Illustrating the Principles of Design

The examples you'll find here demonstrate varying degrees of each of the six principles of design in a before and after format. View them individually and as a whole to see how different principles are applied. How might you do any of these differently?

Note: The text, not always readable in the examples, is the same as the definitions in Lesson 1.

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

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.

The graphic anchors the bottom of the page, but the four text elements all float on the page with no apparent connection to each other (proximity/unity). The change in the headline (font change, reversed out of blue box) along with the subheading pulled in closer provides balance with the graphic on the bottom. The spacing between the two paragraphs of text is reduced slightly as well.

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

In the second "Alignment" example, text alignment is 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.

Within the second "Repetition" example, the headline is repeated three times using graphics that tie in with the copy in the text blocks. The repetition of the colors in the shapes and headline text that are in the copy help to reinforce the theme. Overlapping the graphic and text elements unifies the elements of the design.

Another aspect of consistency that can be seen when viewing all 6 of the "after" examples is the blue borders, blue reversed boxes, and the typeface (Britannic Bold) used for the names of all the principles of design. The drop cap used in three examples (Bermuda LP Squiggle) is another element of consistency.

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

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 color echo the shape and color 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.

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.

Defining the Principles of Design Through Metaphor or Allegory

Generally, all the principles of design apply to any piece you may create. How you apply those principles determines how effective your design is in conveying the desired message and how attractive it appears. There is seldom only one correct way to apply each principle.

Balan

Try walking a long distance with a 2 pound bag of rocks in one hand and a 10 pound bag of marbles in the other. After awhile you'll be wanting to shift your load around, putting a few marbles in the rock bag to balance your load, make it easier to walk. This is how balance works in design. Visual balance comes from arranging elements on the page so that no one section is heavier than the other. Or, a designer may intentionally throw elements out of balance to create tension or a certain mood.

Proximity / Unity

Observe a group of people in a room. You can often learn a lot about who is listening intently to another person, which are strangers, or who is ignoring who by how close together they sit or stand. In design, proximity or closeness creates a bond between people and between elements on a page. How close together or far apart elements are placed suggests a relationship (or lack of) between otherwise disparate parts. Unity is also achieved by using a third element to connect distant parts.

Alignmen

Can you imagine how difficult it would be to find your car in a crowded parking lot if everyone ignored the parking lot stripes and parked in every which direction and angle? Imagine trying to get out of there! Alignment brings order to chaos, in a parking lot and on a piece of paper. How you align type and graphics on a page and in relation to each other can make your layout easier or more difficult to read, foster familiarity, or bring excitement to a stale design.

Repetition / Consistency

What if Stop signs came in pink squares, yellow circles, or green triangles, depending on the changing whims of a town and a few of its residents? Imagine the ensuing traffic jams and accidents. Repeating design elements and consistent use of type and graphics styles within a document shows a reader where to go and helps them navigate your designs and layouts safely.

Contrast

On the basketball court, one pro team looks much like another. But send a few of those players for a stroll down most any major city street and something becomes apparent — those players are much taller than your average guy on the street. That's contrast. In design, big and small elements, black and white text, squares and circles, can all create contrast in design.

White Space

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























8

Tip 100 Interior Furniture to get around the room Small / Narrow

Organizing a small interior room is often puzzling to you. While the need to store your collection of goods and did not seem to be compromised. Call it a bedroom the size of a mediocre 2 × 3 meters. Many functions must be carried at once. Ranging from mattresses to sleep, clothes, books to hobby equipment.

The living room and family should not only be packed with guest chairs, televisions, and display. But also a collection of souvenirs, newspapers / magazines, where umbrellas and shoes to your helmet. Maybe even a table and chairs. That's the difficulty experienced by the owners of a small house or apartment type studio
Therefore you need to work around this from the outset, and giving attention to the design of the inside of a kitchen set, built-in cabinets or storage.


Reforming annahape.com small interior room is often puzzling to you. While the need to store your collection of goods and did not seem to be compromised. Call it a bedroom the size of a mediocre 2 × 3 meters. Many functions must be carried at once. Ranging from mattresses to sleep, clothes, books to hobby equipment.

The living room and family should not only be packed with guest chairs, televisions, and display. But also a collection of souvenirs, newspapers / magazines, where umbrellas and shoes to your helmet. Maybe even a table and chairs. That's the difficulty experienced by the owners of a small house or apartment trumah small studios.