Elements & Principles of Design

Print Graphics
101
Elements & Principles of Design
Elements of Design
Elements of design Lines Shapes
Mass
Texture
Color
Lines
Elements of design
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
Elements of design
Lines can be long or short, straight or curved. Lines can be horizontal, vertical, or diagonal. They create patterns.
Short line
Straight Thick line Solid Long line Curved Thin line Dashed
Vertical Horizontal
Diagonal
Lines
Elements of design
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.
Lines
Elements of design
Uniform vertical black and white lines alternate at even intervals.
Static. Orderly. Conservative.
Lines
Elements of design
Uniform horizontal black lines are widely, but evenly spaced.
Static. Stable. Orderly.
Lines
Elements of design
Uneven spacing of otherwise uniform lines creates the impression of movement. Dynamic.
Orderly progression.
Lines
Elements of design
In this example the progression moves in from either side giving the illusion of roundness. Dynamic.
Orderly progression. Dimension.
Lines
Elements of design
Varying line widths and distances create a random pattern.
Dynamic. Chaotic. Disorderly.
Lines
Elements of design
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.
Lines
Practical use of lines
Elements of 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
Lines
Elements of design
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.
Lines
Elements of design
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.
Lines
Elements of design
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!"
Lines
Lines can use to divide elements on a page
Elements of design
Lines
Lines can use to unite elements on a page
Elements of design
Lines
Lines can denote direction of movement
Elements of design
Lines
Elements of design
Lines can provide an anchor to hold elements on a page
Lines
Elements of design
Use lines in conjunction with other elements of your design
Shapes
Elements 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).
Circle / Ellipse
Square / Rectangle
Triangle
Square shapes
The square denotes honesty and stability.
Shapes
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.
Square shapes
Use repeating squares to suggest familiar themes
Shapes
checkerboard pattern to represent a game board
the checkered flag at the end of a race
Square shapes
Shapes
highlight, organize, or set apart information using a solid or outlined box.
Circle shapes
Shapes
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.
To symbolize infinity and protectiveness. Circles could also suggest something well-rounded or complete. Similar to protectiveness, circles could also imply security
Circle shapes
Shapes
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).
Circle shapes
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.
Shapes
Circle shapes
Shapes
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.
Triangle shapes
Shapes
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.
Practical use of shapes
Shapes
Some ways that you might use shapes in your design are to:
1. Organize, connect, separate 2. Symbolize an idea 3. Create movement 4. Provide texture or depth 5. Convey a mood or emotion 6. Provide emphasis 7. Provide a framework
Geometric shapes
Shapes
In addition to the basic square, circle, and triangle discussed so far, other geometric shapes have specific meanings, some culturally-based.
A red octagon 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.
Shapes
Abstract shapes
Shapes
Some abstract shapes are almost universally recognized and easily 'read' even when the text is in an unfamiliar language.
Symbol for male
Symbol for female
Symbol for planet / network
Symbol for stairs / escalator
Mass
Elements of design
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).
Ways to use mass in your design
Mass
to accommodate information, content to accommodate normal size restraints or expectations to convey a mood or provide emphasis to create contrast
Measuring the size of your design

m=Meter, dm=Decimeter, cm=Centimeter, mm=Millimeter
Mass
1 m = 10 dm = 100 cm = 1000 mm 1 dm = 10 cm = 100 mm 1 cm = 10 mm 1 mm = 1/10 of a cm
Learning to use metric measures
Mass
One of the advantages of the metric system is that you don't have to deal with fractions of inches. It is easier to divide a 216 mm piece of paper into 3 equal columns than to divide 8.5 inches into thirds
216 / 3 = 72 mm while 8.5 / 3 = 2.8333 inches

find that on your ruler.
Page layout measurements Points and Picas

1. Points are the smallest unit of measurement. 2. 72 points = 1 inch.
Mass
3. Use picas for measuring column width and depth, margins, and other larger distances. 4. 12 points = 1 pica. 5. 6 picas = 1 inch = 25 mm. 6. The letter p is used to designate picas as in 22p or 6p. With 12 points to the pica, half a pica would be 6 points written as 0p6. 17 points would be 1p5 (1 pica = 12 pts, plus the leftover 5 pts).
Measuring paper
Mass
Measuring resolution inch by inch SPI (Samples per inch)
Mass
is scanner and digital image resolution. To scan an image the scanner takes a sampling of portions of the image. The more samples it takes per inch, the closer the scan is to the original image. The higher the resolution, the higher the SPI.
Measuring resolution inch by inch PPI (Pixels per inch)
Mass
is the number of pixels displayed in an image. A digital image is composed of samples that your screen displays in pixels. The PPI is the display resolution not the image resolution. (Adobe Photoshop uses PPI and Corel Photo-Paint uses DPI for image resolution so it's no wonder everyone is confused.)
Measuring resolution inch by inch DPI (Dots per inch)
Mass
is a measure of the resolution of a printer. It properly refers to the dots of ink or toner used by an image setter, laser printer, or other printing device to print your text and graphics. In general, the more dots, the better and sharper the image. DPI is printer resolution.
Measuring resolution inch by inch LPI (Lines per inch)
Mass
refers to the way printers reproduce images, simulating continuous tone images by printing lines of halftone spots. The number of lines per inch is the LPI, sometimes also called line frequency. You can think of LPI as the halftone resolution.
Texture
Elements 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.
Paper texture and finishes
Elements of design
Cast-Coated Paper, Cockle Finish, Dull Finish, Eggshell Finish, Antique 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
Elements of design
Visual textures
Elements of design
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.
Objects within a photograph
Visual textures
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
Images created with photo-editing software
Visual textures
Textures: mimics drapes or folds in a satiny

fabric
Textures: simulates a rough, rocky surface
Digitized images of actual textures
Visual textures
Textures: a straw mat
Textures: piece of door mat made from

old tires
Textures: tree bark
Symbolic textures created with lines or shapes
Visual textures
Textures: wavy lines could symbolize

water, waves, rolling terrain
Textures: overlapping circles give the look

of fish scales
Textures: a grid of lines could simulate

plaid or linen fabrics, wire mesh, or other textures
Color
Elements of design
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.
Value
Color
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.
Value
Use value to increase / decrease contrast
Color
Value
Use value to create movement
Color
Value
Use value to lead the eye
Color
Value
Use color to change the effect of value
Color
Principles of Design
Proximity / Unity
Principles of design
In design, proximity or closeness creates a bond 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.
Proximity / Unity
The principle of proximity states that you group related items together, move them physically close to each other so the related items are seen as one cohesive group rather than a bunch of unrelated bits.
Proximity / Unity
Proximity / Unity
Proximity / Unity
By grouping similar elements into one unit, several things instantly happen: The page becomes more organized. You understand where to begin reading the message, and you know when you are finished.
Proximity / Unity
Proximity / Unity
Shown below is a typical newsletter masthead. How many separate elements are in this piece? Does any item of information seem related to any other, judging from the placement?
Proximity / Unity
In the example below, the proper relationships have been established.
Proximity / Unity
When you create a flyer, a brochure, a newsletter, or whatever, you know which pieces of information are logically connected, you know which information should be emphasized. Express that information graphically by grouping it.
Proximity / Unity
When you create a flyer, a brochure, a newsletter, or whatever, you know which pieces of information are logically connected, you know which information should be emphasized. Express that information graphically by grouping it.
Proximity / Unity
Sometimes when grouping like items in close proximity, you need to make some changes, such as in the size or weight or placement of text or graphics. Text does not have to be 12 point!
Proximity / Unity
The idea of proximity doesnt mean that everything is closer together; it means elements that are intellectually connected, that have some sort of communication relationship, should also be visually connected.
Proximity / Unity
Below you see the same example as on the previous page. Glance at it quickly now what do you assume about the three concerts? And why exactly do you assume one concert is different from the others? Because one is separate from the others. You instantly know that concert is somehow different because of the spatial relationships.
Proximity / Unity
The designers intention with this garage sale flyer was probably to create something fun and energetic, but at first glance, can you tell when and the sale is happening?
Proximity / Unity
By using the principle of proximity to organize the information, we can communicate immediately who, what, when, and where. No losing potential customers because they give up searching through the vast field of slanted text.
Proximity / Unity
Youre probably already using the principle of proximity in your work, but you may not be pushing it as far as you could to make it truly effective. Really look at those pages, at those elements, and see which items should be grouped together.
Proximity / Unity
If there are too many separate items, group the ones that have relationships. If there are areas on the page where the organization is not perfectly clear, see if items are in proximity that shouldnt be. Use the simple design feature of space to make the page not only more organized, but nicer to look at.
Proximity / Unity
This a sample ad from a newspaper. One of the biggest problems with (besides being all caps) is that all the information is one big hunk.
Proximity / Unity
The biggest problem with the original ad is that there is no separation of information. Setting all the text in all caps in one big block also took up all the space, so there was no extra, blank white space to rest your eyes.
Proximity / Unity
The information on this page is muddled. Look at the site links just under the title. Are they all equal in meaning? They appear to be but theyre not.
Proximity / Unity
The designer moved all the site links into one column to show their relationships to one another (and moved the nerd-man to the other side). The quotation is set further away from the main body copy since its not directly related. He also used the principle of alignment.
Alignment
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.
Alignment
The problem with this business card is that nothing is aligned with anything else.
Alignment
By moving all the elements over to the right and giving them one alignment, the information is instantly more organized. The text items now have a common boundary; this boundary connects them together.
The invisible line runs right down here, connecting the text.
Alignment
This is a typical report cover, yes? This standard format presents a dull, almost amateurish look, which may influence someones initial reaction to the report.
Alignment
The strong flush-left alignment gives the report cover a more sophisticated impression. Even though the authors name is far from the title, that invisible line of the strong alignment connects the two text blocks.
Alignment
Stationery has so many design options! But too often it ends up with a flat, centered alignment. You can be very free with placement on a piece of stationery but remember alignment.
This isnt bad, but the centered layout is a little dull, and the border closes the space, making it feel confined.
Alignment
A flush-left alignment makes the page a little more sophisticated. Limiting the dotted line to the left side opens the page and emphasizes the alignment.
Alignment
This is flush right, on the left side. with some changes in the typeface.
Alignment
Be brave! Be bold!
Alignment
Centered. Really rather dull
Alignment
If youre going to center text, then at least make it obvious
Alignment
Experiment with uncentering the block of centered type.
Alignment
If youre going to center the text, experiment with making it more dramatic in some other way
Alignment
This is the kind of layout that gives centered a bad name: Boring typeface, type that is too large, crowded text, double Returns, dorky border
Alignment
A centered alignment needs extra care to make it work. This layout uses a classic typeface sized fairly small (relatively), more space between the lines, lots of line
Alignment
Emphasize a tall, slender centered layout with a tall, slender piece of paper.
Alignment
Emphasize a wide, centered layout with a wide spread. Try your next flyer sideways
Alignment
Text alignment
Alignment
Text alignment
Alignment
Text alignment
Alignment
Text alignment
Alignment
Text alignment
Alignment
Occasionally you can get away with using both flush right and flush left text on the same page, but make sure you align them in some way!
In this example, the title and the subtitle are flush left, but the description is centered there is no common alignment between the two elements of text. They dont have any connection to each other.
Alignment
Occasionally you can get away with using both flush right and flush left text on the same page, but make sure you align them in some way!
Although these two elements still have two different alignments (the top is flush left and the bottom is flush right), the edge of the descriptive text below aligns with the right edge of the title above, connecting the elements with an invisible line. This was not an accident!
Alignment
There are two problems in this example. A lack of proximity and a lack of alignment.
Alignment
Simply lining things up makes all the difference here. Notice not one item is on the page arbitrarily every item has some visual connection with another item on the page.
Alignment
Simply lining things up makes all the difference here. Notice not one item is on the page arbitrarily every item has some visual connection with another item on the page.
Alignment
Find a strong alignment and stick to it. If the text is

flush left, set the heads and subheads flush left.
Alignment
Even a piece that has a good start on a nice design might benefit from subtle adjustment in alignment.
Alignment
Check for illustrations that hang out over the edge just a bit, or captions that are centered under photos, or headlines that are not aligned with the text, or a combination of centered text and flush left text.
Alignment
Find a strong line and use it. If you have a photo or a graphic with a strong flush side, align the flush side of the text along the straight edge of the photo, as shown below.
Alignment
Find a strong line and use it. If you have a photo or a graphic with a strong flush side, align the flush side of the text along the straight edge of the photo, as shown below.
Alignment
If your alignments are strong, you can break through them consciously and it will look intentional. The trick is you cannot be timid about breaking the alignment either do it all the way or dont do it.
Repetition or consistency
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.
When you get to the end of the information, does your eye just wander off the card?
Now when you get to the end of the information, where does your eye go? Do you find that it bounces back and forth between the bold type elements? It probably does, and thats the point of repetition it ties a piece together, it provides unity.
Headlines and subheads are a good place to start when you need to create repetitive elements, since you are probably consistent with them anyway.
So take that consistent element, such as the typeface for the headlines and subheads, and make it stronger.
Principles of design Consistent double rule on page
Consistent typeface in headlines and subheads, and consistent space above each.
Page numbers are in the same place and in the same typeface on each page.
This single rule repeats across bottom of each page
The single, wide column takes up the same space as two columns, maintaining the consistency of the outer borders.
Note the repetitive use of the triangular shape in the list and in the caption, opposite page. That shape is probably used elsewhere in the publication as well
You can see that a letter typed with a solid left alignment would create a strong impression on this page.
Repetition helps organize the information; it helps guide the reader through the pages; it helps unify disparate parts of the design.
Repetitions:
Bold typeface Light typeface Square bullets Indents Spacing Alignments
Its fun and effective to pull an element out of a graphic and repeat it. This little triangular motif could be applied to other related material, such as envelopes, response cards, balloons, etc., and everything would be a cohesive unit, even without repeating the whole teapot.
Pulling a design element outside of the borders serves to unify two or more pieces, or to unify a foreground and a background, or to unify separate publications that have a common theme. Notice how the poster and this page seem to be connected because of the repetition of rubber stamp characters.
Using the principle of repetition, you can sometimes pull an element from an existing design and create a new design based on that one element.
Heres another example of how you can use repetition as a basis for your design. Its fun to do just find an element you like and play with it!
Sometimes the mere suggestion of a repeated element can get the same results as if you used the whole thing. Try including just a portion of a familiar element, or use it in a different way.
If an image is familiar to a reader, all it takes is a piece of it to help the reader make the connection.
Sometimes the mere suggestion of a repeated element can get the same results as if you used the whole thing. Try including just a portion of a familiar element, or use it in a different way.
Here, once again we see the advantage of using just part of a recurring image the reader actually sees the whole pepper
Repetition also gives a sense of professionalism and authority to your pieces.
Contrast
In design, big and small elements, black and white text, squares and circles, can all create contrast in design.
Contrast
There are two newsletters came across your desk, which one would you pick up first?
This is nice and neat, but there is nothing that attracts your eyes to it. If no ones eyes are attracted to a piece, no one will read it.
Contrast
There are two newsletters came across your desk, which one would you pick up first?
Would you agree that your eyes are drawn to this page, rather than to the previous page?
Contrast
Contrast is crucial to the organization of information a reader should always be able to glance at a document and instantly understand whats going on
Contrast
Notice that only is the page more attractive when contrast is used, but the purpose and organization of the document are much clearer.
Contrast
The easiest way to add interesting contrast is with typefaces
Contrast
The easiest way to add interesting contrast is with typefaces
Contrast
If you use tall, narrow columns in your newsletter, have a few strong headlines to create a contrasting horizontal direction across the page.
Contrast
The example below is a typical phone book advertisement. One of the problems is that everything is basically the same size and weight and importance.
Contrast
Dont be afraid to make some items small to create a contrast with the larger items, and to allow blank space! Once you pull readers in with the focal point, they will read the smaller print if they are interested.
Contrast
Contrast is the most fun of the design principles and the most dramatic!
Contrast
This is the power of contrast; it gives you more bang for your buck. Just a few simple changes, and the difference is amazing
Contrast
Contrast, of course is rarely the only concept that needs to be emphasized, but youll often find that if you add contrast, the other concepts seem to fall into place.
Contrast
Contrast, of course is rarely the only concept that needs to be emphasized, but youll often find that if you add contrast, the other concepts seem to fall into place.
Contrast
The example above is repeated from the slide where we discussed proximity
Contrast
The original design is nice and clean, but notice how much of a difference a little contrast can make.
Balance
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.
Three types of balance

a. Symmetrical Balance b. Asymmetrical Balance c. Radial Balance
Symmetrical balance
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.
Symmetrical balance
When a design can be centered or evenly divided both vertically and horizontally it has the most complete symmetry possible.
Symmetrical balance
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.
Asymmetrical balance
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.
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.
Radial Balance
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.
Radial Balance
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 Balance
Colors and text radiate out from the apple in the middle of this CD cover design. The effect is almost one of spiraling 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 offbalance.
Rule of Thirds
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.
Rule of Thirds
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.
Rule of Thirds
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.
Rule of Thirds
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 & 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.
It's easy to see the actual center, it's where the four box corners meet. But the focus is on the earth.
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.
Grids and Balance
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.
White space
White space doesn't have to be white. Additional leading, larger margins, deeper paragraph indents all add white space or breathing room to the design.
White space
White space is an important principle of design missing from the page layouts of many novices. White space is nothing. White space is the absence of text and graphics. It breaks up text and graphics. It provides visual breathing room for the eye. Add white space to make a page less cramped, confusing, or overwhelming.
How to add White space
Increase paragraph spacing. Increase space between columns of text. Put space at the end of lines of text. Put more space around outer edges of page. Leave more room around graphics. Increase space around headlines Increase space between lines of type and individual characters.
Tips on adding White space
Keep design balanced. Dont go overboard. White space is any color. Preprinted designs need white space.

Elements &amp; Principles of Design

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Elements &amp; Principles of Design

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Print Graphics

Elements of design Lines Shapes

Use lines to:

Uniform vertical black and white lines alternate at even intervals.

Static. Orderly. Conservative.

Uniform horizontal black lines are widely, but evenly spaced.

Static. Stable. Orderly.

Orderly progression. Dimension.

Varying line widths and distances create a random pattern.

Dynamic. Chaotic. Disorderly.

Lines can provide an anchor to hold elements on a page

Use lines in conjunction with other elements of your design

checkerboard pattern to represent a game board

the checkered flag at the end of a race

highlight, organize, or set apart information using a solid or outlined box.

Practical use of shapes

A red octagon usually means stop

Symbol for male

Symbol for female

Symbol for planet / network

Symbol for stairs / escalator

Ways to use mass in your design

Measuring the size of your design

1 m = 10 dm = 100 cm = 1000 mm 1 dm = 10 cm = 100 mm 1 cm = 10 mm 1 mm = 1/10 of a cm

Learning to use metric measures

216 / 3 = 72 mm while 8.5 / 3 = 2.8333 inches

Page layout measurements Points and Picas

Measuring resolution inch by inch SPI (Samples per inch)

Measuring resolution inch by inch PPI (Pixels per inch)

Measuring resolution inch by inch DPI (Dots per inch)

Measuring resolution inch by inch LPI (Lines per inch)

Paper texture and finishes

Design concept & texture

Objects within a photograph

Textures: fairly smooth surface of the

Textures: smooth glass bottles; fabric of

Textures: worn wooden mallet; grass

Images created with photo-editing software

Textures: mimics drapes or folds in a satiny

Textures: simulates a rough, rocky surface

Digitized images of actual textures

Textures: a straw mat

Textures: piece of door mat made from

Textures: tree bark

Symbolic textures created with lines or shapes

Textures: wavy lines could symbolize

Textures: overlapping circles give the look

Textures: a grid of lines could simulate

In the example below, the proper relationships have been established.

Centered. Really rather dull

If youre going to center text, then at least make it obvious

Experiment with uncentering the block of centered type.

Find a strong alignment and stick to it. If the text is

Principles of design Consistent double rule on page

This single rule repeats across bottom of each page

Repetition also gives a sense of professionalism and authority to your pieces.

The easiest way to add interesting contrast is with typefaces

The easiest way to add interesting contrast is with typefaces

Three types of balance

Vertical & Horizontal Symmetry. This poster

Asymmetrical / All over balance - It can't be

Visual Center & Balance

Visual Center & Balance

Elements & Principles of Design

Elements & Principles of Design