Principles of Ad Design

Proportion − The size and color of all graphic elements must be determined by their
significance and surroundings of the illustration. For example, important idea,

image, or design must be larger, brighter, and bolder so that it appears distinct
from other elements.
Proportion is the visual size and weight of elements in a composition and how they
relate to each other. It often helps to approach your design in sections, instead
of as a whole.
Grouping related items can give them importance at a smaller size—think of a box at
the bottom of your poster for ticket information or a sidebar on a website for a
search bar. Proportion can be achieved only if all elements of your design are
well-sized and thoughtfully placed. Once you master alignment, balance, and
contrast, proportion should emerge organically.
Contrast − Create contrast so that it can grab people’s attention. For example,
among a bunch of mango, an apple grabs attention.
Contrast is what people mean when they say a design “pops.” It comes away from the
page and sticks in your memory. Contrast creates space and difference between
elements in your design. Your background needs to be significantly different from
the color of your elements so they work harmoniously together and are readable.
If you plan to work with type, understanding contrast is incredibly essential

because it means the weight and size of your type are balanced. How will your
audience know what is most important if everything is in bold?
As you seek out examples of really strong, effective design, you’ll notice most
designs only feature one or two typefaces. That’s because contrast can be
effectively achieved with two strong fonts (or even one strong typeface in
different weights). As you add fonts, you dilute and confuse the purpose of your
design.
Juxtaposition. Duality. Opposites. Visual irony. Contrast can be achieved through

type styling, use of texture, complementary colors, how type interacts with color,
or the interplay of ordered, gridded, repetitive and chaotic random textures. There
is an energy in the use of contrast in design that corresponds to our life
experiences, our responses to light and dark, day and night, dull and sharp, happy
and sad. Without contrast, the danger is we live in "...the gray twilight that
knows neither victory or defeat" (Theodore Roosevelt). The monotony of the
mediocre. The beige minivan of design. Which, no matter how great its safety
rating, is the most dangerous marketing vehicle.
Harmony: Every element of a design—typography, colors, images, shapes, patterns,

etc.—carries a visual weight. Some elements are heavy and draw the eye, while other
elements are lighter. The way these elements are laid out on a page should create a
feeling of harmony.
Unity in design occurs when the elements in a space work together in such a way
that the resulting look is balanced and harmonious. It is difficult to achieve
unity without harmony. Harmony is accomplished by the repetition of a particular
design element, such as color, shape, texture, etc… that harmony is what creates
the sense of unity. DIY’ers beware, too much unity in a room can lack personality
and interest.
Harmony involves the selection/design of elements that share a common trait,

however, Harmony becomes monotony without Variety.
Common traits orientation colors or values shape/size materials variety: the extent
of the differences in design elements -- visual interest is enhanced by introducing
dissimilar elements and spatial arrangements.
Unity refers to how well the elements of a design work together. Visual elements
should have clear relationships with each other in a design. Unity also helps
ensure concepts are being communicated in a clear, cohesive fashion. Designs with
good unity also appear to be more organized and of higher quality and authority
than designs with poor unity.
Balance: Every element of a design—typography, colors, images, shapes, patterns,

etc.—carries a visual weight. Some elements are heavy and draw the eye, while other
elements are lighter. The way these elements are laid out on a page should create a
feeling of balance.
There are two basic types of balance: symmetrical and asymmetrical. Symmetrical
designs layout elements of equal weight on either side of an imaginary center line.
Asymmetrical balance uses elements of differing weights, often laid out in relation
to a line that is not centered within the overall design.
A balanced layout creates visual harmony and order. An unbalanced layout creates
tension. There are many factors that contribute to balance—size, position, spacing
of elements, color compatibility or dissonance, shapes, etc. There are no
unbreakable rules—your layout can be symmetrical and yet still be unbalanced; and
your asymmetrical layout can be a symphony of sporadic elements seemingly randomly
placed, yet perfectly balanced. The goal is to create a harmonious thoughtful
experience for your customer.
It’s not that there is no purpose for unbalanced work. Sometimes you want to create
tension — maybe that inspires the action you are looking for in your particular
marketing campaign. In general, though, balance is best. And balance does not mean
boring. You can create productive tension in a balanced design.
Put it this way: who would you rather visit and spend time with—your troubled,
needy friend with 6 cats who lives in a house with broken windows, sloped floors,
and piles of junk everywhere? Or your Rayban-wearing bestie who’s a working,
prosperous professional in a nice modern house with a well-balanced lifestyle of
physical activity, lively conversation, artistic endeavors and a cool dog? I rest
my case.
While your design doesn't have to be a perfect mirror-image on both sides, it

should have some sense of balance that creates unity and ties your whole design
together. An easy way to create balance is to use the rule of thirds. This rule
states that if you divide the image into thirds, you should center your main focal
point on the outer vertical line and center it on the horizontal lines. This makes
your photo more dynamic and interesting to look at.
Unity: First find out the focal point of the ad where you want people to focus.
Once done, highlight it as a central point by dimming the surrounding and
background design and color. One point to always keep in mind is that all elements
of your design - the visual language and presentation should be in unity.
Everyone has seen a website or other design out there that seemed to just throw
elements on a page with no regard for how they worked together. Newspaper ads that
use ten different fonts come to mind almost immediately.
Unity refers to how well the elements of a design work together. Visual elements
should have clear relationships with each other in a design. Unity also helps
ensure concepts are being communicated in a clear, cohesive fashion. Designs with
good unity also appear to be more organized and of higher quality and authority
than designs with poor unity.
Rhythm: The spaces between repeating elements can cause a sense of rhythm to form,
similar to the way the space between notes in a musical composition create a
rhythm. There are five basic types of visual rhythm that designers can create:
random, regular, alternating, flowing, and progressive.
Random rhythms have no discernable pattern. Regular rhythms follow the same spacing
between each element with no variation. Alternating rhythms follow a set pattern
that repeats, but there is variation between the actual elements (such as a 1-2-3-
1-2-3 pattern). Flowing rhythms follow bends and curves, similar to the way sand
dunes undulate or waves flow. Progressive rhythms change as they go along, with
each change adding to the previous iterations.
Rhythms can be used to create a number of feelings. They can create excitement
(particularly flowing and progressive rhythms) or create reassurance and
consistency. It all depends on the way they are implemented.

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Proportion − The size and color of all graphic elements must be determined by their

significance and surroundings of the illustration. For example, important idea,

If you plan to work with type, understanding contrast is incredibly essential

Juxtaposition. Duality. Opposites. Visual irony. Contrast can be achieved through

Harmony: Every element of a design—typography, colors, images, shapes, patterns,

Harmony involves the selection/design of elements that share a common trait,

Balance: Every element of a design—typography, colors, images, shapes, patterns,

While your design doesn't have to be a perfect mirror-image on both sides, it

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