one // have a concept
no matter how amazing it looks its not graphic design without a clear message
two // communicate don't decorate
form carries meaning, thats why its important to always go back to your concept and make sure the form your making is communicating the message you want
three // speak with a visual voice
from the largest part to the tiniest detail, make sure all your elements are "speaking" the same language
good design assumes that the visual language of the piece is internal logic, saying that each element should reinforce, restate and reference each other to convey the desired message
four // use two typeface families max
choose typefaces for specific purposes
a change in typeface signals a change in meaning or function
five //use the one-two punch
focus viewers to attention on one important thing first...and then lead them through the rest
your designing the thing to grab the audiences attention, to get them
six // pick colors on purpose
understand what the colors will do when you combine them
know what the colors will mean to the audience
emotional meaning, how it effects hierarchy, legibility of type, color coding
never assume that a certain color or a combination of colors is right for a particular job because of convention: choose colors that are right not colors that are expected
seven // if you can do it with less, then do it
"less is more" theory
true art lies in the harmonic convergence of thoughtfulness and creativity applied to very little.
eight // negative space is magical - create it, don't just fill it up
space calls attention to content.
negative space is just as much a shape that you have to deal with in a composition as positives shapes
nine // treat the type as image, as though its just as important
type is visual material - it needs to relate compositionally to everything else included in the design
ten // type is only type when its friendly
type that cant be read has no purpose
eleven // be universal; remember that its not about you
being universal is the domain of the designer. a very large audience not a few people who are "in the know"
the instant you forget the agenda of the design you jeopardize the clarity of the message.
twelve // squish and separate
create contrast in density and rhythm by pulling some material closer together and pushing other material further apart. be rhythmic about it, make the space between things tighter and looser
contrast and tension
thirteen // distribute the light and dark like firecrackers and the rising sun
make sure there is a wide range of tonal value
dont spread out the tonal range all over the place
concentrate areas of extreme dark and light in separate places: make distinctions between light and dark noticeable and clear
fourteen // be decisive. do it on purpose - do it on purpose or don't do it at all
make things appear one way or another
understanding visual material is the ability to distinguish the difference between things
decisiveness makes a viewer more likely to believe that the message means what it says
fifteen // measure with your eyes : design is visual
if you intend on element to align with another, do it by eye dont measure, if the viewer perceives the two items as aligning it will assume they actually do
sixteen // create images - don't scavenge
make what you need, and make it the best you can
try not to rely on what already exists even though it might be cheaper or easier
seventeen // ignore faahion. seriously.
this is tricky because our job is to communicate to your audience...which is now
if you design the project around the meaning its likely to mean more to the audience and be useful a lot longer
eighteen // move it! static equals dull
two dimensional can easily be dull and lifeless... a dynamic layout interests the viewer into staying and looking longer
nineteen // look to history, but don't repeat it
its important for a designer to consider how communication strategies and aesthetics have changed over time, and to understand how his or her own work fits into the continuum of thought and practice
twenty // symmetry is the ultimate evil
symmetrical visual arrangements are generally static and offer little movement
they limit a designer's flexibility, and shouts that the designer is lazy and likes to let the format do the designing
I am defiantly a list person so I enjoy reading things like this.Ive heard all of these rules time and time again but its great to be reminded of them when your caught up in all of your projects. the three i need to practice more are having a concept, designing for an appropriate audience, and utilizing simplicity. I tend to get a little sidetracked so the thing i want to practice and improve the most is my concept and using the process work. I think if i can get the process work down and refer to it throughout the whole design i can make design decisions easier, based on whats best for communicating the idea i intended in the first place.
1 // have a concept : this one is particularly important because for me its WAY TOO easy to get caught up in how it looks and forget the purpose. i end up getting sidetracked and am not focusing on exactly what i want my design to say. I think if i work at having a concrete concept and continually referring back to it i can be creating clear successful design.
11 // be universal : this struck me because it is easy to get caught up how things look. focusing on who your target audience is and creating design that will work for them is more important than our own personal preferences
7 // less is more : this rule is so true! intricate complicated designs do get attention but what we really enjoy is simplicity. this also goes back to rule number one, by having a concept and referring to it you can easily make sure your not decorating just to fill space but only putting what is needed to communicate the message you intended
six // pick colors on purpose
understand what the colors will do when you combine them
know what the colors will mean to the audience
emotional meaning, how it effects hierarchy, legibility of type, color coding
never assume that a certain color or a combination of colors is right for a particular job because of convention: choose colors that are right not colors that are expected
seven // if you can do it with less, then do it
"less is more" theory
true art lies in the harmonic convergence of thoughtfulness and creativity applied to very little.
eight // negative space is magical - create it, don't just fill it up
space calls attention to content.
negative space is just as much a shape that you have to deal with in a composition as positives shapes
nine // treat the type as image, as though its just as important
type is visual material - it needs to relate compositionally to everything else included in the design
ten // type is only type when its friendly
type that cant be read has no purpose
eleven // be universal; remember that its not about you
being universal is the domain of the designer. a very large audience not a few people who are "in the know"
the instant you forget the agenda of the design you jeopardize the clarity of the message.
twelve // squish and separate
create contrast in density and rhythm by pulling some material closer together and pushing other material further apart. be rhythmic about it, make the space between things tighter and looser
contrast and tension
thirteen // distribute the light and dark like firecrackers and the rising sun
make sure there is a wide range of tonal value
dont spread out the tonal range all over the place
concentrate areas of extreme dark and light in separate places: make distinctions between light and dark noticeable and clear
fourteen // be decisive. do it on purpose - do it on purpose or don't do it at all
make things appear one way or another
understanding visual material is the ability to distinguish the difference between things
decisiveness makes a viewer more likely to believe that the message means what it says
fifteen // measure with your eyes : design is visual
if you intend on element to align with another, do it by eye dont measure, if the viewer perceives the two items as aligning it will assume they actually do
sixteen // create images - don't scavenge
make what you need, and make it the best you can
try not to rely on what already exists even though it might be cheaper or easier
seventeen // ignore faahion. seriously.
this is tricky because our job is to communicate to your audience...which is now
if you design the project around the meaning its likely to mean more to the audience and be useful a lot longer
eighteen // move it! static equals dull
two dimensional can easily be dull and lifeless... a dynamic layout interests the viewer into staying and looking longer
nineteen // look to history, but don't repeat it
its important for a designer to consider how communication strategies and aesthetics have changed over time, and to understand how his or her own work fits into the continuum of thought and practice
twenty // symmetry is the ultimate evil
symmetrical visual arrangements are generally static and offer little movement
they limit a designer's flexibility, and shouts that the designer is lazy and likes to let the format do the designing
I am defiantly a list person so I enjoy reading things like this.Ive heard all of these rules time and time again but its great to be reminded of them when your caught up in all of your projects. the three i need to practice more are having a concept, designing for an appropriate audience, and utilizing simplicity. I tend to get a little sidetracked so the thing i want to practice and improve the most is my concept and using the process work. I think if i can get the process work down and refer to it throughout the whole design i can make design decisions easier, based on whats best for communicating the idea i intended in the first place.
1 // have a concept : this one is particularly important because for me its WAY TOO easy to get caught up in how it looks and forget the purpose. i end up getting sidetracked and am not focusing on exactly what i want my design to say. I think if i work at having a concrete concept and continually referring back to it i can be creating clear successful design.
11 // be universal : this struck me because it is easy to get caught up how things look. focusing on who your target audience is and creating design that will work for them is more important than our own personal preferences
7 // less is more : this rule is so true! intricate complicated designs do get attention but what we really enjoy is simplicity. this also goes back to rule number one, by having a concept and referring to it you can easily make sure your not decorating just to fill space but only putting what is needed to communicate the message you intended
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