are weird and sometimes perceive things not as we expect. So, which circle on the picture below looks the most smoothly circular?

People who I asked before were choosing between numbers 3 and 4. Numbers 1 and 2 are definitely too skinny, 5 is too plump.

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Given that high-quality fonts are built based on human visual perception and use a sophisticated system of optical construction, I suppose their circular shapes look more circular than geometric ones. How can we use this phenomenon? For corner rounding, of course! If you utilize the embedded rounding feature in popular graphics editors, the result will be not optically good.