Graphic Design Basics

The elements and principles of graphic design used in desktop publishing

By Jacci Howard Bear, About.com Guide Get a better understanding of the basics of graphic design by studying the elements and principles of graphic design that govern effective design and page layout. Graphic design is the process and art of combining text and graphics and communicating an effective message in the design of logos, graphics, brochures, newsletters, posters, signs, and any other type of visual communication. Designers achieve their goals by utilizing the elements and principles of graphic design. By following each of two learning paths on these concepts of graphic design basics and their application in modern desktop publishing, those with no formal graphic design training can improve their page layout and text compositions. Although individual lessons within these two Graphic Design Basics classes can be taken out of order, I recommend following the lessons sequentially to get the full benefit. 1. Elements of Graphic Design Basics Classes The building blocks of design are defined and illustrated in these lessons and exercises - including lines, shapes, and texture. Explore each element individually and as a part of the whole. 2. Principles of Graphic Design Basics Classes Learn how to use alignment, contrast, white space, and other principles of graphic design to create effective page compositions through these graphic design lessons and exercises.

Elements of Graphic Design Basics Classes

Design Basics for Desktop Publishing Course
By Jacci Howard Bear, About.com Guide Although individual lessons can be taken out of order, I recommend following the Graphic Design Basics course and these lessons on the elements of design sequentially to get the full benefit. 1.1 Building Blocks of Design The first class describes the 5 elements of design: lines, shapes, mass, texture, and color. Also describes other elements sometimes included as basic building blocks. 1.2 An Introduction to the Elements of Design

1.2 Lines Everyone knows what a line is, right? Look more closely at the great variety of lines, straight, curved, thick, thin, solid, and not-solid. 1.2 Lines 1.3 Shapes Squares (and rectangles), triangles, and circles are the three basic shapes. Examine their role in design including the psychology of shapes in logo design. Class also touches on freeform shapes. 1.3 Shapes 1.4 Mass How big is it? Take a look at mass or visual weight of graphic and text elements. This class includes a large section on size and measurements for type and paper and images. 1.4 Mass 1.5 Texture In addition to the actual texture of the paper we print on, look at the textures we create through techniques such as embossing and the visual texture created with certain graphics techniques. 1.5 Texture 1.6 Color What is the meaning of red? Which colors go well together? Color symbolism and association is the primary focus of this class. It also touches briefly on the mechanics of color reproduction on the Web and in print. 1.6 Color

Introduction to the Elements of Design

Class 1: Building Blocks of Design
By Jacci Howard Bear, About.com Guide

lements of Design: line, shape, mass, texture, color All designs have certain basics elements or building blocks chosen to convey the message beyond the actual words or photos used. The five elements of lines, shapes, mass, texture, and color are the building blocks of design for desktop publishers. Other terms which you might hear described as elements of design are form, space, and value (as in lightness or darkness of color). Graphic design encompasses the creation of a great many types of projects but for the purposes of these lessons we're focusing on the elements of design as they apply to typical desktop publishing projects including logos, ads, brochures, business cards, newsletters, books, and to some extent, Web pages. For our first class we'll expand on the definitions of lines, shapes, mass, texture, and color and focus primarily on learning to recognize these elements in printed materials. In subsequent classes within this course we'll cover each element in more detail with greater emphasis on the desktop publishing and software aspects of those elements. First Assignment: Class Samples Spend some time gathering examples that you'll use in the next five lessons and future classes. Your first assignment is to create a folder (not on your computer, a real paper folder) or a notebook to hold your samples. If your desk looks like mine, all the sample materials you need may be there already. If not, take several days (or as long as you need) to gather the following types of material. In your folder, put printed samples of:

display ads and fliers logos newsletters brochures of all kinds business cards

letterhead magazines newspapers labels and packaging books, book jackets

Include the good and the bad don't worry about the quality. Sift through your junk mail, magazines, newspapers, and your business card file. You can even include work that you've created yourself. Aim for a variety of materials. There's no need to sort these materials right now. Individual Lessons For the remainder of these lessons I'll refer to your folder or notebook of materials as your samples or 'Class Samples'. With your Class Samples in hand, go through each of the elements of design introductory lessons, in order. Concentrate on each element individually. Do the exercise included in each lesson. When you reach the end you'll go to the final assignment for this class. Even though no one will know whether you actually do the exercises and assignments included with each lesson and class, I strongly encourage you to do so. It will help to reinforce your understanding of each of the concepts covered throughout this Graphic Design Basics course. Next > Lesson 1 - Lines

Introduction to Lines as an Element of Design

Lesson 1 - Find Examples of Lines
By Jacci Howard Bear, About.com Guide

Lines, an element of design Lines can be long or short, straight or curved. Lines can be horizontal, vertical, or diagonal. They create patterns. Lines in graphic design can be solid, dashed, thick, thin, or of variable width. Sometimes a designer uses a line alone to divide or unite elements on a page. Lines can denote direction of movement (as in diagonal lines and arrows) or provide an anchor to hold elements on a page (such as lines at the top, bottom, or sides of a page).

You can use lines in conjunction with other elements of your design. One wellknown example, the AT&T logo, is a pattern of thick and thin lines arranged in a circular shape.

Go through your sample folder of ads, newsletters, business cards, books, and other projects with an eye on lines. I want you to find as many different examples of lines of all kinds used in these pieces. Are the lines used prominently? Are they part of a logo or used in other ways to divide the page or add decoration? Exercise Find examples of each of these six types of lines: 1. 2. 3. 4. 5. 6. 7. horizontal lines vertical lines diagonal lines curved or freeform lines lines used in a pattern non-solid (dashed, dotted, etc.) lines

Separate these six (or more) examples in your Class Samples collection before going on to the next lesson. Remember, this first set of lessons is an introduction to each of the elements of design. You'll be taking an in-depth look at lines* and other elements in subsequent classes in this course. Next > Lesson 2 - Introduction to Shapes

Introduction to Shapes as an Element of Design

Lesson 2 - Identify Geometric Shapes
By Jacci Howard Bear, About.com Guide

Shapes, an element of design

Circle, square, and triangle are the three basic shapes used in graphic design. Perhaps the most familiar shape to desktop publishing is the square (and rectangle). Paper is rectangular. Most text blocks are square or rectangular. While you may encounter printed projects cut into other shapes, most circles, triangles, and freeform shapes in desktop published materials are found on the page within the graphics or in the way the elements are placed on the page. Go through your sample folder of ads, newsletters, business cards, books, and other projects looking for a variety of shapes. No doubt you can find many examples of squares and rectangles but keep an eye out for other shapes. Are the examples you find actual graphic elements or can you find examples of lines or text arranged in geometric shapes? Exercise Find examples of each of these six shapes: 1. 2. 3. 4. 5. 6. square (not-rectangle) graphic element square (not-rectangle) text blocks circle graphic element triangle graphic element circle, triangle, or freeform text blocks paper in other than a rectangle (diecut brochures or business cards or perhaps a nonrectangular ad amid a sea of rectangular ads in a newspaper)

Separate these six (or more) examples in your Class Samples collection before going on to the next lesson. Remember, this first set of lessons is an introduction to each of the elements of design. You'll be taking an in-depth look at shapes* and other elements in subsequent classes in this course. Next > Lesson 2 - Introduction to Mass

Introduction to Mass as an Element of Design

Lesson 3 - Find Examples of Two Kinds of Mass
By Jacci Howard Bear, About.com Guide

Mass, an element of design

Mass is size. There is physical size and visual size. Size can be relative. A physically small brochure can have a great deal of mass through the use of heavy text and graphic elements. A physically large brochure can appear smaller, lighter by using text and graphics sparingly. While the paper projects you create have a certain size because of the size and weight of the paper, visual mass how light or heavy it appears is also an element of the design. Go through your sample folder of ads, newsletters, business cards, books, and other projects and look at each piece and analyze mass in terms of physical size of the piece and the visual mass. Does it have a heavy, imposing look due to the size or weight of the paper or the density of text and graphics? Is it small and compact or light and airy? Hold the items in your hand to see if they feel light or heavy. Compare the physical size to the visual mass of each piece. Exercise Find four examples of mass as follows: 1. 2. 3. 4. physically large physically small visually massive visually small or light

Separate these four (or more) examples in your Class Samples collection before going on to the next lesson. Remember, this first set of lessons is an introduction to each of the elements of design. You'll be taking an in-depth look at mass* and other elements in subsequent classes in this course. Next > Lesson 4 - Introduction to Texture

Introduction to Texture as an Element of Design

Lesson 4 - Identify Textures
By Jacci Howard Bear, About.com Guide

Texture, an element of design

For desktop publishing, actual texture is the feel of the paper. Is it smooth to the touch or rough? Textures can also be visual. On the Web, especially, backgrounds that simulate familiar fabrics, stone, and other textures are common. Certain printing and finishing techniques such as thermography and embossing can add both actual and visual textures to a printed piece. Go through your sample folder of ads, newsletters, business cards, books, and other projects looking for as many different types of actual and visual textures as you can find. Can you tell by looking whether a paper will be soft and smooth or rougher? Are the visual textures used in place of actual papers of that texture or do they relate in some way to the purpose of the printed piece (such as a stone texture for a tile company)? See and feel the difference in textures on embossed pieces or other types of raised printing. Exercise Find four examples of textures as follows: 1. 2. 3. 4. actual smooth paper actual rough paper visual texture (simulated fabric, stone, or even water etc. printed on the paper) an example of thermography or embossing or, Alternately for item 3, browse the Web and find a Web page with a simulated textured background.

Separate these four (or more) examples in your Class Samples collection before going on to the next lesson. Remember, this first set of lessons is an introduction to each of the elements of design. You'll be taking an in-depth look at texture* and other elements in subsequent classes in this course. Next > Lesson 5 - Introduction to Color

Introduction to Color as an Element of Design

Lesson 5 - Pick out types of color
By Jacci Howard Bear, About.com Guide

Color and Value, elements of design

Color is everywhere. Every single piece in the samples you've collected so far, even if it is black and white, exhibits the element of color. Color is used to attract attention. It can be subtle or bold. Color can be found in the paper, the text, or the graphic elements and photos. A monochromatic color scheme uses a single color, perhaps in various tints, while other layouts utilize combinations of two, three, or more colors. Color can be used to ellicit specific emotions and reactions. Red is typically thought of as an attention-grabbing, hot color. Blues are more calming or convey stability. Some color combinations are used to create a specific identity (corporate colors, school colors) or may be used in conjunction with texture to simulate the look of other objects (the look of plain paper wrapping or neon lights, for example). Color may provide cues for the reader. Sometimes considered a separate element of design, value is the relative lightness or darkness of an area compared to the surrounding area. Tints of gray or red are different values of the same color. Changing values can create contrast, movement, and emphasis. Go through your sample folder of ads, newsletters, business cards, books, and other projects and look at the variety of colors, color combinations, and the way color is used. Does the piece derive its main color from the paper? Are colors used throughout in specific ways such as just for graphic elements or only for headlines? Exercise Find four examples of the use of color and value: 1. 2. 3. 4. subtle use of color (monochromatic or very little color) bold use of color (bright color, many colors, etc.) black and white only strong contrast in values other than strictly black and white (light and dark areas using tints of the same color or different light and dark colors)

Separate these three (or more) examples in your Class Samples collection before going on to the final assignment. Remember, this first set of lessons is an introduction to each of the elements of design. You'll be taking an in-depth look at color* and other elements in classes that follow the self-test assignment in this part of the course.

Next > Elements of Design Self-Test Assignment

Self-Test on the Elements of Design

Assignment - Analyze lines, shapes, mass, texture, and color
By Jacci Howard Bear, About.com Guide

Elements of Design: line, shape, mass, texture, color Your first assignment is fairly simple. It has two parts. While no one but you may see these assignments, take the time to do them just as if you were turning them in for a grade. It will help reinforce what you have learned. Choose one sample piece that you set aside from any of the previous lessons (lines, shapes, mass, texture, color). Part 1: Completely describe the sample piece (tri-fold brochure, standard business card, etc.). Then, write a detailed description of one element of design you identified that piece as having. Be specific (thin horizontal line dividing columns in a newsletter or example of actual/visual texture through the use of thermography or raised printing). This part is subjective, but based on your own perceptions and feelings about the piece, tell why you believe the designer used that element in that specific way and tell whether you think it is a good or bad use of that element. No, no one is looking, but if you're serious about learning then write it down. Part 2: Additionally, briefly describe how each of the other elements of design are used in that piece. That's it. Simple enough? If you find yourself having trouble identifying or describing any of the elements within the piece, go back to that introductory lesson and re-read the class material. If it's still unclear, go ahead and move on to the in-depth lessons on each element of design that follow this assignment. Congratulations. You have completed Class 1, an Introduction to the Elements of Design. This first set of lessons provides an overview of the five elements of design. You'll be taking an in-depth look at each of the elements of graphic design in subsequent classes in this course beginning with the next page. Next > Class 2 Lines, In-Depth

Lines
Elements of Design Class 2 Lines are one of the basic elements of design. Alone or in combination with other lines or shapes they can aid in the readability, appearance, and message of a design. Use lines to: organize texturize guide the eye provide movement make a statement convey universal meanings

Lines Keep an eye out for brochures, ads, newsletters, graphics, logos, and other print projects that include examples of lines, look for materials around you that include lines of all kinds. You'll refer to these examples in some of the lessons in this class. In Lines Lesson 1 we'll look at what a line is and the different looks of lines. In Lines Lesson 2 we'll combine lines and see how the patterns we create convey different ideas. Then in Lines Lesson 3 we'll look at how lines are used in design and some practical uses of lines in common desktop publishing projects. Next > Lesson 1 - Appearance of Lines

Appearance of Lines
Lines Lesson 1 A line is a mark connecting two points. How we get from point A to point B gives the line its distinctive character and appearance. Lines can be long or short, straight or curved. Lines can be horizontal, vertical, or diagonal. Lines can be solid, dashed, thick, thin, or of variable width. The endings of lines can be ragged, blunt, or curved.

Hands-On Exercise Look at ads, magazines, brochures, logos, and other printed projects and try to find as many different types of lines as possible including straight, curved, and freeform lines. Look for blunt and curved line endings, solid and dashed lines and lines with variable widths. Next > Lesson 2 - Patterns

Line Patterns
Lines Lesson 2 Lines are often found in pairs or groups. Lines of the same general appearance or lines that are quite different can form a variety of patterns that create textures, suggest movement, or lead the eye - the same as single lines. If you aren't creating original illustrations or doing logo design, your main concern with this part of the study of lines is being able to recognize these patterns in the illustrations you may select for your work and understand how these patterns may or may not project the image you want for your project. These bits of line patterns illustrate static, dynamic, and random use of lines.

Upper Left: Uniform vertical black and white lines alternate at even intervals. Static. Orderly. Conservative. Upper Right: Uniform horizontal black lines are widely, but evenly spaced. Static. Stable. Orderly. Middle Left: Uneven spacing of otherwise uniform lines creates the impression of movement. Dynamic. Orderly progression. Middle Right: In this example the progression moves in from either side giving the illusion of roundness. Dynamic. Orderly progression. Dimension. Lower Left: Varying line widths and distances create a random pattern. Dynamic. Chaotic. Disorderly. Lower Right: While the uniform size and spacing of the lines in the upper examples are static, make the lines into curves and you get movement although it is a controlled movement. Dynamic. Orderly flow.

Hands-On Exercise Look at ads, magazines, brochures, logos, and other printed projects and look for patterns created with two or more lines. To find examples similiar to those above, look beyond the obvious and find the lines within illustrations or used within logos. Draw your own sets of patterns using only black or white lines that illustrate static, dynamic, or random line patterns. Experiment with line width, spacing, and using horizontal, vertical, curved, and even diagonal lines. Next > Lesson 3 - Practical Applications

Practical Use of Lines

Lines Lesson 3 Whether lines appear as part of a graphic element, such as a logo or illustration, or the lines themselves are the graphic element, such as frames and dividers, use them purposefully in the overall design Some ways that you might use lines in your design are to: Organize, connect, separate Create movement Provide texture Convey a mood or emotion Define shapes Provide emphasis Provide a framework

The examples below demonstrate a few of the ways lines might be used in page layout or illustration. You can probably find examples all around you as well.

Above, a solid line separates columns of text, a pair of lines set apart a phrase, and a short dotted line separates a section of text from other parts of the page.

A few simple lines added to a piece of clip art gives a sense of movement to the airplane. Short, choppy, vertical lines create a grooved texture along the edge of the timepiece sketch.

Dashed lines suggest a coupon, whether there is one or not. It causes many of us to take a second look at this ad because the familiar dashed line makes us think "I can save money!"

Examples Here are some descriptions of lines and some of the ways they appear in designs: Organize. A catalog uses lots of lines "to divide the items and descriptions on the pages." Student ID M010814 Connect. In a brochure "Thin diagonal lines and arrows are used to connect call-outs to illustrations below. Thin vertical lines are also used to show connection between various horizontal layers in the mapping programs many layers of mapping data." Student ID C011409 Texture. In a magazine, the "lines are hand-drawn and appear 'nubbly' as they might appear if they were printed on parchment." Student ID P011631 Movement. On an image of a dancer "layered on top of the photograph are several very fine lines... that swirl around the dancer..." Student ID T010924

Auxillary Lessons This course isn't the first time I've addressed the use of lines in desktop publishing. Read each of the following pages (some are parts of longer articles but you only need to read the one page dealing with lines). Use your back button to return to this page after reading each auxillary page. In Lines Rule! you'll find examples of how rules (typically solid or dashed horizontal or vertical lines) are used in desktop publishing along with additional design tips. Lines in Logos is part of a longer feature on logo design. This page shows examples of how changing the appearance of lines can convey different messages in a logo. Finally, Lines with Photos is a quick tip on creative use of mug shots in newsletters. On this page you'll see some examples of using lines to provide a framework, to connect information (photos), and organize images. Design Tip: When using clip art in your page layout, pay attention to the lines within the image. The lines of the clip art shouldn't interfere with or conflict with the tone of the design or other line elements used in the piece. Printing Tip: Don't use the 'hairline' rule setting in your page layout or graphics program because not all program define hairline rules in the same way. Hairline rules that are too thin may disappear when printing to a high resolution imagesetter. Specify a specific size such as .25 points. Hands-On Exercise Look at ads, magazines, brochures, logos, and other printed projects . Find examples for each of the ways you might use lines described in this lesson. For even more on lines, you may want to quickly browse this feature on leaders. Leaders are a special type of line often used in an index or a table of contents. Next > Lines Self-Test Assignment

Test Your Knowledge of Lines

Self-Test Assignment The assignment for this class is a 5-question test with multiple choice or simple essay questions. While no one but you may see these assignments, take the time to do them just as if you were turning them in for a grade. It will help reinforce what you have learned. Class 2 Assignment 1. A is... B is... essay 2. I chose A/B/C because...essay. 3. a/b/c/d (only one) 4. a/b/c/d (only one) 5. I now know... essay. How Well Do You Know Lines? 1. Describe the differences between these two lines (length, width, general appearance, etc.):

2. Compare these groups of lines designed to suggest a column. If your hometown bank or savings & loan were trying to choose from among these (rough draft) patterns for a new logo, which do you think best suggests both stability and 'down home friendliness'? Explain why you chose A, B, or C -- especially how the appearance and patterns created by these lines convey that feeling. There is no absolutely right or wrong answer as long as you can explain your reasoning.

3. Sharp edges or line endings would typically convey: a. formality b. movement c. friendliness d. softness 4. A hairline rule is usually: a. dashed lines b. 1/4 of a point in width

c. 24 points long d. made to be broken 5. In only one or two sentences, describe the main points you've learned from this class on LINES. Bonus. Using pen or pencil and plain paper, spend at least 10 mintues sketching a variety of lines. Using your favorite page layout or graphics program spend a minimum of 20 minutes getting to know the line drawing capabilities of the program. Draw solid and dashed lines. Draw freeform lines. Explore whatever options your program has for changing line width, length, line endings. OPTIONAL: File attach a scan of your line sketching or a screenshot of your software line doodling to a message in the DTP Classroom Forum (you must be in Advanced View to attach files). Next > Graphic Design Basics Class 3 - Shapes, In-Depth

Shapes
Elements of Design Class 3 Shape is one of the basic elements of design. Alone or in combination with other shapes or lines they can convey universal meanings as well as guide the eye or organize information. The three basic types of shapes are geometric, natural, and abstract. Geometric shapes are structured, often symmetrical shapes. These include squares, circles, and triangles but also octagons, hexagons, and cones. Natural shapes are found in nature or they can be manmade shapes. Leaves are an example of a natural shape. An ink blob is a natural shape. Natural shapes are often irregular and fluid. Abstract shapes are stylized or simplified versions of natural shapes. Symbols found on signs, such as the stylized wheelchair shape for handicapped access, is one example. For the purposes of this class we'll focus on the three basic geometric shapes of squares (and rectangles), circles, and triangles but lesson 4 will also briefly address natural and abstract shapes. Shapes Keep an eye out for brochures, ads, newsletters, graphics, logos, and other print projects that include shapes of all kinds. You'll refer to these examples in some of the lessons in this class. Look for both items with physical shapes outside the norm (circles and triangles, especially) as well as shapes within the design used within logos or as graphic elements in the piece. In Shapes Lesson 1 we'll look at the appearance of squares and recentanges. In Shapes Lesson 2 we'll see what a circle can do in design. Then in Shapes Lesson 3 we'll look at the use and meaning of triangles. For Shapes Lesson 4 we'll look at the practical application of squares, circles, and triangles and other natural and abstract shapes in various desktop publishing projects.

Now, on to the lessons on shape as an element of design. Next > Lesson 1 - Squares

Square Shapes
Shape Lesson 1 The square denotes honesty and stability. Squares are familiar, trusted shapes. Because the vast majority of the text we read is set in squares and rectangles, it has become familiar, safe, and comfortable. Squares and rectangles are probably the most common geometric shapes we encounter. A few books, especially those for kids, may be cut in irregular shapes but adult (i.e. 'serious') correspondence comes in squares -- both the physical shape of the books, magazines, newspapers, and the rectangular columns of set text. Some designers might equate square with boring. It's true that other, unexpected shapes, can grab attention better than the simple square but don't forget the importance of comfort and familiarity. Imagine how difficult it becomes to file everyday correspondence if letterhead came in a variety of triangles or freeform shapes. Try reading an entire book with all the text set in circles. Squares and rectangles definitely have a place in design. Some ways you can use squares and rectangles: To symbolize honesty, stability, equality, comfort, or familiarity. It could also symbolize rigidity or uniformity. Related to the first bullet item, use repeating squares to suggest familiar themes (checkerboard pattern to represent a game board, the checkered flag at the end of a race, a tablecloth). To highlight, organize, or set apart information using a solid or outlined box. Use a square unexpectedly. Set a block of text in a solid or outlined but tilted box with or without also tilting the text.

Hands-On Exercise Look at ads, magazines, brochures, logos, and other printed projects and try to find as many different examples of square and rectangular shapes. It won't be difficult. Now, look for especially creative use of square shapes. Rectangles are more common than perfect squares. Study logo designs. Look for examples of square shapes that convey the attributes of honesty, stability, equality, comfort, or familiarity. Look for examples of 3-dimensional square shapes too such as software boxes. Next > Lesson 2 - Circles

Circle Shapes
Shape Lesson 2 Circles suggest infinity. They are also protective (think of protective encircling arms). They can also denote free movement such as a rolling ball or a more controlled movement such as a spinning globe.

The sense of movement is often enhanced through shading or the use of lines (as suggested in Class 2 on Lines). Outside of logo designs, circles are less common elements of design which makes them good for grabbing attention, providing emphasis, and breaking up familiar rectangular blocks of text. You could set text in circles or simply use a circle as the background for more traditional blocks of text. Some ways you can use circles: To symbolize infinity and protectiveness. Circles could also suggest something wellrounded or complete. Similar to protectiveness, circles could also imply security. Related to the first bullet item, use circles to suggest familiar themes (bullet holes, a stack of cannonballs, a bunch of grapes -- or just about any round fruit or vegetable, a target, the earth). To highlight, organize, or set apart information using a solid or outlined circle. Try a freeform circle that looks like it was drawn with a marker or pen to highlight important text. Replace the letter O or other 'round' letters in text with a circular shape that suggests that letter. Try an orange in the word Orange or a basketball, baseball, or soccer ball to replace an O or other letter in the nameplate of a sports newsletter.

Hands-On Exercise Look at ads, magazines, brochures, logos, and other printed projects and try to find as many different examples of circles as you can. Look for especially creative use of circles. Study logo designs. Look for examples of circles that convey the attributes of infinity or protectiveness or circles that are suggestive of other circular objects such as the earth or a piece of fruit. Find examples of text set in a circular shape and for pieces that have been cut into circular or near circular shapes or that include circular diecuts (cut out shapes). Next > Lesson 3 - Triangles

Triangle Shapes
Shape Lesson 3 Triangles suggest action. They are dynamic. Triangles may convey either conflict or strength. Triangles can direct movement (up, down, left, right depending on which way they 'point') but rather than moving themselves, they point the way for the reader. Triangles are suggestive of many different shapes and ideas. They can represent a religious Trinity, a pyramid, a flag or pennant, an arrow, a beacon. Some ways you can use triangles: To symbolize action or conflict. In a logo, a triangle might be better suited to a growing, dynamic high tech company than the more stable, familiar square, for example. Related to the first bullet item, use triangles to suggest familiar themes (flag, pyramid, arrow or pointer). A single or a series of triangles can point the eye to important information or act as an arrow to get readers to turn the page.

To highlight, organize, or set apart information using a solid or outlined triangle. Use a triangle to suggest progression. Place it behind a 'Top 10' list or the steps to accomplish a specific task. Replace the letter A or V in text with a trianglur shape that suggests that letter. Try a wedge of pie for the letter A in the phrase Amy's Desserts.

Hands-On Exercise Look at ads, magazines, brochures, logos, and other printed projects . Find examples of the use of triangles either in logo designs, as a shape to break up text or provide emphasis or interest, or as the physical shape of the piece. Look for creative use of triangles such as to replace letters in a nameplate or to represent familiar ideas. Next > Lesson 4: Practical Applications

Practical Use of Shapes

Shape Lesson 4 As with lines, whether shapes appear as part of a graphic element, such as a logo or illustration, or the shapes themselves are the graphic element, such as frames or boxes, use them purposefully in the overall design. Some ways that you might use shapes in your design are to: Organize, connect, separate Symbolize an idea Create movement Provide texture or depth Convey a mood or emotion Provide emphasis Provide a framework

Geometric Shapes In addition to the basic square, circle, and triangle discussed so far, other geometric shapes have specific meanings, some culturally-based. An octagon, especially a red one, usually means stop. A starburst is commonly used to grab attention and identify something that is new, improved, or 'on sale.' Natural Shapes Natural shapes can add interest and reinforce a theme. Rather than a plain box, frame text with a coiling rope or a spray of leaves or flowers. Use a freeform, non-symmetrical shape to convey a feeling of spontaneity. Abstract Shapes Some abstract shapes are almost universally recognized and easily 'read' even when the text is in an unfamiliar language. The stylized wheelchair, the male and female symbols for restrooms, and the jagged steps for stairs or an escalator are some examples. Icons are often abstract or stylized shapes. For example, a rectangle with a 'folded corner' often indicates a page in a document or a word processing program. A hollow circle or oval with smaller circles on the 'path' may be a literal representation of a planetary system or symbolic of a network, such as a computer network.

Auxillary Lessons This course isn't the first time I've addressed the use of shapes in desktop publishing. Read each of the following pages (some are parts of longer articles but you only need to read the one page dealing with shape). Use your back button to return to this page after reading each auxillary page. Use Shapes in Logo Design is part of a longer tutorial on logo design. This page shows examples of how you can use shapes to convey ideas plus more ideas on using shapes to replace letters. In the same logo feature, Combine Lines and Shapes in Logo Design is about using the basic geometric shapes and lines to construct more complex images or to suggest familiar themes. Hands-On Exercise Look at ads, magazines, brochures, logos, and other printed projects . Find examples of basic geometric shapes used to construct more complex designs (see the Building Logos auxillary lesson to see what I mean). Look for examples of natural and abstract shapes. Find as many examples as you can of pieces that are use physical shapes other than squares/rectangles (if necessary, look through some of your design books and find pictures of pieces that use unusual shapes). Separate your samples into pieces that primarily use geometric, natural, and abstract shapes. (you'll need these for the assignment) Next > Shapes Self-Test Assignment

Test Your Knowledge of Shapes in Design

Self-Test Assignment The assignment for this class is three essay writings. In the last lesson I asked you to separate your design examples into samples of geometric, natural, and abstract shapes.

1. Select an example other than a square/rectangle of a geometric shape used in a

piece or a logo and write a brief paragraph (2-5 sentences) describing that shape, how it is used, and what emotions, feelings, or ideas it conveys. 2. Select an example of a natural shape used in a piece or a logo (remember these can be shapes from nature or manmade creations). Write a brief paragraph (2-5 sentences) describing that shape, how it is used, and how it relates to the theme or subject matter of the piece. 3. Select an example of an abstract shape used in a piece (symbols, icons, etc.) and briefly describe it in 2-5 sentences. What idea does the abstract shape convey? Next > Class 4: Mass

Mass and Size

Elements of Design Class 4 Mass is one of the basic elements of design. Mass equals size. Each piece you create has a

physical mass. Additionally, each element within the design (graphics, photos, lines, text blocks) have their own mass relative to the whole piece. Part of working with mass in desktop publishing is understanding how we measure the various parts of a design such as paper, type, and images. Mass & Size In Mass Lesson 1 we'll look at the definition of mass and a few ways mass is incorporated into designs. In Mass Lesson 2 we'll delve more into the nuts and bolts of size such as how we specify and measure the size of type and images and how paper sizes are specified in desktop publishing. This mass and size lesson incorporates a great deal of supporting material and although it is only one lesson, it will take much longer to complete than any lessons thus far in this course. Now, on to the lessons. Next > Lesson 1: Mass

Defining Mass
Mass and Size Lesson 1 Mass equals size. Each piece you create has a physical mass. The physical mass or size is the actual dimensions of the piece height, width, thickness/weight (of paper), and depth (3D objects). Additionally, each element within the design (graphics, photos, lines, text blocks) have their own mass relative to the whole piece. For example, a photo that is physically 3 inches by 5 inches can appear smaller or larger depending on the physical size of the paper it is printed on and the size and proximity (closeness) of other items on the page. Some ways to use mass within your designs: to accommodate information, content Example: To present all the desired or needed information comfortably a designer may create a bi-fold rather than the usual single business card to accommodate normal size restraints or expectations Example: The postal service has limitations on the height and width of different types of envelopes. If a designer ignores those requirements it could incur additional mailing costs for the client. to convey a mood or provide emphasis Example: A place that is physically large (such as an amusement park) or a business that offers a huge assortment of products may use brochures or other marketing pieces that are larger (physical dimensions) or heavier (weight) than normal to carry out the 'bigger' or 'more' theme. to create contrast Example: A designer might design a full-page magazine ad using a single small image in the middle of the page with lots of white space. The contrast between the size of the page and the size of the content (image) draws attention to the image

and can create a specific mood (depending on other elements) such as conservative, elegant, lonely, or open. Sometimes bigger isn't always better. Take this brochure description for example: 23 1/4 x 16 1/2 inch full color two-sided brochure (folded twice to 8 3/4 x 11 3/4 inch). This brochures opens twice and is visually packed and appears massive due to the following elements: It has a large physical size when opened It is folded down numerous times, and although the paper is thin, glossy card stock, it appears massive due to the number of layers created by the folds. It is densely packed (in my opinion, overwhelmingly over-packed) with bold, multicolored backgrounds and graphic elements, multicolored and shadowed text, and photographs making it visually massive and heavy. The brochure is packed with information about the software and its applications. I didnt bother to look at it in any detail because the mass of it made it seem like too much work to get through. Student ID C011409 Look at ads, magazines, brochures, logos, and other printed projects with an eye on mass. Ask Hands-On Exercise Look for four types of material in your collected design samples: physically large pieces (larger than 'letter size') physically small pieces (business cards, small space ads, tags) physically large pieces that incorporate small or visually small elements and lots of white space physically average or small pieces that incorporate large or visually large elements (such as a single dominate photo or huge headlines compared to other items on the page)

Next > Lesson 2 - Size & Measure

Measuring the Size of Your Design

Mass and Size Lesson 2 What is large? What is small? In graphic design and desktop publishing there are many ways to specify size. This part of the class on mass focuses on the mechanics of size and common measurement systems used in desktop publishing. Expect to spend a great deal of time on this portion of the course. What you learn here is critical to DTP. To keep from getting lost, bookmark this page now. The information for this lesson is found in a whole series of previous tutorials on this site. You can come back to this page if you get 'lost' in the many pages and supplemental materials covering size and measurements. Auxillary Materials: Size Matters: Measuring Type, Paper, and Images This multiple page complex covers the following topics:

Metric Measurements Type Size, Using Picas in Page Layout Paper Size Image Size (measures of resolution)

In addition to the main coverage of each topic you'll find that many pages have a Glossary section with related terms, or How-to pages related to that topic. These are important supplemental information. Review them. There are also offsite links to information elsewhere on the Web that will give you more in-depth information on some topics as needed. If you get lost, come back to this page to resume the Graphic Design Basics Course After you've studied the auxillary materials, do the following exercises. Take your time. These exercises are important to your future in graphic design and desktop publishing. Hands-On Exercises Assemble a wide variety of the various ISO Standard, Metricated Traditional, or Nonmetric Traditional (North American) size items as you can - including envelopes and postcards. Arrange them in order by size. Assemble a collection of pieces with a finished size that does not conform to the standard or traditional paper sizes. Find examples of different paper weights from the thickest, heaviest cardstock to the thinnest, most lightweight papers. See how many different paper thicknesses you can find for similar items such as a variety of business cards on thick and thin stock. Open your favorite page layout, graphics, and word processing programs and familiarize yourself with the different measurement systems available and the standard or default page sizes provided in the document or page setup or image size areas of each program. How many familiar and unfamiliar measurement systems does each program include? What are the largest and smallest page (or image) dimensions that you can create with each program? If you haven't tried it already, do both of the Picas & Points exercises found in the Using Picas in Page Layout article within the auxilliary material. Using your own software or the online conversion tools links found in the Conversion Tools feature, input the measurements for the standard 'letter' size of paper used in your country and convert the width and the height to inches or millimeters and to picas and points. Open your favorite page layout, graphics, and word processing programs and familiarize yourself with the different ways that each program specifies type size. What is the largest and smallest type size and the incremental sizes that are defaults for the program. See if your software allows you to specify larger or smaller sizes or other incremental sizes (such as 4.5 or 12.2 or 215).

 Using the Setting Leading in Your Software feature as a guide, open your favorite page layout, graphics, and word processing programs and experiment with the different methods they each use to specify leading (line spacing - size of the space between lines of type). How does each program differ? What is the default? Is there more than one way to set leading (such as by pulldown menus, control palettes, and keyboard shortcuts). Next > Mass Self-Test Assignment

Test Your Knowledge of Mass and Size

Self-Test Assignment This assignment consists of 10 fill-in-the-blank questions on mass and size measurements (including image resolution). Even though it looks simple, this is one of the more involved Assignments to date and you may have to refer back to already reviewed material or do a little research to come up with some of the answers. 1. Mass includes the physical dimensions of __________, __________, __________, and, __________. 2. A standard letter size A4 piece of paper is _____ by _____ inches. 3. The same picture displayed on a low resolution monitor looks __________ than it does on a higher resolution monitor. 4. Type is typically measured in __________. 5. Of SPI, PPI, DPI, and LPI, the measure of resolution that properly refers to display resolution and the size at which an image displays on-screen is __________. 6. In addition to inches, millimeters, picas, and pixels, two measurement systems found in many desktop publishing programs are __________ and __________. (Do the 4th exercise listed in Lesson 2 to find some of these methods of measuring size.) 7. The use of __________ and __________, two Principles of Design, are ways of using or altering the visual or perceived mass of a piece. (Not explicitly spelled out, these answers can be found in or inferred from material in Lesson 1.) 8. Basic or basis size is used to determine the _____ _____ for a ream of paper. (Remember the Glossary entries from the Paper Sizes material? That's where you'll find this information.) To answer 9 & 10: Go back to the design sample that you originally used in the assignment for Class 1 Introduction to the Elements of Design. Reread what you wrote (or didn't write) about the use of the element of MASS in that piece. Based on what you've learned in Lesson 1 and 2 of Class 4 complete the last two questions. 9. The physical dimensions* of this piece are: _____________ (unfolded) and ___________ (folded, if applicable). *In the case of multi-page items like booklets, give the dimensions of a single page and the approximate thickness (depth) of the piece. Use inches or millimeters to express size. 10. Of the four ways to use mass found in Lesson 1 (accommodate information, content; accommodate normal size restraints or expectations; convey a mood or provide emphasis; and, create contrast) the one that most applies to the use of mass in this piece is ____________________. Next > Class 5: Texture

Texture
Elements of Design Class 5 Texture is always a part of our designs whether intentional or not. It is the visual or tactile surface characteristics of a piece. In desktop publishing, texture comes from the paper we use. We may also add visual textures through the arrangement of lines and shapes or the use of photographic images of specific surfaces. Texture In Texture Lesson 1 we'll look at the paper on which most of our desktop publishing projects is printed with an eye on texture. In Texture Lesson 2 we'll discuss the use of added visual texture as an overall background and as a fill for shapes. Texture Lesson 3 covers the addition of texture through specific printing and finishing techniques such as thermography. Each lesson contains tips on using texture effectively. Now, on to the lessons. Next > Lesson 1: Paper Texture

Paper Textures & Finishes

Texture Lesson 1 Paper is often something we take for granted. It's just 'there.' Sometimes we have no choice about the type of paper on which our designs are printed. Normally we can't dictate the paper used for ads in newspapers or magazines. Even when we do have a choice, we're limited by budget, printing requirements, or other factors. However, paper can be an important textural element in our desktop published documents. Some papers just 'feel' better than others. Grab up some paper from around you. Get a newspaper, a magazine, some paper from your printer, and a few different samples from your Class Samples. Close your eyes and touch the different surfaces. Can you identify the general type of paper (newsprint, etc.) simply by touch? Probably so. But also consider how they feel to your touch smooth, rough, slightly patterned, fuzzy, bumpy, slick, shiny, dull, warm or cold. Familiarize yourself with some of the various surfaces and finishes used in paper. Explore each of these paper terms related to the surface charateristics and appearance of paper. Some may be familiar to you already. Others will be new. Antique Finish Cast-Coated Paper Cockle Finish Dull Finish Eggshell Finish Embossed Finish

English Finish Felt Finish Glazed Finish Granite Finish Laid Finish Linen Finish Machine Finish Machine Glazed Matte Finish Mottled Finish Natural Finish Onionskin Paper Parchment Paper Supercalendered Paper Vellum Finish Wove Finish

Design Concept & Texture Varying paper surfaces can dramatically or subtly alter the mood you want your designs to convey. An exercise from Using Design Basics To Get Creative Results by Bryan L. Peterson uses the example of a piece of jewelry placed against two totally different surfaces a shiny tile of black Formica vs. a piece of cement. Translate this same concept to paper and imagine a photograph of a well-preserved vintage automobile printed on extremely smooth, glossy paper or printed on a rough, pepply surface. Neither one is necessarily better or worse. It depends on the mood you want to convey. Increased contrast between the image (and it's visual texture) and the actual surface of the paper can create interest in your design. When selecting paper, choose a texture that is related to the concept of your design and doesn't overwhelm or get in the way of the message. While you can make a bold statement with texture, sometimes a subtle texture that stays 'in the background' is most appropriate. Make sure that your texture works with your choice of type and images so that text does not become unreadable or images unrecognizable. It may be necessary to use a bolder typeface if your paper is rough or strongly patterned. Here is an example of paper texture: Unexpected contrast: In a brochure promoting a computer-related service: "The gray color also evokes a high-tech, sterile mood, although I might expect a glossier surface to go along with that, rather than the sensual feel of the textured stock." Student ID S011203 My comments: "...the softer texture may indeed have been meant to soften and humanize the high-tech image." Hands-On Exercise Look at brochures, books, ads, business cards, and other print projects and find five paper samples that range from the very smooth to the very rough. For each sample, look at the purpose and focus of the piece and decide if, in your opinion, the paper texture 1) is insignicant/incidental to the piece; 2) is appropriate for the mood and purpose of the piece; or, 3) is inappropriate for the mood and purpose of the piece.

If possible, find a paper store or warehouse near you. Stroll the aisles and discover the variety of papers there, especially with an eye on textures and finishes. Don't just look at the paper. Pick it up, touch it. Some paper stores will provide you with paper sample books ask for them. These sample books are provided by various paper manufacturers to showcase the variety of papers they carry. Some sample books are beautifully designed as well and would make good samples for your Class Samples collection. Next > Lesson 2 - Visual Texture

Visual Textures
Texture Lesson 2 Everything around us has a texture. Sometimes we can simulate those textures with paper, but more often the textures we create in our designs are visual rather than tactile. However, those visual textures can be just as provocative or full of meaning as actual textures we can touch. It's extremely easy to find or create visual textures for your designs. There are four basic ways to incorporate visual texture. 1. Objects within a photograph Textures: fairly smooth surface of the chalk; rough surface of the cement Textures: smooth glass bottles; fabric of the potholders Textures: worn wooden mallet; grass

2.
software these textures may

Images created with photo-editing mimic actual textures or be imagined textures

Texture: mimics drapes or folds in a satiny fabric Texture: simulates a rough, rocky surface Texture: random soft circles create an imaginary texture

3. Digitized images of
(from scans, digital Texture: a straw mat

actual textures photos)

Texture: piece of door mat made from old tires

Texture: tree bark

4. Symbolic textures created with lines or shapes

these patterns suggest various textures and are similar to the use of symbols or icons to represent ideas or objects Texture: wavy lines could symbolize water, waves, rolling terrain Texture: overlapping circles give the look of fish scales Texture: a grid of lines could simulate plaid or linen fabrics, wire mesh, or other textures

You can enhance or alter the appearance of visual textures depending on the actual texture of the paper used. Keep this interaction in mind when using texture. While you can easily simulate a rough texture on smooth paper, using a 'slick' visual texture on some rough papers changes the visual appearance. As with paper textures, choose textures that relate to the concept of the piece and are appropriate to the design. Just as some paper textures can interfere with the readability of text, so can visual textures used as backgrounds. Use caution when placing text over heavy or busy visual textures. Hands-On Exercise Look at brochures, books, ads, business cards, and other print projects and find three examples of visual texture as follows: Objects in photographs that create interesting textures, especially textures that relate to the purpose and concept of the whole piece Backgrounds or filled objects that appear to use simulated textures or scans of actual textures Symbolic textures and patterns created with lines or shapes If you have access to photo-editing software (such as Adobe Photoshop) explore the options within the software for using existing textures or creating new textures. Many programs come with preset fills that mimic recycled paper, rippling fabric, cement, or other 'real' textures. Look for options to alter the colors to create a greater variety of visual textures. Next > Lesson 3 - Textures from Printing & Finishing

Printed Textures
Texture Lesson 3 Some textures are added after the design process is complete and the project has gone to

the printer. Embossing, debossing, foil stamping, engraving, thermography, and varnish are examples of texture added during or after printing. Go to the Glossary to learn more about each of these related texture terms: Blind Embossing Debossing Embossing Foil Embossing Foil Stamping Ink Embossing Varnish

Embossing and foil stamping can add both visual interest and can alter the overall texture of a piece. Here is a description of an example of using varnish to create texture: Sticky Design: This business folder makes sure you won't want to put it down unread: "The most cleverly used part of the design, in my opinion, is the subtle spot varnishing. The folder is made from heavy grade card, with a rather dull matte finish, which feels smooth but has a finely mottled texture, and in contrast, the spot varnishing that has been applied to various elements of the folder feels slightly 'sticky' to the touch." R011020 Often confused, engraving and thermography are two different printing processes. Engraving is not widely used today but can be found in some fine letterhead and wedding invitations. Both create raised printing that gives text and even images a 3D effect. Explore the links on these two pages to learn more about these two raised printing techniques how each effect is achieved and typical uses: Engraving and Thermography. Hands-On Exercise Look at brochures, books, ads, business cards, and other print projects and try to find several examples of texture as follows: Embossing, debossing, or foil stamping Engraving or thermography Varnish Examine these pieces and mentally answer these questions: Is this the primary use of texture or are there other significant textures (actual or visual) in the piece as well? Is the use of this texture appropriate to the purpose or theme of the piece? Does the texture interfere with the readability of the text? Next > Texture Self-Test Assignment

Test Your Texture Knowledge

Self-Test Assignment on Texture

This assignment consists of 3 multiple choice questions and two brief essay questions on texture.

1. The following image is an example of which type of texture:

a. Blind Embossing b. Scan of Object c. Paper d. Symbolic Texture

2. Which is the smoother paper?

a. Cockle Finish b. Onionskin c. Supercalendered d. Embossed Finish

3. In 2-3 sentences describe the differences between engraving and thermography. 4. (In regards to paper) Satin Finish is another name for:

a. Matte Finish b. English Finish c. Antique Finish d. Felt Finish 5. This question has three steps: 1. Get a spoon, a rock (any kind), and a piece of fabric (any kind). 2. Describe in 1-2 words (words, not sentences) the texture of each item in Step 1. 3. Describe one way (a different method for each) that you might incorporate the texture of that object into a printed design. Next > Class 6: Color

Color
Elements of Design Class 6 Color is not essential to a good design. Black and white and shades of gray can create 'color' that is just as effective as reds, blues, and greens. However, color is an added dimension that can evoke moods and make powerful statements when used wisely. Color In Color Lesson 1 we'll look at value - an element found in all designs. In Color Lesson 2 we'll briefly discuss the technical aspects specifying and printing of color. Color Lesson 3 covers the selection of color and color schemes. Each lesson contains tips on using color effectively. This is a basic course on color as an element of design. Now, on to the lessons. Next > Lesson 1: Value

Value
Color Lesson 1 Value is present in all design. It is the lightness or darkness of an object, regardless of color. Value is relative to the background color and other items on the page. Use value to: Increase/Decrease Contrast The greater the difference in value between an object and its background, the greater the contrast

Choose the value that creates the amount of contrast and effect that you want for your design. In the above examples, the lighter value recedes into the light background. The design with the greatest contrast makes the darker object more dominant.

Create Movement Objects of the same value create a static design with all objects equal in visual importance. Introducing varying values gives the page a more dynamic appearance and creates a 'pecking order' among the objects. Some stand out while others recede.

Mix elements of different values to add visual movement to your design or to create a hierarchy of importance.

Lead the Eye By creating a pattern of dark to light values, even when the objects are equal in shape and size, it leads the eye in the direction of dark to light.

In the above example, the first set of all dark lines are static. The middle example leads the eye in a downward direction (dark to light). Reversing the values of the lines leads the eye upward.

Use color to change the effect of value: Color has the power to override the effects of value. In a high contrast black & white design, introducing a single, small bit of color will change the focus and balance of the design.

The eye is drawn to that spot of color even if other elements are designed to draw the eye in some other direction or the objects are otherwise equal. That's the power of color.

Hands-On Exercise Look at brochures, books, ads, business cards, and other print projects and find two to three samples that illustrate the use of value to create contrast (either high contrast or low contrast) and to create random or directed (leading) movement. For each sample, look at the purpose and focus of the piece and decide if, in your opinion, the use of value 1) causes elements of the design to stand out or recede; 2) directs the eye to specific information; or, 3) creates a mood (Describe that mood. Is it quiet elegance, high tech, or playful? Is it high energy or calm and soothing?) With paper and pencil or in your favorite graphics program, experiment with using value. Draw simple shapes such as circles and squares. Place objects of light to dark on light and dark backgrounds. Mix objects of different values and create static and dynamic groupings. Experiment with using light type on dark backgrounds. Which combinations of light and dark values are easiest to read? Draw a pattern of uniform black squares or circles on a piece of white paper. Now draw that same pattern but make one of the circles or squares red just one. How does it change the overall effect? Next > Lesson 2 - Technical Aspects of Color

Technical Aspects of Color

Color Lesson 2 Before you can go choosing red over blue or mixing light and dark colors, you need to know how color works in print and on the Web. In the five pages of supplemental material for this lesson you'll explore color wheels, tints and shades, complementary colors, CMYK, hexidecimal numbers, and other terminology and concepts that are important both in selecting appropriate colors for your designs and for specifying those colors whether you are printing to your desktop, a commercial printer, or putting pages on the Web.

While there is a lot of material covered, color is an extremely complex topic and this lesson is only meant to get you acquainted with some basic color concepts. 1: 2: 3: 4: 5: Color Wheels RGB & CMYK Hues, tints, shades, saturation Perception Specifying Color

Hands-On Exercise With paper and pencil or in your favorite graphics program recreate the color wheels discussed in part 1, above. For each color, write down the adjacent and the complementary or contrasting colors for each. Draw your own color swatches (or tear bits of color from magazines) and place together 'clashing' colors to see if they really do clash. If you have access to multiple browsers and/or more than one computer, visit the same Web site with each browser and each computer and look at the way pages, especially colors, display differently on each. Next > Lesson 3 - Color Selection and Use

Color Selection & Use

Color Lesson 3 Perhaps the most fun and most challenging aspect of design is choosing the right colors. The right colors can bring a design to life, or destroy an otherwise excellent piece. However, color can't rescue a piece that isn't well-designed in the first place. It's not a cure-all. Colors fall into three general categories: warm, cool, and neutral. The way we mix those colors along with attention to value, can add interest, enhance the design concept, or convey specific messages. This lesson is not intended as an in-depth study of color symbolism and color schemes but it will help to acquaint you with some of the basics of mixing and matching colors. The first page of the supplemental material is a general overview but it also covers warm, cool, and neutral colors briefly and recaps some previous discussion of harmonizing, contrasting, and clashing color combinations. Then each subsequent page covers a single color or related colors. Learn about the emotions of each color and ways in which that color is typically used. Color Meanings and Colors That Go Together: Cool Color Meanings (calming): Blue, Green, Turquoise, Silver Warm Color Meanings (exciting): Red, Pink, Yellow, Gold, Orange Mixed Cool/Warm Color Meanings: Purple, Lavender, Green, Turquoise Neutral Color Meanings (unifying): Brown, Beige, Ivory, Gray, Black, White

Hands-On Exercise Look at brochures, books, ads, business cards, and other print projects and find examples of warm, cool, and neutral color palettes. Find 2-3 examples that you consider excellent use of color. Find 2-3 examples that you consider poor use of color. What makes each example work or not work? Look for overuse of color, color pairings that clash horribly, and unusual color combinations that 'work.' Compare the colors used and purpose of the piece to the general color symbolism described in the supplemental material. Is there a connection or did that piece 'fly in the face of convention' and use those colors in an unexpected way? Next > Color Self-Test Assignment

Test Your Knowledge of Color

Self-Test Assignment This assignment consists of 4 multiple choice and/or fill-in-the-blank and/or True/False questions and two brief essay question on color plus a bonus question.

1. Generally the eye is lead from:

a. lighter to darker b. darker to lighter c. bottom to top

2. The additive primaries minus green leaves:

a. CYAN b. YELLOW c. MAGENTA d. BLUE 3. Another name for hexidecimal colors, used to specify Web colors is ______________. 4. Adding white to red produces a shade of red. True or False 5. Describe the relationship between Yellow and Purple. 6. Choose any two or three colors that you like as a potential color palette for some imaginary piece you might design. Describe those colors (you can use descriptive terms such as burgundy red or use the hexidecimal or CMYK values (or other color systems you may be familiar with such as Pantone colors, not covered in this lesson). Describe how those colors work together. Describe whether you would be likely to use equal or varying amounts of each. Describe the mood or emotions that this color combination evokes. Describe how you might use value, tints, and shades with these base colors. Use your imagination and describe the colors in as much detail as you can along with why you chose that combination. 7. Bonus: In CMYK, the K represents Black. Why K? (The answer is in the Glossary) Next > The Principles of Design Classes.

Principles of Graphic Design Basics Classes

Design Basics for Desktop Publishing Course

By Jacci Howard Bear, About.com Guide

2.1 The Big Picture Different instructors or designers have their own idea about the basic principles of design but most are encompassed in the 6 principles of balance, proximity, alignment, repetition, contrast, and white space. Learn the definitions of each principle. 2.2 Balance Symetrical, radial, formal, and informal ways of arranging elements on a page to achieve visual balance is the focus of this class. Also covers the 'rule of thirds' and other structural elements. 2.2 Balance 2.3 Proximity/Unity Learn how to arrange elements on the page through proximity -- keeping like items together and creating unity by how close or far apart elements are from each other. Lessons not yet online [See these self-study resources on Proximity] 2.4 Alignment While centered text has its place it is often the mark of a novice designer. Learn how to align text and graphics to create more interesting, dynamic, or appropriate layouts. Lessons not yet online [See these self-study resources on Alignment] 2.5 Repetition/Consistency Get an understanding of the importance of consistency for the reader and ways to create a consistent and balanced look through different types of repetition. Lessons not yet online [See these self-study resources on Consistency] 2.6 Contrast Big vs. small, black vs. white. These are some ways to create contrast and visual interest. Learn a variety of ways to use contrast. Lessons not yet online [See these self-study resources on Contrast] 2.7 White Space The art of nothing is another description for this principle. View examples of good and bad use of white space and how to avoid trapped white space. Lessons not yet online [See these self-study resources on White Space]

Introduction to the Principles of Design

Class 1: The Big Picture
By Jacci Howard Bear, About.com Guide

Principles of Design: Balance, Proximity, Alignment, Repetition, Contrast, and White Space.

All designs have certain basic elements or building blocks chosen to convey the message beyond the actual words or photos used. How we place those items on the page determines the structure of our designs and affects the overall readability and determines how well our design communicates the desired message. The principles of design govern that placement and structure. Graphic design encompasses the creation of a great many types of projects but for the purposes of these lessons we're focusing on the elements and principles of design as they apply to typical desktop publishing projects including logos, ads, brochures, business cards, newsletters, books, and to some extent, Web pages. Different instructors or designers have their own idea about the basic principles of design but most are encompassed in the 6 principles of:

balance proximity alignment repetition or consistency contrast white space

Through words and pictures, the next two lessons introduce each of these principles. Even though no one will know whether you actually do the exercises and assignments included with each lesson and class, I strongly encourage you to do so. It will help to reinforce your understanding of each of the concepts covered throughout this Graphic Design Basics course. Next > Expanded definitions of the Principles of Design

Defining the Principles of Design Through Metaphor or Allegory

Principles of Design Lesson 1 Generally, all the principles of design apply to any piece you may create. How you apply those principles determines how effective your design is in conveying the desired message and how attractive it appears. There is seldom only one correct way to apply each principle. Balance Try walking a long distance with a 2 pound bag of rocks in one hand and a 10 pound bag of marbles in the other. After awhile you'll be wanting to shift your load around, putting a few marbles in the rock bag to balance your load, make it easier to walk. This is how balance works in design. Visual balance comes from arranging elements on the page so that no one section is heavier than the other. Or, a designer may intentionally throw elements out of balance to create tension or a certain mood. Proximity / Unity Observe a group of people in a room. You can often learn a lot about who is listening intently to another person, which are strangers, or who is ignoring who by how close together they sit or stand. In design, proximity or closeness creates a bond between people and between elements on a page. How close together or far apart elements are placed suggests a relationship (or lack of) between otherwise disparate parts. Unity is also achieved by using a third element to connect distant parts. Alignment Can you imagine how difficult it would be to find your car in a crowded parking lot if everyone ignored the parking lot stripes and parked in every which direction and angle? Imagine trying to get out of there! Alignment brings order to chaos, in a parking lot and on a piece of paper. How you align type and graphics on a page and in relation to each other can make your layout easier or more difficult to read, foster familiarity, or bring excitement to a stale design.

Repetition / Consistency What if Stop signs came in pink squares, yellow circles, or green triangles, depending on the changing whims of a town and a few of its residents? Imagine the ensuing traffic jams and accidents. Repeating design elements and consistent use of type and graphics styles within a document shows a reader where to go and helps them navigate your designs and layouts safely. Contrast On the basketball court, one pro team looks much like another. But send a few of those players for a stroll down most any major city street and something becomes apparent those players are much taller than your average guy on the street. That's contrast. In

design, big and small elements, black and white text, squares and circles, can all create contrast in design. White Space Did you ever participate in that crazy college pasttime of VW Beetle stuffing? Were you ever the guy on the bottom struggling for a breath of fresh air or the last one in trying to find a place to stick your left elbow so the door will close? It wasn't comfortable, was it? Imagine trying to drive the car under those conditions. Designs that try to cram too much text and graphics onto the page are uncomfortable and may be impossible to read. White space gives your design breathing room. Next > Visual Examples of the Principles of Design

Illustrating the Principles of Design

Principles of Design Lesson 2 The examples you'll find here demonstrate varying degrees of each of the six principles of design in a before and after format. View them individually and as a whole to see how different principles are applied. How might you do any of these differently?
Note: The text, not always readable in the examples, is the same as the definitions in Lesson 1.

You can create balance with the three elements (text block, graphic, vertical text) here but in the first example they appear to be just random elements with no unity or balance. In the second "Balance" example the text block and graphic are resized to bring them closer together and better balance each other.

slightly overlaps the box enclosing unifying the two elements. word "balance" out of the blue box contrast to the composition. The in the text block redistributes the

To tie the elements together, move them closer together (resizing helps accomplish this). Notice that the graphic (one of the marbles) the vertical text, Reversing the also adds more increased leading white space in a more balanced manner.

The graphic anchors the bottom of the page, but the four text elements all float on the page with no apparent connection to

each other (proximity/unity). The change in the headline (font change, reversed out of blue box) along with the subheading pulled in closer provides balance with the graphic on the bottom. The spacing between the two paragraphs of text is reduced slightly as well.

There is nothing inherently wrong with centered headlines, text, and graphics. They lend a formal tone to a layout. But, for this series of layouts something a bit more informal is called for. Also, large blocks of centered text are usually harder to read.

In the second "Alignment" example, text alignment is leftaligned, ragged right, wrapped around the bottom graphic which is aligned more to the right, opposite an added graphic that is aligned to the right to help balance the overall design.

Within the second "Repetition" example, the headline is repeated three times using graphics that tie in with the copy in the text blocks. The repetition of the colors in the shapes and headline text that are in the copy help to reinforce the theme. Overlapping the graphic and text elements unifies the elements of the design. Another aspect of consistency that can be seen when viewing all 6 of the "after" examples is the blue borders, blue reversed boxes, and the typeface (Britannic Bold) used for the names of all the principles of design. The drop cap used in three examples (Bermuda LP Squiggle) is another element of consistency.

There's isn't enough contrast between the headline and text due in part to size but also because the two different serif faces used or too similiar (not obvious from the small graphic, trust me, they are different typefaces).

the blue box,the blue border, and carries through the overall found throughout the series. round shape of the drop cap and shape and color of the basketball drop cap and the reversed text on the left-aligned text help to graphic element.

That oversized graphic provides real contrast and reinforces the copy (tall basketball players). Dropping the text down to the bottom portion of the page also reinforces the 'towering' aspect of the graphic. The reversed text in the drop cap unifying elements Additionally, the its color echo the in the graphic. The the left side plus balance the large

White space doesn't have to be white. The large block of black created by the graphic of people adds a large block of black white space. Multiplying the number of people and reducing the size of the car in the second "White Space" example provides additional contrast and reinforces the theme of the copy. Additional leading,

larger margins, deeper paragraph indents all add white space or breathing room to the design. The oversized drop cap is another element of contrast and also helps to balance the page with the large, dark elements at the bottom of the page. The drop cap style, reversed title, and blue box are consistent with the rest of the series. In the next six lessons in this section we will look at each principle of design in more detail and explore ways to incorporate each into your designs. We'll also touch on the ways that your software can simplify some related tasks, such as using style sheets to aid repetition and consistency or using leading and other spacing features to improve proximity, unity, and distribution of white space.

Next > Principles of Design Assignment

Test Your Basic Knowledge of the Principles of Design

Self-Test Assignment Principles Assignment Your assignment for this class involves this fictional yellow pages ad.

Describe the changes you might make to this ad using the six principles of design outlined in this class: balance, proximity/unity, alignment, repetition/consistency, contrast, and

white space. Tell me what's wrong or less than optimal about the layout and what you would change and why? If you would make color or graphics changes, explain those with an eye on how they relate to one or more of the 6 principles. Remember to look at all six principles of design, no matter how little one of them might figure in this design makeover. Not sure where to start? Here's one possible way to makeover this ad and explanations for each of the six principles of design. Next > Class 2: Balance

Balance
Principles of Design Class 2 Our bodies need a balance of nutrients to keep us healthy but every now and then it's OK to feast on chocolate, ice cream, and an entire supersize bag of potato chips. Balance in design is much the same. For most of our reading our eyes and minds are most comfortable with evenly balanced layouts where the graphics don't overpower the text and the page doesn't seem to tilt to one side or the other. Other times we crave the teetering and tottering of a page that's just a little of out of kilter or totally lopsided. But before we indulge our tastebuds, we need a good foundation in the basics of balance what it is and how to achieve it. The Principle of Balance Primarily there are three types of balance in page design: symmetrical asymmetrical radial

Additionally, we'll discuss: the rule of thirds

the visual center of a page the use of grids

...as we examine each type of balance and how to achieve it. Next > Symmetrical Balance

Symmetrical Balance
Balance Lesson 1 Symmetrical balance is easiest to see in perfectly centered compositions or those with mirror images. In a design with only two elements they would be almost identical or have nearly the same visual mass. If one element was replaced by a smaller one, it could throw the page out of symmetry. To reclaim perfect symmetrical balance you might need to add or subtract or rearrange the elements so that they evenly divide the page such as a centered alignment or one that divides the page in even segments (halves, quarters, etc.).

When a design can be centered or evenly divided both vertically and horizontally it has the most complete symmetry possible. Symmetrical balance generally lends itself to more formal, orderly layouts. They often convey a sense of tranquility or familiarity or elegance or serious contemplation.
See the descriptions below each of these examples that describes how symmetrical balance is achieved in each case.

Vertical Symmetry Each vertical half (excluding text) of the brochure is a near mirror image of the other, emphasized with the reverse in colors. Even the perfectly centered text picks up the color reversal here. This symmetrically balanced layout is very formal in appearance.

Vertical & Horizontal Symmetry This poster design divides the page into four equal sections. Although not mirror images the overall look is very symmetrical and balanced. Each of the line drawings are more or less centered within their section. The graphic (text and image) in the upper center of the page is the focal point tying all the parts together. Hands-On Exercise Look for examples of balanced symmetry, do these exercises and answer these questions (to yourself). How many examples of perfect or near perfect symmetry can you find? Fold a few pieces in half vertically and horizontally to look for symmetrical balance. Look for sections of symmetrical design within larger layouts such as a graphic, a logo. How is the symmetry achieved is it through mirror images, identical placement, or with pieces that are very similar in look and feel?

Next > Asymmetrical Balance

Asymmetrical Balance
Balance Lesson 2 Asymmetrical design is typically off-center or created with an odd or mismatched number of disparate elements. However, you can still have an interesting design without perfect symmetry.

With asymmetrical balance you are evenly distributing the elements within the format which may mean balancing a large photo with several small graphics. Or, you can create tension by intentionally avoiding balance.

Uneven elements present us with more possibilities for arranging the page and creating interesting designs than perfectly symmetrical objects. Asymmetrical layouts are generally more dynamic and by intentionally ignoring balance the designer can create tension, express movement, or convey a mood such as anger, excitement, joy, or casual amusement.
See the descriptions below each of these examples that describes how asymmetrical balance or tension is achieved in each case.

Asymmetrical Balance - This page uses a 3 column format to create a neatly organized asymmetrical layout. The two columns of text are balanced by the blocks of color in the lower left topped by a large block of white space. In this case, because the white space is in a block shaped much like the text columns, it becomes an element of the design in its own right.

Asymmetrical/All Over Balance - It can't be neatly sliced in half like a symmetrical design but most of the elements have only small differences in shape and mass. This page achieves an overall balance by use of an underlying grid that spreads the many pieces out over the entire page, more or less evenly.

Asymmetrical Tension - Like a wild, unruly garden, the elements of this brochure cover are barely contained on the page. The plants spring up primarily along the left side but with a few stems escaping and arching across the page. The text, although randomly placed, follows the lines of the plants keeping them anchored to the overall design. The off-balance design creates a sense of freedom and movement. Hands-On Exercise Look for examples of asymmetrical balance, do these exercises and answer these questions (to yourself). How many examples of asymmetrical balance can you find? Examine the elements within the piece to see how the designer arranged them to achieve a balanced design without symmetry. Look for pieces that appear to be intentionally out of balance? How does the balance contribute to the mood of each piece? Is it dynamic? Does it appear to move in a certain direction or vibrate on the page?

Next > Radial Balance

Radial Balance
Balance Lesson 3 On square and rectangular pages we generally place elements in orderly rows and columns. With radial designs the elements radiate from or swirl around in a circular or spiral path. Parts of the design must still be arranged so that they are balanced across the width and length of the page unless you're intentionally aiming for a lack of balance.

See the descriptions below each of these examples that describes how radial balance is achieved in each case.

Radial Here we have an example of radial balance in a rectangular space. The year represents the center of the design with the subtle color sections radiating from that center. The calendar month grids and their corresponding astrological symbols are arrayed around the year in a circular fashion.

Radial Colors and text radiate out from the apple in the middle of this CD cover design. The effect is almost one of spiralling down into the center of the apple. The apple itself looks nearly symmetrical but the curving text and the outlines edging off the page to the top and right throws it all slightly off-balance. Hands-On Exercise Look for examples of radial balance, do these exercises and answer these questions (to yourself). How many examples of radial balance can you find? It may be harder to find examples. Look to elements within other layouts such as graphic illustrations and logos that use a radial balance. Does the piece radiate from a central point or does it have a spiral effect? Does the design pull you in or send you out to the edges of the piece?

Next > Rule of Thirds, Visual Center, Grids

Rule of Thirds, Visual Center, Grids

Balance Lesson 4 Uderlying most of the layouts on the previous pages are three related aspects of page layout and balance. These are layout principles that help the designer achieve arrangements with visual balance. Rule of Thirds and Balance The rule of thirds says that most designs can be made more interesting by visually dividing the page into thirds vertically and/or horizontally and placing our most important elements within those thirds. Take this concept a step further, especially in photographic composition, by dividing the page into thirds both vertically and horizontally and placing your most important elements at one or more of the four intersections of those lines.

Look at these previous balance examples and see how the rule of thirds is utilized. Below: In this vertically symmetrical layout the headline appears in the upper third of the page, the logo in the middle third, and the supporting descriptive text in the lower third. The most important information is in that lower third and anchors the page.

Below: This asymmetrical layout has most elements in the upper third and leftmost third of the page with the main focal point being around the intersection of the topmost and leftmost dividing lines.

Visual Center and Balance Placing important elements or the focal point of the design within the visual center of a piece is another design trick. The visual center is slightly to the right of and above the actual center of a page.

See how the focal or center point of each of these designs actually falls in the visual center of the page. Below: It's easy to see the actual center, it's where the four box corners meet. But the focus is on the earth.

Below: In this calendar, the months emanate from the year located front and (visual) center.

Grids and Balance Roughly dividing a page into thirds or finding the visual center are relatively easy and you don't usually have to be exact to achieve your goals. However, constructing the underlying structure of a piece is a bit more complicated but essential for most designs. Most balanced designs (and even unbalanced ones) rely on a grid. This invisible structure (visible while working in your page layout program) helps ensure that you place all the elements in the right location to achieve balance as well as to help with continuity and consistency of design. Grids can be simple or complex depending on the needs of the design and the designer. Sometimes the use of a grid is obvious. Below: This asymmetrically balanced design uses a simple three column grid to ensure that each text column is the same width and that it is balanced by the nearly empty column on the left. The grid also dictates the margins and ensures that the page number and header appear in the same place on each page.

Below: A 5x5 grid keeps this design in line. The grid is obvious along the bottom (each square equals one grid square in this layout) but it is invisibly keeping all those random letters in order in the middle.

Grids are an important tool in page layout and desktop publishing. This three-part supplemental material fully describes and illustrates the use of grids. Grids: Order Out of Chaos Design grids and their components. Grids: Consistency & Unity Use grids to unify design elements. Grids: Flexible Options Selecting the right grid; avoid that 'boxed in' look. Hands-On Exercise Look for examples of the use of the rule of thirds, visual center, and grids. Roughly divide several pieces in thirds vertically and horizontally looking for designs that seem to fall neatly into these sections. Does the main headline, focal graphic, or other key elements fall squarely within one of these thirds? Locate the visual center of several different pieces. How many designs put a key piece of information or focal point in this area? Can you 'see' the underlying grid in your samples? Find an example that appears to use a very simple grid. Find one that appears to use a more complex grid. In each case, how does the use of a grid help the designer achieve a balanced design?

Next > Balance Self-Test Assignment

Test Your Knowledge of Balance

Self-Test Assignment Balance Assignment Your assignment for this class requires you to create one simple graphic image. Create a rough sketch or thumbnail type layout showing any one type of balance: symmetrical, asymmetrical, or radial or a combination within a single layout. You don't have to create an actual page with content. Use boxes, lines, circles, or other shapes to represent text and graphics. Black & White is fine. Scanned drawings are fine. Analyze Your Image: Describe the type of balance your sketch represents. Describe the mood or feeling this layout is intended to evoke. Describe any type of grid or related structural elements you would use.

At present the rest of the classes are not online. However, you can use the following tutorials and demonstrations to continue your studies of the principles of Proximity Alignment Repetition (Consistency) Contrast White Space.

The above articles and tutorials are not in the same lesson-by-lesson format as the rest of this Graphic Design Basics course.