PRINCIPLES OF GRAPHIC

DESIGN
The principles of design suggest effective and pleasing ways to
arrange text and graphics on the page as well as the arrangement
of individual elements within illustration, logos, and the overall
graphic design of a document. Generally, all the principles of
design apply to any piece you may create. How you apply those
principles of design determines how effective your design is in
conveying the desired message and how attractive it appears.

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

To tie the elements together, move them closer

together (resizing helps accomplish this).
Notice that the graphic (one of the marbles)
slightly overlaps the box enclosing the vertical
text,
unifying the two elements. Reversing the word
"balance" out of the blue box also adds more
contrast to the composition. The increased
leading in the text block redistributes the white
space in
a more balanced manner.
PROXIMITY

The graphic anchors the bottom of the page, but the four text elements all
float on the page with no apparent connection to each other
(proximity/unity).
The change in the headline (font change, reversed out of blue box) along
with the subheading pulled in closer provides balance with the graphic on the
bottom.
The spacing between the two paragraphs of text is reduced slightly as well.
ALIGNMENT
There is nothing inherently wrong with centred
headlines, text, and graphics. They lend a formal
tone to a layout. But, for this series of layouts
something a bit more informal is called for. Also,
large blocks of centred text are usually harder to
read.

In the second "Alignment" example, text

alignment is left-aligned, ragged right,
wrapped around the bottom graphic
which is aligned more to the right,
opposite an added graphic that is aligned
to the right to help balance the overall
design.
REPITION & CONSISTENCY

Within the second "Repetition" example, the headline is repeated three times
using graphics that tie in with the copy in the text blocks. The repetition of
the colours in the shapes and headline text that are in the copy help to
reinforce the theme. Overlapping the graphic and text elements unifies the
elements of the design.
Another aspect of consistency that can be seen when viewing all 6 of the
"after" examples is the blue borders, blue reversed boxes, and the typeface
(Britannic Bold) used for the names of all the principles of design. The drop
cap used in three examples (Bermuda LP Squiggle) is another element of
consistency.
CONTRAST
There's isn't enough contrast between the
headline and text due in part to size but also
because the two different serif faces used
or too similar (not obvious from the small
graphic, trust me, they are different
typefaces).

That oversized graphic provides real

contrast and reinforces the copy (tall
basketball players). Dropping the text
down to the bottom portion of the page
also reinforces the 'towering' aspect
of the graphic. The reversed text in
the blue box, the blue border, and the
drop cap carries through the overall
unifying elements found throughout the
series. Additionally, the round shape of
the drop cap and its colour echo the
shape and colour of the basketball in
the graphic. The drop cap and the
reversed text on the left side plus the
left-aligned text help to balance the
large graphic element.
WHITESPACE

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

VERTICAL BALANCE
ASYMMETRICAL BALANCE
Asymmetrical design is typically off-centre or created with an odd or
mismatched number of disparate elements. However, you can still have an
interesting design without perfect symmetry.

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 BALANCE
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.

Asymmetrical Balance — This page uses a 3

column format to create a neatly organized
asymmetrical layout. The two columns of text
are balanced by the blocks of colour 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.
 REPITION
Repetition of an Image Reinforces Message

Tie the number of copies of a piece of clip art to the numbers in your text. A simple flower
symbol used four times reinforces the "Buy Three, Get One Free" headline in the
coupon/postcard (larger image). Each flower is identical. A dashed line (as an actual or fake
coupon) separates the first three flowers from the "free" flower.
Repetition — whether it's words or images — reinforces your message, provides
consistency, and creates familiarity.

Provide Comfort for Readers with Repetition

Readers gain comfort from having certain elements repeat themselves at consistent intervals or in the
same position. It is much easier to flip to the desired page of a magazine if the reader knows that the
page number will be in the same location on every page. Specific columns or special sections of a
newspaper are more readily recognized, even when they change location, if they look the same from issue
to issue. Here are a few examples of how to use repetition:
Use the same font for all your headlines.
Use the same graphic rule at the top of all pages in a multi-page document.
Put repeating elements (like page numbers) in the same location on each page of a multi-page
document.
REPITION

It Bears Repeating: You Don't Have to be an Artist to Use Clip Art Effectively

Multiple images can work

One of the complaints about clip art is that many people — desktop publishing beginners and pros included
— tend to overuse it, use it inappropriately, or use the same old boring images over and over. However,
there are easy ways to use the same image over and over without being boring.
These techniques require little to moderate skill using graphics programs. They are great if you have
limited graphic design skills or for those times when you just need to throw something together fast —
but you still want to avoid that "canned clip art" look.
If one piece of clip art is good — 2, 3, or 4 are even better, right? Could be. Try these illustrated
repeating ideas. Take a single piece of art and make several duplicates.
 REPITION
Resize, Recolor, Reverse to Turn One Image Into Many

Multiply your clip art collection by changing an image multiple times

Use duplicates of a piece of clip art in varying sizes, colours, and orientations. The butterflies on this sign (
larger image) have been resized smaller and larger than the original. Some are arranged at different angles.
Others are flipped horizontally or vertically. Half of the butterflies are light gray, the other half a slightly
darker gray. Tiny duplicates of the butterfly also become the dots on the i in Spring and Fling.
When modifying your clip art, be sure you're doing it correctly. Find out
why it's not OK to rotate or resize graphics in a page layout application. Use your image editor or illustration
program.
 REPITION

Make a Single Image Stand Out with Dramatic Contrast

Use colour or size to greatly alter a duplicate image

Use colour to make a dramatic change to a single copy of your clip art. One of the ten black and white penguins (
larger image) gets a wild new orange and green suit that makes him stand out from his duplicate friends.
This same principle - contrast - can work with size. Make a single duplicate much, much larger or smaller than the
other copies. To a less degree alignment (1 to the right, the rest to the left) and proximity (1 alone, of to one side
and many others grouped together) can create a similar change.
 CONTRAST
How Contrast Works
                                                                                 
Use size, value, colour, and type to create contrast
Contrast is one the principles of design. Contrast occurs when two elements are different. The greater the difference
the greater the contrast. The key to working with contrast is to make sure the differences are obvious. Four common
methods of creating contrast are by using differences in size, value, colour, and type.
Contrast adds interest to the page and provides a means of emphasizing what is important or directing the reader's
eye. On a page without contrast, the reader doesn't know where to look first or what is important. Contrast makes a
page more interesting so the reader is more apt to pay attention to what is on the page. Contrast aids in readability by
making headlines and subheadings stand out. Contrast shows what is important by making smaller or lighter elements
recede on the page to allow other elements to take centre stage.
 CONTRAST
Use Obvious Contrasting Elements
                                                                                   
The key to effective contrast is substantial difference
Other methods of creating contrast include using texture, shape, alignment, direction, movement. Remember, the key
is to use a substantial difference. A bold face, a font size change that is barely noticeable, and colours that are too
close in value looks more like a mistake than an attempt to provide emphasis or interest.
Some Ways to Use Contrast
•Add visual interest to a layout of tall skinny columns of text by using wide or irregularly shaped photos.
•A series of static images with a single picture showing movement will draw the eye to the contrasting image.
•Align text to the left but set subheads right-aligned in an adjacent column.
•Typically, a layout may employ a combination of 2 or more contrasting elements.
CONTRAST

Contrast with Size

                                                              
                                                              
 
Big and small elements of the same
type, such as big and small images
and big and small type are the most
obvious uses of size to create contrast.
Contrasting white space or the physical
size of the piece with another element
of the design is another method.
CONTRAST

Contrast with Type

                                                                                       
                                        
Type contrast can utilize size, value, and colour to
create contrasting typographic treatments. Add bold or
italics to create contrast. Mix large type with small type.
Combine serif with sans serif type to create type
contrast. Set portions of text in contrasting colours or
varying values. Changes in type alignment create
contrast as does type spacing such as extreme kerning
for headlines.
 CONTRAST

Contrast with Colour

                                                                                                                                     
Use harmonizing, complementary, and opposite colours to create contrast. Be careful with the value of the colours
as well. For example, harmonizing colours (adjacent to each other on the colour wheel) can appear washed out if
there is not enough difference in the values of each colour.
 WHITESPACE
How To Add 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

Here's How:
1.Increase paragraph spacing.
Use a line of space or a deep indent (but not both) to put white space between paragraphs.

2.Increase space between columns of text.

Alleys or gutters that are too narrow cause the eye to skip over to the next column. Put white space between
columns with adequate alleys.

3.Put space at the end of lines of text.

Use ragged-right alignment to add white space between columns and at the end of lines of text.

4.Put more space around outer edges of page.

If space is necessarily cramped within the body of the publication, add white space with generous margins or
gutters.

5.Leave more room around graphics.

When wrapping text around graphics or wherever text and graphics meet, provide plenty of standoff white space.
Don't run text right up to the edge of graphics.

6.Increase space around headlines.

Add white space between headlines or subheads and the preceding copy and a bit below as well.

7.Increase space between lines of type and individual characters.

Add typographic white space by increasing the leading of body text, using lighter type, avoiding letterspacing
that is too tight, and avoiding unending condensed or heavy type.
WHITESPACE
Tips:
Keep design balanced.

Achieve a balance of ink and white space using a mix of techniques described above, as
appropriate to your design.

Don't go overboard.

Avoid 'bad' white space caused by trapping space within text, rivers of white (often found
with unadjusted justified type), overuse of expanded type, too wide gutters, excessive
leading, and poorly kerned headlines.

White space is any colour.

White space isn't white, literally, unless your paper is white. If the paper is yellow, the
white space is yellow. White space is simply empty space - that area devoid of text and
graphics.

Pre-printed designs need white space.

When printing on pre-printed paper that has its own obvious design elements - lines, circles,
etc. that aren't simply an overall pattern blending into the background - treat those
elements as if they were part of the text and graphics you are printing and allow for
adequate white space around those parts of the design.
 CENTRE ALIGNMENT

                                                                              
Centre alignment can lend a formal tone to a
layout
Centre alignment may be horizontally or vertically
aligned, or both. Elements may be centred on the
page, within sections of the page, and centred
with other elements on the page. In this example,
each line of text and the large graphic are centred
horizontally on the page. The main block of text
and graphic are also centred vertically on the
page. Centre alignment generally gives a layout a
formal appearance and is often seen in traditional
wedding invitations and formal stationery.
LEFT ALIGNMENT

Edge alignment lines up text or objects

along their top, bottom, left, or right edges.
Left-aligned text (with ragged right edges)
is one of the most familiar alignments.
The text in this layout example is all left
aligned within each column. The headline is
aligned with the left edge of the centre
column of text. The page number in the
upper left corner is both left-aligned with
the text near the bottom of the column and
aligned with the bottom edge of the rule
above the headline, an example of horizontal
alignment.
 RIGHT ALIGNMENT

Right alignment, another edge

alignment method, generally works
best for small bits of text, such as
posters, some ads, and in this
business card layout. Not only are
the lines within each of the three
blocks of text aligned to the right,
all three blocks of text are right-
aligned to the same invisible line.
VISUAL ALIGNMENT

Visual or optical alignment fixes some of the

problems that can occur with other types of
alignment due to the varying shapes of letters and
graphics. In visual alignment the objects may not be
precisely aligned but to the eye they appear lined up.
In this business card makeover, the original version
has the text technically aligned to the left. However,
the slant of the cursive font and the large flourish on
the V made it appear that the text underneath was
not aligned.
In the re-do of the design the non-script text has
been visually aligned beneath the point of the cursive
V.
Visual alignment applies as much to graphics as to
text. When aligning neat squares adjustment may not
be necessary but with images of irregular shape it
often looks better to ignore small parts that stick
out.