A Level Graphic Communication Eduqas

This subject is broken down into 31 topics in 7 modules:

  1. Visual Language 4 topics
  2. Drawing Techniques 5 topics
  3. Graphic Mark-Making Techniques 4 topics
  4. Digital Techniques 4 topics
  5. Materials and Processes 5 topics
  6. Graphic Applications 5 topics
  7. Contextual Understanding 4 topics
Study this subject in the Adapt App →
  • 7
    modules
  • 31
    topics
  • 12,308
    words of revision content
  • 1+
    hours of audio lessons

This page was last modified on 28 September 2024.

A preview of A Level Graphic Communication Eduqas in the Adapt app

Adapt is a revision planning app with full content coverage and unlimited past paper questions for 1,200+ GCSE and A Level subjects.

Study this subject in the Adapt app →

Graphic Communication

Visual Language

Line and mark-making

🤓 Study

📖 Quiz

Play audio lesson

Line and mark-making

Understanding Line and Mark-Making

Key Concepts of Line and Mark-Making

  • Line is one of the most essential elements in visual arts. Line can be defined as a mark connecting two points. It may be two-dimensional, like a pencil mark on a paper, or three-dimensional, like a wire in a sculpture, or implied, like the edge of a shape or form.
  • Mark-making refers to the different lines, dots, marks, patterns, and textures we create in a piece of art. It can be loose and gestural, or controlled and neat. It can apply to any material used on any surface.
  • Line and mark-making are fundamental in communicating visual language. They can denote a variety of elements including form, shape, direction, motion, and a range of emotions.

Different Types of Lines

  • Straight Lines: These can convey a sense of order, uniformity, and predictability.
  • Curved Lines: Typically suggest softness, calmness, fluidity, and movement, often creating a natural, relaxed, and informal feeling.
  • Thick Lines: Can imply strength, hardness, or emphasis.
  • Thin Lines: Suggest frailty, elegance, or subtleness.
  • Dotted or Broken Lines: Usually represent temporary or transitional aspects. They can also slyly direct a viewer's gaze along a specific path.

Methods of Mark-making

  • Hatching: A method where fine parallel lines fill an area, with the lines usually running in the same direction. The closer the lines, the denser the appearance.
  • Cross-hatching: Relies on intersecting hatching lines to create varying tones and intensities.
  • Stippling: Created by using tiny dots to simulate varying degrees of solidity or shading.
  • Scumbling: A technique where a layer of broken, speckled, or scratchy marks are added to create texture.
  • Impasto: An approach whereby thick, textured marks are made, often in reference to paint that is laid on an area of the surface very thickly.

Materials for Mark-Making

  • A variety of materials can be used for making marks including but not limited to pencils, charcoal, ink and brush, oil and chalk pastels, markers, and even digital tools such as graphics tablets and stylus pens.
  • The choice of material can significantly influence the quality and character of lines and marks, so it's always wise to explore different options to achieve varied visual effects.

Application in Graphic Communication

  • Line and mark-making are not only used in creating artwork, but play essential roles in design practices like drafting and sketching in graphic communication.
  • Line and mark-making techniques are often used in typographic design, logo design, illustration, cartoons, and infographics – anywhere visual hierarchy, emphasis and tone need to be established.
  • Understanding the emotional and psychological impact of different lines and marks can help to create effective designs that correctly convey the intended message.

Course material for Graphic Communication, module Visual Language, topic Line and mark-making

Graphic Communication

Digital Techniques

Typography

🤓 Study

📖 Quiz

Play audio lesson

Typography

Overview of Typography

  • Typography is the art of arranging text to make it readable, appealing and in harmony with the material to be presented.
  • It involves selecting typefaces, point sizes, line lengths, line-spacing (leading), and letter-spacing (tracking), and adjusting the spaces between groups of letters (kerning).
  • The term 'typeface' is often confused with 'font', but a typeface is a family of fonts (such as Times New Roman), while a font is one style within that family (such as Times New Roman 12 point bold).
  • 'Leading' refers to the amount of added vertical spacing between lines of text.

Elements of Typography

  • The 'character' is the basic element in typography, corresponding to a letter, number, or punctuation mark.
  • Font style refers to the set of characteristics that distinguish one font from another; it comprises several attributes such as weight, width, and angle.
  • Line length is the horizontal measure of a block of text, typically a line in a paragraph; readability can be lost if a line of text is too long or too short.
  • The 'baseline' is the line upon which most letters sit and below which descenders extend.

Importance of Typography

  • Typography plays a fundamental role in the way we absorb and understand information; studies show that a poorly chosen typeface can negatively affect comprehension.
  • Typography can heavily influence the mood and tone of the literary work.
  • It is a powerful brand tool; often the typeface alone can convey the personality of a brand or product.
  • For a brochure, catalogue, or magazine, good typography can increase engagement and ultimately sales.

Principles of Typography for Effective Communication

  • Contrast: Contrasting elements can give a page vitality and make it more interesting.
  • Repetition: Repeating visual elements such as typefaces can enhance the clarity and cohesion of the design.
  • Alignment: Alignment creates order and organises the page visually.
  • Proximity: Related elements should be grouped closely together, creating a connection between them.

Common Mistakes in Typography

  • Using too many different fonts: This can make the design look disorganised and reduce readability.
  • Ignoring kerning: Letters too far apart may be interpreted as separate words, while letters too close together can be tough to read.
  • Neglecting legibility: If people can’t easily read the font, the message will be lost. Think about the purpose of the text and who will be reading it.
  • Not considering the medium and platform: A mobile app and a printed book have different typography requirements.

Digital Tools for Typography

  • Software like Adobe Indesign and Illustrator, Affinity Designer, and Quark Xpress have tools to adjust kerning, leading, tracking, and other typography settings.
  • Fonts can be sourced from online collections such as Google Fonts, Adobe Fonts, and Typekit.
  • Online design tools like Canva, DesignBold, and Crello often have typography features suitable for quick designs.

Course material for Graphic Communication, module Digital Techniques, topic Typography

Can I trust Adapt’s expertise?

Adapt is already used by over 600,000 students and trusted by over 3,000 schools. Our exam-specific content and assessments are meticulously crafted by expert teachers and examiners.

Find out more about the Adapt app →

Planner

An always up-to-date revision timetable.

A personalised, flexible revision timetable that stays up-to-date automatically.

Content

All the exam resources, in one place.

Over 20,000 topics broken down into manageable lessons with teacher-written, exam-specific lessons.

Assessment

Past-paper questions, with instant feedback.

Unlimited past paper questions with instant examiner feedback on how to improve.

Progress

Track progress, together.

Progress tracking to stay motivated, with real-time updates to the Parent Portal.

Download the app today to start revising for free.