Visual Communication Design

The term communication design is often used interchangeably with visual communication and more specifically graphic design. Visual communication is the conveyance of ideas and information in forms that can be read or looked upon. It is primarily associated with art, signs, photography, typography, drawing, graphic design, illustration, colour and electronic resources What is Graphic Design? Graphic Design is a form of communication, like the telephone, which is used to direct a message or series of messages to a specific person or group. A Graphic Design mechanic operates in a similar manner. The difference is, a telephone may not be used. Where did Graphics come from? Graphic Design has been around as long as man has been making marks; first on stone canyons or dry earth, now ephemerally and globally on the World Wide Web. What is a Graphic? A Graphic is an image, in the form of an illustration, a painting, a photograph, any clip art form, or a combination of these put together with a concept or idea to begin and complete a communication link. What is a Graphic Designer? Individuals aspiring to succeed in this profession must be creatively inclined and intellectually efficient. These wellorganized individuals should create solutions for everyday communication problems, the things we eat, the cares we buy, the clothes we wear and the places we go. Graphic Designers work designing print, environmental (signage systems) or electronic forms of visual information, as for an advertisement, publication, or website. All this is managed by a skillful use and understanding of type, colour and image to create visual solutions to communications problems. The Graphic Designer should be prepared to work long and intense hours depending on the project they may be involved in. They must also be very aware of the outer worlds current trends, social societies and opposite philosophies. There are three essential qualities needed to become a competent designer: 1. Vision. - To be able to detect an idea and then to toss it around in your head (objects, tones, shapes, colours everything around you). 2. Imagination. - To be able to use an idea effectively, i.e. brainstorm the idea and bring it to a state where it can work. 3. Judgment. - To be able to assess the idea's value and correct place and use, i.e. limitations always arise after you come up with an idea. Working in a Team as a Graphic Designer. Graphic Designers may spend many long hours alone at the computer but to bring a project to completion they are part of a team. The creative team consists of one or more of the following professional in related fields: Writers & Editors Marketing and Public Relations Advertising and Sales Representatives Photographers Art Directors and Creative Directors Computer Software Engineers Printers and Prepress Technicians Who needs Graphic Design?
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Put yourself in a Creative State of Mind

We all have some level of creativity within us. As with other activities, you can teach yourself to be more creative. Sometimes creative thinking requires us to look at things from new perspectives. Learn to unleash your inventive genius by thinking backwards. Here is an appropriate acronym containing five steps to creative thinking -- S A E D I -- that's IDEAS backwards! S - State of Mind A - Atmosphere E - Effective Thinking D - Determination I - Ink S - State of Mind. Creativity is a state of mind. Telling yourself or others "I'm not very creative," or "I can never come up with new or clever ideas," destroys that state of mind. Creative thinking requires positive thinking. Read Positive Messages. For long-term creative thinking, read and study books on positive thinking. Get a Quick Fix. If you have to come up with a clever new ad slogan or a new product name by next week, use some "quick fix" state-of-mind techniques to make yourself ready for creative thinking. Get plenty of sleep. Relax your body and mind with deep breathing. Let your mind wander freely. Don't dwell on deadlines or other negative thoughts. Finally, don't forget to daydream; it can be a very effective tool for creative thinking. In addition to a clear head, it helps to have a physical space conducive to creative thinking. Think about your atmosphere. A - Atmosphere. All of our senses -- what we see, hear, feel, taste, and touch -- influence our state of mind. A positive atmosphere contributes to a positive and creative state of mind. Some people thrive in loud, people-filled areas with much activity. Others need quiet and calm to think clearly and creatively. Find that place, noisy or quiet, that makes you feel comfortable. Find a Place to Walk. Find a Place to Relax. Use Pictures, Words, Sounds, Software for Inspiration With a clear head and a clear space you can let your mind wander -- but not too much. To solve a problem you also need to direct creative thinking with some effective thinking. Direct Your Thoughts for More Creative Thinking E - Effective Thinking. While positive thinking allows your mind to accept new ideas and creative thoughts, effective thinking involves directing your thoughts toward specific goals. Daydreaming, relaxation, and free association allow the mind to come up with new or unusual ideas or idea fragments. Have a Goal for Your Creative Thinking. Without a specific goal in mind, random thoughts and ideas may not be particularly useful. Dr. Kushel (author of Effective Thinking for Uncommon Success.) says that to be an effective thinker, you need to have goals and a commitment to those goals. He outlines five steps toward effective thinking:
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1. Take Notice. 2. Take stock of where you are or what you are doing. Is it moving you toward your goal? 3. Pause. Take a break when you get offtrack. 4. Identify Effective Thoughts. When a thought enters your head, identify it as effective or defective, positive or negative. 5. Choose. We can choose our thoughts. It's the underlying principle of positive thinking. It's true of effective thinking and creative thinking, as well. Choose to focus on those thoughts that bring you closer to your goals. The right time and place and effective thinking only work if given an opportunity to do so. Creative thinking takes determination, perservence. Make a Habit of Creative Thinking D - Determination. Creativity takes practice. Your creativity is there within you, but you must make a habit of using your imagination. Although many of your best ideas will come when you "aren't really concentrating," you can make them happen more often by regularly practicing effective thinking techniques. Schedule Creative Thinking Even when not pondering a specific creative challenge, set aside a certain amount of time each day, week, or month to relax, brainstorm, and daydream. Make creative thinking a habit. By getting in the habit of scheduling regularly creativity thinking time and creativity exercises you'll be better able to meet future challenges as they arise. Ponder On Problems That Don't Exist. This isn't the same as worrying about things you can't change or trying to fix what isn't broken. It means that even when you've come up with the perfect path to achieve your goals, think about alternatives. Keep a file of ideas that were discarded as not feasible this time around. You may find inspiration for solving

future problems and creative challenges. Keep the sketches that the client rejected or that you never even showed to them. Sometimes pulling out these old ideas will generate new ones when needed. And keeping a file of ideas that were rejected doesn't mean just holding them in your head. Write it down. Put Your Brainstorming in Writing I - Ink. Whether you use ink, pencil lead, crayon, or a computer, write down your ideas. We retain more of what we hear or see if we write it down. Make Notes Any Time, Any Place. Get in the habit of making notes, outlines, sketches, or doodles. If you are actively pursuing a specific idea or problem, always have paper and pencil or recorder at the ready. Jot down or record all your thoughts, no matter how "off-the-wall." Keep a Notebook By Your Bed. Some of your best thoughts come just before falling asleep and just after waking. Keep a notebook at your bedside so you will always be ready to write down ideas whenever they come. Create an Inspiration File. Whether it's a file folder, a notebook, or an entire file cabinet, keep clippings, thumbnail sketches, junk mail, photos, and anything else that inspires you or gives you ideas. Add the notes you regularly take. Don't just file it and forget it - go through the file during your scheduled creative thinking times and when actively pursing ideas for a project. You Are A Creative Person The next time you start to think "I can never come up with good ideas," think backwards. There are a countless number of useful ideas and innovative thoughts in all of us -- if we take the time to learn to think and act creatively.

The Design Process

Before you touch the software, you have to know what it is you are creating. Explore the creative graphic design process involved in taking a project from idea to finished print project. Imagine It Sketch it Give it shape, form and color These steps are important in all your projects. They will aid as a guide for you to complete successful projects in the future. Research The first step in preparing a design solution is research. Who is the audience? What constraints are there in format, budget and time? What is the goal of the project? The next step is to gather and study all related materials. Selling this design to a client (or an instructor) will be easier if it is backed with research and justified from a perspective the client will understand. In the future, you may work in a large firm or agency where most of the research and information gathering is done by marketing professionals. Visual research, however, both then and now, is the designers area. It is important to know what has been done before what is being created locally and nationally for this type of design situation. Designers also keep a file of anything that is interesting or well done. A personal file of such samples can be useful to look through for ideas to build upon. Subscribe to graphic design magazines and plan to save all the back issues. Never simply lift another designers solution; thats unethical. Designers are expected to build on the work of others. We do not create in a vacuum, but are influenced by the hundreds of samples of good and bad design we are all exposed to everyday. As part of the research stage, search for a creative approach to your design problem in as many ways as possible. Try looking up a dictionary definition of your topic. Look in an encyclopedia for additional background. Search the internet for information on the topic. Use a thesaurus. Make a word association list of everything you can think of that is associated with your topic. Save personally significant visuals and collectibles. Thumbnail Sketches Thumbnail sketches are simple idea sketches which will help the designer to obtain an attractive and acceptable final result. The client can see the ideas and then choose the layout which he or she prefers. Thumbnail sketches serve these three primary purposes; they: 1. Graphically preserve ideas; 2. Visually portray ideas; and 3. Compare two or more ideas visually. Preparation of these sketches should begin immediately after the desired product has been selected. Copy selection precedes thumbnails; therefore, one of the responsibilities of the designer is to obtain all the copy that will appear on the final product. The originator of the planned printed product should have this information readily available.

Method of preparation 1. Prepare the pre-layout planning sheet and list the copy. 2. Choose the final size of the printed product and plan to sketch the thumbnails, in correct proportion, onequarter size. 3. Select the copy elements needing emphasis. Block and shade areas of space in the approximate position that each element is desired. The space given should be a representation of the desired final size. 4. Use straight line to represent type that is 12-pts or smaller in size. Do not necessarily use lettering for either the large or small type. 5. Outline the space for illustrations or photographs. Within this space, sketch the illustrations or content of the photograph. This permits another person studying the sketches to obtain a basic idea of the content. Detail is not needed for thumbnail sketches of illustrations or photographs. It is important to sketch several ideas from which a final selection can be made. Skilled designers prepare at least four thumbnails for any copy given to them. Don't be afraid to prepare as many thumbnail sketches as you have ideas. It is often difficult for the novice to visualize large numbers of varied possibilities. Rough Layout (can be done on a computer) The second major step in any layout procedure involves the preparation of a rough layout. This layout is an improvement or refinement of a thumbnail sketch, or even a combination of two or more of these. The purposes of a rough layout are: 1. Force a selection of one of the several sketched ideas; 2. Begin refining a specific idea; and 3. Provide a tangible item that can be studied and changed.

Actually, a rough layout can be considered a pre-final product. Therefore, in many cases, it can be used as the basis for the final product without the need to produce a comprehensive layout. In many instances it will be necessary to produce at least two rough layouts, for client approval and comparison.

Method of preparation 1. Study the several thumbnail sketches that have been prepared. 2. Select the one that best presents the content of the final two-dimensional product. Selection can then be made by the designer and/or the client. 3. Obtain a sheet of paper that allows for the layout to be drawn in full size. 4. Refer to a type specimen book and select the type font(s) you intend to use in the design. 5. Block or outline the area that will be devoted to type and illustrations according to the thumbnail (or combinations of them) selected. 6. Letter all type within the rectangular outlined areas, based on the copy. Use straight lines to represent the x-height of 12-pt type and smaller. 7. Sketch the illustration(s) within the outlined areas. They should be of a higher quality and contain more detail than a thumbnail sketch illustration. The rough layout should reasonably resemble the finished product. 8. Study the rough layout; make any additions/changes. Consult the client of the final product as this gives the

client the opportunity to suggest changes if necessary. Comprehensive Layout The comprehensive layout is the most important step in the production of a printed work. It is the master plan or blueprint of the finished product, and therefore its value cannot be over-emphasized. It allows the designer and the client to see the finished product and to make changes if necessary. After the designer and the client have made all the necessary decisions, the comprehensive layout will contain all of the information needed to guide specialists/graphic designer/s who will produce the final product.

4. Draw the illustrations carefully in the correct position. 5. Block the space for the photograph(s) or the illustration(s), If the photographs have not yet been taken, give directions as to the content, and; where the subject or photograph contents can be obtained. 6. Prepare an overlay sheet to protect the finished layout after all content has been placed on the layout. 7. Thoroughly review the layout. Be certain that you have included all copy and given full production information on the overlay sheet. A designer is primarily concerned with the layouts or plans of work to be carried out. Most designs involve two very different completed layouts. One may be the carefully drawn and coloured finished comprehensive (colour visual) for the client; the other is visually much simpler, but technically more detailed. This second layout, referred to as either the working layout, the printers' layout, or the composing room layout, is for the printer and serves as the equivalent of the architect's working drawing.

Method of preparation 1. Study the rough. 2. If the complete material is to be multicoloured, choose the colours and the content for each. 3. Letter all type in the exact position desired. Make the type look like the actual kind.

Principles of Design
Visually, there is very little originality in design it is usually a rearrangement of an idea observed and recorded previously. No matter how simple the design may be, there are certain principles that must be applied. Appreciation of their importance will be slowly gained by observation and practice together with good judgment. This will produce satisfactory results without the need for any mathematical calculations. Principles of design should always be incorporated in any graphic design project to assist its communicating and graphic interest, however in the planning of a basic design, the designer must produce a job to suit the class of work, the copy, and the tastes of the customer. The Principles of Design are qualities or characteristics inherent in any art form, such as Proximity Alignment Repetition Contrast Balance White space These principles must be used in any design if it is to be in any way effective. Not all of them, however, will be used in the one design. Whatever principles the designer may adopt, the ultimate result must be a design that can be easily read and clearly understood. Careful control of the principles of design is necessary to successfully project an intended image. 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. 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. Proximity 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. Alignment Alignment brings order to chaos, 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 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 In design, big and small elements, black and white text, squares and circles, can all create contrast in design. White Space 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.
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Proximity
The concept of proximity says that related items should be grouped together. Group related items together. Use spacing to convey visually what information is related. Bits of information that are not related should not be in close proximity to other bits on the page. This helps create visual structure and organization and communicates more clearly. It serves as a visual clue to where you should start reading the piece and where you should stop. In the example below, how many times does your eye stop?

Summary of Proximity
When several items are in close proximity to each other, they become one visual unit rather than several separate units. Items related to each other should be grouped together. You should be able to follow a logical progression though the piece, from a definite beginning to a definite end.

The Basic Purpose

The basic purpose of proximity is to organize. Other principles come into play as well, but simply grouping related elements together into closer proximity automatically creates organization. If the information is organized, it is more likely to be read and more likely to be remembered.

What to avoid
Avoid too many separate elements on a page. Dont stick things in the corners and in the middle Avoid leaving equal amounts of white space between elements unless each group is part of a subset. Dont create relationships with elements that dont belong together! If they are not related, move them apart from each other.

My eye stops about four times. Since there is information in the top two corners, the natural reaction is to check and see if there is something in the other corners as well. However, the design looks much better when I group related bits together, even if I center everything (which is usually a no-no, except in the most formal of situations). How many times does your eye stop? Twice. No more.

Alignment
New designers tend to put text and graphics on the page wherever there happens to be space, often without regard to any other items on the page. Each item on the page should have a connection with another item on the page. Alignment creates a visual connection for the reader. Proper alignment gives readers a hard edge to follow. The edge forms an invisible line that connects the text, making it stronger, cleaner and more dramatic. The principle of alignment states that nothing should be placed on the page arbitrarily (randomly). Every item should have a visual connection with something else on the page. The principle of alignment forces you to be conscious no longer can you just throw things on the page wherever there happens to be room. Let's use this example now, that of a party ad. Below, you'll see that everything is smashed together and it's all centered. It's a truly uninspiring ad thus far.

Summary of alignment
Unity is an important concept in design. To make all the elements on the page appear to be unified, connected, and interrelated, there need to be some visual tie between the separate elements. Even if the separate elements are not physically close on the page, they can appear connected, related, unified with the other information simply by their placement. Take a look at designs you like. No matter how wild and chaotic a well-designed piece may initially appear, you can always find alignments within.

The basic purpose

The basic purpose of alignment is to unify and organize the page. It is often a strong alignment (combined, of course, with the appropriate typeface) that created a sophisticated look, or a formal look, a fun look, or a serious look. After we apply the rules of proximity and alignment, look what we have:

What to avoid
Avoid using more that one text alignment on the page (that is, dont center some text and right align other text) And please try very hard to break away from a centered alignment unless you are consciously trying to create a more formal, sedate (often dull?) presentation. Choose a centered alignment consciously, not by default.
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Repetition
The principle of repetition states that you repeat some aspect of the design throughout the entire piece. The repetitive element may be bold font, a thick rule (line), a certain bullet, color, design element, particular format, spatial relationship, etc. it can be anything that a reader will visually recognize. Repetition can be thought of as consistency. As you look through an eight page newsletter, it is the repetition of certain elements, their consistency, that makes each of those eight pages appear to belong to the same newsletter. If page 7 has no repetitive elements carried over from page 6, then the entire newsletter loses its cohesive look and feel.

The Basic Purpose The purpose of repetition is to unify and visual interest. Dont underestimate the power of the visual interest of a page if a piece looks interesting, it is more likely to be read. How to get it Repetition is like accenting your clothes. If a woman is wearing a lovely black evening dress with a chic black hat, she might accent here dress with red heels, red lipstick, and a tiny corsage. What to avoid Avoid repetition the element so much that it becomes annoying or overwhelming. Be conscious of the value of contrast. For instance, if the woman were to wear the black evening dress with a red hat, red earrings, red lipstick, a red handbag, red shoes and a red coat, the repetition would not be a stunning and unifying contrast it would be overwhelming and the focus would be confused.

Summary of Repetition A repetition of visual elements throughout the design unifies and strengths a piece by tying together otherwise separate parts. Repetition is very useful on one-page pieces, and is critical in multi-page documents (where we often just call it being consistent).

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Contrast
Contrast is one of the most effective ways to add visual interest to your page a striking interest that makes a reader want to look at the page and to create an organizational hierarchy among different elements. The important rule to remember is that for contrast to be effective, it must be strong. Contrast is created when two elements are different. If the two elements are sort of different, but not really, then you dont have contrast, you have conflict. Thats the key the principles of contrast states that if two items are not exactly the same, then make them different. Really different.

You cannot contrast dark brown with black. Get serious. Summary of contrast Contrast on a page draws our eyes to it; our eyes like contrast. If you are putting two elements on the page that are not the same (such as two typefaces or two line widths), they cannot be similar for contrast to be effective, the two elements must be very different. Contrast is kind of like matching wall paint when you need to spot paint you cant sort of match the color; wither you match it exactly or you repaint the entire wall. As my grandfather, an avid horseshoe player, always said, Almost only counts in horseshoes and hand grenades. The basic purpose The basic purpose of contrast is two-fold, and both purposes are inextricable from each other. One purpose is to create an interest on the page if a page is interesting to look at, it is more likely to be read. The other is to aid in the organization of the information. A reader should be able to instantly understand the way the information is organized, the logical flow from one item to another. The contrasting elements should never serve to confuse the reader or to create a focus that is not supposed to be a focus. How to get it Add contrast through your typeface choices, line thicknesses, colors, shapes, sizes, space, etc. It is easy to find ways to add contrast, and its probably the most fun and satisfying way to add visual interest. The important thing is to be strong. What to avoid If youre going to contrast, do it with strength. Avoid contrasting a sort-of-heavy line with a sort-of-heavier line. Avoid contrasting brown text with black headlines. Avoid using two or more typefaces that are similar. If the items are not exactly the same, make them different!
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Contrast can be created in many ways. You can contrast large type with small type; a graceful oldstyle font with a bold sans serif font; a thin line with a thick line; a cool color with a warm color; a smooth texture with a rough texture; a horizontal element (such as a long line of text) with a vertical element (such as a tall, narrow column of text); widely spaced lines with closely packed lines; a small graphic with a large graphic.

But dont be a wimp. You cannot contrast 12point type with 14-point type. You cannot contrast a half-point rule with a one-point rule.

Balance
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 Formal balance is pleasing but uninteresting Nevertheless, the general tone of the centered design is restrained and formal. It can be used to advantage in advertisements emphasizing quality, and by businesses whose position in the community is one of trust. 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.

Asymmetrical
One of the major advantages of an asymmetrical layout is that it allows for the more dynamic use of white space. This is particularly important if illustrations are included. Asymmetrical (or informal) balance may be unequal in position. To create asymmetrical balance, there must be an increase in intensity to compensate for the change in position. Intensity can be increased by changing size, shape, or tone. For a particular job, the designer might choose to position the elements to one side of the picture plane. The white space opposing must then act as a counter-balancing force.

Symmetrical Balance
Symmetrical (or formal) balance has elements of equal weight as well as tone placed on both sides of an imaginary vertical line on the page and gives the feeling of permanence and stability. Any symmetrical layout is likely to produce a more static, restful design. However, because a centred layout is so static, it is very easy to make it pleasantly innocuous but boring.

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Informal balance creates visual interest A useful way to determine the balance of elements on a page is to compare one area with another; it is helpful to analyze the space with an imaginary grid. In this way, you can optically weigh the masses and determine their intensity and direction. How space is handled will depend on the number of imaginary grid units you have selected and how much space is available. 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.

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.

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. 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.

Rule of Thirds, Visual Center, Grids

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

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your most important elements at one or more of the four intersections of those lines.

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 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. 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. 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.

Grids: Order Out of Chaos

Invisible Structures: When and Why to Use Grids in Page Layout

Think of the grid as a plan -- a plan for your page layout Many of the pages that you see everyday have a grid. You may not see it but it is there, holding up the design, establishing structure, guiding the page elements. A grid is an invisible structure used to guide the placement of elements on your page. Grids don't appear on the printed piece but their influence may be evident in the widths of column texts, the uniformity of space around photographs, or the consistent placement of repeating elements from page to page in a magazine.
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Margins & Grids Margins define the outside boundary of your page. They frame the content of your pages. Margins may not be equal all around (but are normally consistent from page to page or panel to panel). In most programs you would set the margins when you define the page dimensions (format). You can also adjust the margins "on the fly" by moving the guides on screen (in some programs). Alleys & Grids When you divide the interior space of your page into uniform parts the white space between units are alleys. Depending on how you've set up your grid the alleys may run horizontally, vertically, or both directions on your page. In some designs this would translate to the white space or "gutter" between columns of text. Gutters & Grids In a two page or two panel spread, the gutter is the inside margin. It's the space on either side of the fold. In some page layout programs the space between two columns of text is sometimes called the "gutter" as well. Grid Units Grid units are the primary locations on your page where you will place text and images. They determine placement not necessarily size. That is, if you have a graphic image that is larger than your grid unit, it doesn't mean you can't use it. You would use your grid units to help resize the photograph -- ideally to fill 1, 2, 3 or more grid units and then to place that image on your page.

Grids provide visual organization Grids have different uses and may not be appropriate for all situations or all designers. Publications such as magazines and newsletters almost always require a grid. It provides page to page continuity. It also helps speed production because the designer doesn't have to "start from scratch" laying out and designing each page of the publication. In a series of single, but related pieces (such as a series of posters or information sheets for a single ad campaign or single product line) a common grid can help unify the separate pieces. In a single piece that has many disparate elements (blocks of text, headlines, photographs, drawings) a grid can help organize these elements on the page.

Grids: Consistency & Unity

Tying Elements of a Page Design Together with Grids

For the most part, people prefer organized visual information Newsletters, magazines, brochures, annual reports, and books often have many visual elements: columns of text, headlines, photos, illustrations, pull-quotes, etc. Grids allow the designer to build page-to-page consistency into these documents. Readers expect to find page numbers in the same location on each page. When all the text in a given article even when it spans several pages has a consistent look, including column width, it enhances readability. Readers often expect to find sidebars, informational text, and other oft-repeated elements in the same place from page to page. A grid, used consistently on all pages of a multi-page document, makes it easier for the designer to provide the consistent look that readers often expect. A carefully conceived grid system also allows the designer to introduce variations without forsaking readability or consistency. It also speeds layout because it takes the guesswork and "look back

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to see what we did before" out of where to place elements from one page to the next. The pages, below, are examples of how you might combine text and graphics in a 7-unit vertical grid (such as for a newsletter). Notice how page 1 (Figure 1) and 2 have a consistent (reversed) layout. Text columns are two-grid units wide. One grid unit provides an extra wide column of space separating the main text from the sidebar elements. Page 3 (right hand page of the 2 page spread, Figure 2) is quite different from the first two pages but if you look at the underlying grid struction (Figure 3) you'll see that all three pages use the same grid system.

Grids can unify a series of dissimilar documents There are many ways to establish visual unity throughout a series of related pieces. You probably use your logo on all your marketing pieces. You may have color coded brochures for different aspects of your business. Grids are another way to bring unity and cohesiveness to a collection of brochures, display ads, and other elements of your marketing arsenal. The informational sheets in Figure 4 have a common style for the headline treatments but don't all use the same number or size of graphics.

FIGURE 1: left-hand page of newsletter with 7-unit vertical grid

FIGURE 4: 3 informational sheets that share a common 3 unit grid

The 3 unit grid (Figure 5) helps to unify these pieces. This is a fairly simple, straightforward example.
FIGURE 2: two page spread of newsletter with 7unit vertical grid

FIGURE 5: A three unit grid helps unify a series of information sheets containing varied elements FIGURE 3: Two pages spread showing the underlying 7-unit vertical grid (blue)
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White Space
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.

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Talent Isnt Everything

by Chanpory Rith on 2007/04/09 Heres a common myth: To be a successful creative professional, all you need is talent. Its a nice myth to believe in. Talent suggests a divine or evolutionary genetic gift, so if youre blessed with the talent gene, youre special and can be a cool creative person. If not, youre destined to be an accountant. ... this myth of talent has very little to do with the success of a junior designer. After working three years at MetaDesign and since starting my new position at Dubberly Design Office, Ive noticed this myth of talent has very little to do with the success of a junior designer. Instead, I have found that those who survive and last more than six months practice these seven habits: 1. 2. 3. 4. 5. 6. 7. Work quickly. Produce a lot. Attend to details. Be versatile. Make an effort to learn. Anticipate problems. Set goals. Display a positive attitude.

1. Work quickly. Produce a lot.

In a design studio with large collaborative projects, time is money. Being fast is critical to your survival. The studio relies on your speed in two areas: Idea generation and production. Idea generation Being a junior designer often means your final work wont be polished. Fortunately, design is not just about quality. Its also about ideas and concepts. The more ideas you generate quickly, the more value you bring to the studio. Having many unrevised ideas, as opposed to one perfect concept, helps your creative director and design team to: Envision the solution space, the set of possible solutions, for the project. Evaluate whats conservative, feasible, or ridiculous.

Create a pool of alternatives to choose from in case a client rejects the teams initial recommendations. Invite early client participation, by having more options to show and discuss. Ideas shouldnt remain in your head; you need to find ways to express them. Some ways to show ideas include brainstorming via outlines, concept maps, mood boards, and sketches. Also useful is rapid prototyping, the iterative process of creating rough and imperfect proof of concepts. Here are some ways you can present your ideas. Outlines are lists organized hierarchically, much like the lecture notes you took in school. Theyre a quick and familiar way to organize initial ideas without worrying about what the final design looks like. Concept maps show relationships between concepts in the form of nodes and links. Each node represents an idea; each link represents a relationship. Both should be labeled. Their advantage is the ability to show one-to-many and many-to-many relationships. Mood boards are collages that combine images, colors, and words to capture the general feeling of what a product or service might evoke. Theyre useful for discussing general conceptual approaches without getting bogged down in details such as layout and typography. For examples of mood boards in all shapes and sizes, check out Flickrs Inspiration Boards Pool Sketches are drawings that approximations what a design might look like. They can be rough or detailed. When generating ideas, keep in mind that in the early phases of a project, you should first try to generate a lot of ideas instead of having a few perfectly defined. Second, you should create distinct ideas rather than variations or permutations of the same idea. (I still have a hard time with this one.) Finally, dont be afraid of dumb ideas.

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Production Even if your ideas dont work out, you can help refine, improve, and implement the ideas of others on your team. Productionthe execution stage of a design processis a vital skill for every designer. This means you need to be well-versed in the most commonly-used software applications and prototyping methods in your studio. You dont need to know them like the back of your hand; you just need to know enough to meet the possible demands of the studio. To become more proficient: Seek help by asking another designer how to do something. Search online for answers. Google, message boards, blogs, and wikis are your best friends. Keep updated on product announcements, tutorials, and updates. Try-out and adopt new software. Practice your skills by experimenting on side projects, such as personal websites and designing for your friends and family. Read sites like this one for tips and tricks. Take classes on new or unfamiliar technologies. Your employer may even sponsor you. Most major applications now come with a set of tutorials that demonstrate old and new features. As a daily or weekly exercise, choose and complete one tutorial on an unfamiliar part of the application.

logical naming convention. Delete any layers and ruler guides that are unnecessary. Keep files managed with clear naming conventions and a logical hierarchy of folders. This makes it easier for your boss and other coworkers to find a file later. If you have linked or placed images in a file, make sure they work when you package them for your creative director to review. Linked images should also be named according to a logical naming convention. Make it easy for your manager to give you feedback by making a list of specific questions you need answered to take the project to the next step.

3. Be versatile
Versatile and flexible designers can weather the economic ups and downs of a design studio because they can be staffed to more types of projects. A sure-fire way to shoot yourself in the foot is saying I dont do web or I dont do print. Youll be seen as a diva and wont last long. Effective designers instead say I dont know how yet, but I want to learn how to do it. Eventually, youll learn new skills andmore importantlyways to adapt these skills to new demands. Being well-rounded also gives you a wider range of experiences and skills to draw from when designing. This means more variety when generating ideas and a better understanding of how different disciplines can work together. Hugh Dubberly, a design planner and educator, shared this anecdote: Herman Zapf, famous type designer, tells a story of his first job. He interviewed with a printer who asked if he knew how to use a process camera. Zapf said yes. He got the job and went straight to the library to read up on how to do it. Unlike what Zapf would say, I still hear many designers proclaim, I dont want to design websites. Its too technical. These designers close themselves off to the possibility of learning and growth as well as the reality of technologys prevalence.
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2. Attend to details
Successful junior designers take great care in preparing files for others to use. They pay attention to pixels and picas, check spelling, remove unneeded files, and strive to make it easier for someone else to understand their work. Nothing will annoy your supervisor or creative director more than having to clean up sloppy work. Some tips: In programs with layers, such as Photoshop and InDesign, name and order your layers with a

With the ubiquity of technology and the Internet, its impossible to avoid getting technical. I encourage every designer, whether print-based or software/web-based, to have some understanding of: Basic programming concepts (functions, loops, conditionals, and variables) Web development (XML, HTML, CSS, JavaScript, AJAX, PHP/MySQL, Flash) Social networking and collaborative authoring (blogs, wikis, message boards, MySpace) Cybernetics (study of systems, goals, and feedback) Search and search engine optimization (metadata, tags, page rank, contextual advertising, personalized search) Version control and content management

5. Anticipate problems
Junior designers can make themselves indispensable by recognizing and anticipating potential problems for their managers. For example, you can: Point out potential production issues that might delay the project. Accurately estimate the amount of time you need to a task. Junior designers are notorious for underestimating the time it takes to do something, so give yourself some padding for anything that might go wrong. If you need more time to do a task, tell your managers at least 24 hours ahead, so they can rearrange the schedule. Alert managers when work falls out of the project scope.

6. Set goals
To be an effective designer, you must set goals for yourself. These goals can be skills you want to learn, responsibilities you want to have, and types of projects you want to work on. Knowing and articulating these goals is especially important during performance reviews. Reviews should be more than just about discussing your past performance; use them as an opportunity to present your goals. This shows that you want to grow. It also allows both you and your manager to agree on a plan for achieving your goals. For more about goals, check out Erin Malones article on the five-year-plan.

4. Make an effort to learn

To be versatile, you must learn new skills all the time. Effective and successful designers are lifelong learners. They are curious, enthusiastic, and passionate about design and want to learn more. This passion translates to better job satisfaction and productivity. They also: Seek out mentors, perhaps a teacher, manager, or industry expert they admire. Choose jobs based on those that let them learn the most. When youve stopped learning, its probably time to leave. Have projects outside of work (such as cute productivity blogs). Participate in the design communities by attending lectures and other events. Keep up with technology and become an early adopter. Read books on unfamiliar topics. Write about what theyve learned and share it with others. It helps organize their thoughts.

7. Display a positive attitude

Companies change. One day, your company is the leading design studio for non-profit corporate identities. The next day, it decides to specialize in websites for luxury European cars. As company vision shifts, so can the staff, location, and other resources. Amidst change and uncertainty, its important to remain positive. Nobody likes a grump. Here are some ways to show a positive attitude:
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No matter how junior you are, mentor others by sharing information youve learned. Identify problems in the studio and find ways to make them go away. Ask what you can do to help. Avoid gossip and talking ill of fellow coworkers, clients, and competing studios.

Conclusion
Certainly, these habits apply to other fields as well as design. They also may be obvious to some. Nonetheless, its important to restate and articulate what we often forget. For junior designers who want to eventually become senior designers and managers, its vital to avoid believing that success depends on talent alone. Success for a designer depends on how much value he or she brings to an employer or client. Quality and talent can be part of this value, but success requires more than that. Designers also bring value through speed, versatility, foresight, and other qualities that have little to do with talent. Talent, if it exists, is only a small part of success. (Special thanks to Hugh Dubberly for his feedback on an earlier draft of this article.) Recommended reading: Getting Things Done, by David Allen Learning How to Learn, by Joseph D. Novak and D. Bob Gowin The Now Habit, by Neil Fiore

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