1. Chapter 3 Fundamentals of Graphic Design

2. Objectives Learn to design with the formal elements of design.
Understand the nature of color.
See how to employ the principles of design.
Realize how to manipulate graphic space.

3. Formal Elements
Any graphic designer must have a foundation in two-dimensional design and color.
The formal elements are the building blocks of two-dimensional design.
Line
Value
Shape
Texture
Color
Format

4. Line A line is a mark made by a tool as it is drawn across a surface.
The tool can be almost anything — a pencil, a pointed brush, a computer and mouse, even a cotton swab.
Also, a line is defined as a moving dot or point, or can be called an open path.
Packaging Designer firm: Louise Fili Ltd.

5. Shape
The general outline of something is a shape, also defined as a closed form or closed path.
Graphic Identity Design firm: Harp and Company

6. Value
Value describes the lightness or darkness of a visual element.

7. Color (1 of 2)
Hue is the name of a color, that is, red or green, blue or orange.
Value is the range of lightness or darkness, that is, a light red or a dark red, a light yellow or a dark yellow.
Shade, tone, and tint are different aspects of value.
Saturation is the brightness or dullness of a color, that is, bright red or dull red, bright blue or dull blue.

8. Color (2 of 2) Diagram/additive color system
When working with light, the three primaries are green, red, and blue.
Primaries are also called the additive primaries because, when added together, they create white light.
The color system of white light is called the additive color system.

9. Diagram/Subtractive Color System
The subtractive color model is built on the subtractive primary colors.
The subtractive primary colors in pigment are yellow, red, and blue.
In printing inks, they are cyan, magenta, and yellow.

10. Diagram/Additive Color System
When working with light, the three primaries are green, red, and blue.
In printing, yellow, magenta, and cyan are the colors of the process inks used for process color reproduction.
A fourth color, black, is added to increase contrast.

11. Color: CMYK Percentages
Diagram / subtractive primary hues with CMYK percentages
In printing, yellow, magenta, and cyan are the colors of the process inks used for process color reproduction.
A fourth color, black, is added to increase contrast. Using all four is called four-color process.
Four-color process is used to reproduce color photographs, art, and illustrations.

12. Color: Pantone Matching System Swatch
The Pantone Matching System (PMS), offers many custom mixed colors with PMS books to illustrate the available colors.

13. Texture
The tactile quality of a surface or the representation of such a surface quality is a texture.
Tactile textures are real; we can actually feel their surfaces with our fingers.
Visual textures are illusionary; they simply give the impression of real textures.
Poster Design firm: Studio Bustamante

14. Pattern
Pattern can be defined as a repetitive arrangement of elements, like a wrapping paper design or a plaid shirt.
Poster Design: Luba Lukova

15. Format
The format is the substrate or support for the graphic design.

16. The Principles of Design: Balance
Balance is an equal distribution of weight.
A balanced composition can be symmetric or asymmetric.

17. The Principles of Design: Symmetric Design
Symmetry is the arrangement of all identical or similar visual elements so that they are evenly distributed on either side of an imaginary vertical axis, like a mirror image.
Theater poster
Design firm: Spotco
Illustrator: Roz Chast

18. The Principles of Design: Asymmetric Balance
When you arrange dissimilar or unequal elements of equal weight on the page, it is called asymmetry.
Poster Design firm: Jennifer Sterling Design

19. The Principles of Design: Emphasis
The arrangement of visual elements giving stress or importance to some visual elements
Allows two actions
Information to be gleaned easily
The graphic design to be easily received.

20. The Principles of Design: Emphasis—Focal Point
The part of a design that is most accentuated
Poster Design firm: Morla Design

21. The Principles of Design: Emphasis—Visual Hierarchy
Establishing a visual hierarchy, which means arranging elements according to emphasis, is directly related to establishing a point of focus.
It goes beyond a focal point to establish a priority order of all the information in a work.
Annual Report Design firm: Leiber Brewster

22. The Principles of Design: Rhythm
Pattern created by repeating or varying elements, with consideration given to the space between them, and by establishing a sense of movement from one element to another
Promotional Design firm: Planet Design Company

23. The Principles of Design: Unity
Established when the elements in a design look as though they belong together
One of the primary goals of composition – establishing an integrated whole, rather than unrelated parts
Packaging Design firm: Louise Fili Ltd.

24. The Principles of Design: Unity—Correspondence
When you repeat an element like color, direction, value, shape, or texture, or establish a style, like a linear style, you establish a visual connection or correspondence among the elements.
Poster Design firm: Concrete Design Communications

25. The Principles of Design: Unity—Grid
A grid is a guide — a modular compositional structure made up of verticals and horizontals that divide a format into columns and margins.
It may be used for single-page formats or multi-page formats.

26. The Principles of Design: Unity—Alignment
Visual connections can be made between and among elements, shapes, and objects when their edges or axes line up with one another.

27. The Principles of Design: Unity—Flow
Elements should be arranged so that the audience is led from one element to another through the design.
Flow is also called movement and is connected to the principle of rhythm.

28. The Manipulation of Graphic Space: Positive and Negative Space
In a successful positive/negative relationship, the positive and negative space is interdependent.
Poster Design firm: Chermayeff & Geismar Inc.

29. The Manipulation of Graphic Space: Illusion
On a two-dimensional surface, you can create the illusion of three-dimensional space or spatial depth.
The illusion of spatial depth can be shallow or deep, recessive or projected.
Book Jacket Design firm: Muller + Company

30. Summary
Learning to successfully manipulate the formal elements -- line, shape, color, value, texture, and format -- and apply the design principles of balance, emphasis, rhythm, and unity, as well as manipulate graphic space is imperative.
These formal elements and principles underpin every visual solution.
Without a complete understanding, one creates primitively rather than with design intelligence.