1. Principles of
Graphic
Design

2. A.K.A.
HOW TO ENSURE THAT
YOUR
DESIGNS DON’T
SUCK!

3. THIS CLASS IS BASED UPON THE WONDERFUL WORK OF
ROBIN
WILLIAMS

4. NOT THAT ROBIN
WILLIAMS!

5. THIS ROBIN WILLIAMS!

6. WHAT IS
GRAPHIC DESIGN?

7. WHAT IS
GRAPHIC DESIGN?
GRAPHIC DESIGN IS THE ART OF COMMUNICATION AND PROBLEM- SOLVING THROUGH THE USE OF TYPE, SPACE AND IMAGE

8. WHY THIS CLASS?

10. ONCE YOU SEE GOOD DESIGN - ONCE YOU CAN
IDENTIFY IT, YOU CAN
CREATE IT!

11. ONCE YOU IDENTIFY THE
PROBLEM WITH A
DESIGN, YOU CAN FIX IT!

12. “M ore Matter is being printed and
published than ever before, and every publisher of an advertisement, pamphlet, or book expects his material to be read. Publishers and, even more so, readers want what is important to be clearly laid out. They will not read anything that is troublesome to read, but are pleased with
what looks clear and well arranged, for it will make their task of understanding easier. For this reason, the important part must stand out and the unimportant must be subdued.”

13. SO…
WHAT
EXACTLY ARE
THE
ELEMENTS OF
EFFECTIVE DESIGN?

14. ELEMENTS OF EFFECTIVE DESIGN:
 CONTRAST  REPETITION  ALIGNMENT  PROXIMITY

15. ELEMENTS OF EFFECTIVE DESIGN:
 CONTRAST  REPETITION  ALIGNMENT  PROXIMITY
IF ONLY THERE WERE AN EASY WAY TO REMEMBER… YOU KNOW - AN ACRONYM, OR A MNEMONIC DEVICE…

16. ELEMENTS OF EFFECTIVE DESIGN:
 CONTRAST  REPETITION  ALIGNMENT  PROXIMITY
IF ONLY THERE WERE AN EASY WAY TO REMEMBER… YOU KNOW - AN ACRONYM, OR A MNEMONIC DEVICE…

17. ELEMENTS OF EFFECTIVE DESIGN:
R A P
IF ONLY THERE WERE AN EASY WAY TO REMEMBER… YOU KNOW - AN ACRONYM, OR A MNEMONIC DEVICE…

18. C.R.A.P! - EXACTLY!

19. DESIGN ELEMENT
CONTRAST

20. CONTRAST = DIFFERENCE! CONTRAST
DESIGN
CONTRAST = DIFFERENCE!
ELEMENT
IF THE DESIGN ELEMENTS ARE NOT EXACTLY THE SAME, MAKE THEM VERY DIFFERENT!
CONTRAST

21. WEAK
CONTRAST IS
BORING!

25. BIG

26. HEY! LOOK AT ME!

27. SAME SAME SAME SAME SAME SAME SAME DIFFERENT SAME SAME SAME
DON’T BE AFRAID OF WHITE SPACE

28. plain

29. THIN

30. WHEN IT COMES TO
CONTRAST IN A
DESIGN,
GO BIG, OR GO HOME!

35. DESIGN ELEMENT
REPETITION

36. REPETITION = RE-USE! REPETITION
DESIGN
REPETITION = RE-USE!
ELEMENT
RE-USE THE SAME (OR SIMILAR) ELEMENTS THROUGHOUT THE DESIGN
REPETITION

37. REPETITION CAN REALLY PUNCH UP YOUR DESIGNS!

38. REPEAT AFTER ME… COLORS PATTERNS SHAPES TYPEFACES STROKES & LINES
WEIGHTS & THICKNESS
TEXTURES
SPACIAL RELATIONSHIPS

47. DESIGN ELEMENT
ALIGNMENT

48. ALIGNMENT= VISUAL CONNECTION ALIGNMENT
DESIGN
ELEMENT
VISUAL CONNECTION
NOTHING IN YOUR DESIGN SHOULD LOOK AS IF IT WERE PLACED THERE RANDOMLY
ALIGNMENT

49. ALIGNMENT BRINGS
ORDER
TO CHAOS

56. ALIGNING TYPE This text is This text is flush left. flush right.
Some people call it quad left, or you can say it is
Some people call it quad
right, or you can say it is
left aligned.
right aligned.

57. ALIGNING TYPE This text is centered. If you are going to
See, in this paragraph it is difficult to tell if this text was centered is
centered.
purposely or perhaps accidentally. The line
If you
are
lengths are not the same, but they are not really different, either.
going to
center text, make it
If you can’t instantly tell that the type is centered, why bother?
obvious!

58. ALIGNING TYPE
This is an example of text which has been fully justified. This alignment leaves more space between words than desired.
For example, the space between the words in the second line of the first paragraph is high, as is the space between the words in the third line of the first paragraph.

59. DESIGN ELEMENT
PROXIMITY

60. PROXIMITY = ORGANIZATION
DESIGN
PROXIMITY = ORGANIZATION
ELEMENT
ELEMENTS RELATED TO EACH OTHER SHOULD BE GROUPED CLOSE TOGETHER
PROXIMITY

63. DON’T MAKE YOUR AUDIENCE THINK! OR…AT THE VERY
LEAST, DON’T MAKE THEM THINK ABOUT THE WRONG STUFF…

67. B E F O R E Not horrible, but everything has a certain “sameness”
to it. There is no
contrast or hierarchy.

68. A F T E R Much better! This revised version is much easier to read
and comprehend. And all it took was a little bit of “C.R.A.P.”

69. TYPE

70. EVERY
DESIGNER SHOULD HAVE FIVE TYPES OF FONTS IN HIS OR HER COLLECTION

71. SANS SERIF SLAB SERIF SCRIPT
FONT TYPES
SERIF
SANS SERIF SLAB SERIF SCRIPT
DECORATIVE

72. SERIF?
FONT
TYPES

73. SERIF?
FONT
TYPES

74. SERIF?
FONT
TYPES

75. SERIF?
FONT
TYPES

76. SERIF?
FONT
TYPES

77. SERIF
FONT
TYPES
Times New Roman
Book Antigua
Adobe Garamond Pro

78. SANS SERIF
FONT
TYPES
Arial
Impact
Eras

79. SLAB SERIF
FONT
TYPES
Rockwell
Big Mummy
Playbill

80. SCRIPT
FONT
TYPES
Brush Script
XwãtÜw|tÇ fvÜ|Ñà
Mistral

81. DECORATIVE
FONT
TYPES
Circus
VARSITY
Old English Text

82. OMG!!! WHERE CAN I
FIND MORE FONTS?

83. SOME
TRULY TASTY FONTS
ARE BEING SERVED UP AT
DAFONT.COM

85. REAL FONT
“NUTS” SHOULD HEAD
OVER TO
FONTSQUIRREL.COM

87. ALL
THESE LOVELY FONTS!

88. HOW ON
EARTH ARE WE
SUPPOSED TO
KNOW…

89. …WHICH FONTS WORK
WELL
TOGETHER? (MR.
SMARTY- PANTS!)

90. WHEN IT COMES TO

91. COMBINING FONTS

92. IT’S ALL ABOUT…

93. RELATIONSHIPS!

94. TYPES OF (DESIREABLE) TYPE RELATIONSHIPS…
THERE ARE TWO
TYPES OF (DESIREABLE) TYPE RELATIONSHIPS… C

95. CONCORDANT
CONTRASTING

96. CONCORDANT USE ONLY ONE
TYPE FAMILY, WITHOUT MUCH VARIETY IN STYLE, SIZE, WEIGHT, ETC.

97. TYPE FAMILY???

98. SAME FONT…

99. DIFFERENT WEIGHT,

100. DIFFERENT STYLE,

101. DIFFERENT WIDTH,

102. ETC.

103. THE
CLARENDON TYPE
FAMILY,FOR INSTANCE, HAS
SEVERAL UNIQUE (BUT
RELATED) FAMILY
MEMBERS

105. Helvetica Lt. Condensed
Helvetica Black
Helvetica Lt. Condensed Oblique

106. CONTRASTING
COMBINE
SEPARATE TYPEFACES THAT ARE CLEARLY DISTINCT FROM EACH
OTHER

107. REMEMBER THE FIVE TYPES OF FONTS WE IDENTIFIED EARLIER: SERIF, SANS SERIF, SLAB SERIF, SCRIPT, AND DECORATIVE…?

108. TO SUCCESSFULLY ACHIEVE TYPE CONTRAST,
TO SUCCESSFULLY ACHIEVE TYPE CONTRAST, SIMPLY COMBINE TYPEFACES FROM DIFFERENT TYPE CATEGORIES. IT’S THAT EASY!

109. Professional

110. SHADOW RIDGE
High School

111. Dysart
Unified
School
District
#89

113. “DOCTOR’S ORDERS!”

114. USE NO MORE THAN TWO (OKAY… MAYBE THREE...) FONTS PER DESIGN

115. MORE THAN THAT, AND YOU’RE JUST LOOKING
FOR
TROUBLE!

116. THE “NITTY-GRITTY”
SO…WE
KNOW ABOUT “C.R.A.P.” AND
FONTS AND
STUFF…

117. THE “NITTY-GRITTY”
THE
QUESTION REMAINS… WHAT
SOFTWARE SHOULD WE
USE?

118. THE BEST SOFTWARE IS
THE
SOFTWARE YOU
HAVE IN
FRONT OF YOU!

119. THE BEST SOFTWARE ADOBE INDESIGN MICROSOFT PUBLISHER, WORD,
OR EVEN POWER POINT!

120. APPLY THE
ELEMENTS OF EFFECTIVE
DESIGN,
REMEMBER THE RULES OF
COMBINING
TYPEFACES, AND WHATEVER
DESIGNS YOU CREATE - BE THEY FOR
PERSONAL OR PROFESSIONAL USE - WILL BE AWESOME!