ESTHETIQUETTE

ФИКСАЦИЯ ПОЛОЖЕНИЯ ЭЛЕМЕНТОВ ПРИ СКРОЛЛЕ

Among the myriad definitions of graphic design, one of the most illuminating is by the American designer and writer Jessica Helfand. According to Helfand, graphic design is a 'visual language uniting harmony and balance, colour and light, scale and tension, form and content. But it is also an idiomatic language, a language of cues and puns and symbols and allusions, of cultural references and perceptual inferences that challenge both the intellect and the eye.

I like Helfand's definition. Her first sentence is a conventional summary of graphic design; few would argue with it. But her second sentence throws a punch: it alludes to design's expressive power and higher intent. Even as a recalcitrant teenager I sensed graphic design's emotive potency. I didn't even know there was such a thing as graphic design, but I lovingly copied lettering from album covers, magazines, cereal boxes and comic books. I didn't copy other elements; only the lettering. I liked the way that particular letterforms gave words added meaning. I noticed that the same words in a different typeface were not necessarily as beguiling. Copying letterforms is a common enough occupation among bored teenagers — it seems to have a calming effect on to hormones: it was used memorably as a trope for disaffected youth by Geoff McFetridge in his title sequence for Sofia Coppola's film The Virgin Suicides.

Loop element move and scale

ЗАЦИКЛИВАНИЕ ЛЮБОЙ АНИМАЦИИ ЭЛЕМЕНТА

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