1. Visual Design Principles
There are five principles that encompass an interesting design.
Balance
Rhythm
Emphasis
Proportion and scale
Unity
There are many different lists of design principles used by various occupational areas.

2. Balance
Parts of the design are equally distributed to create a sense of stability.
There can be physical as well as visual balance.
Types
Symmetrical or Formal Balance
Asymmetrical or Informal Balance
Radial Balance
Vertical Balance
Horizontal Balance

3. Balance Symmetrical or Formal Balance The elements within the design are identical in relation to a centerline or axis.

4. Balance Asymmetrical or Informal Balance
Parts of the design are not identical but are equal in visual weight.

5. Balance Radial Balance
Design Elements radiate
outward from the center.

6. Balance Vertical Balance
The top and bottom parts are equal.

7. Balance Horizontal Balance
The left and right
parts are equal.

8. Rhythm Repeated use of line, shape, color, texture or pattern. Types
Regular rhythm
Graduated rhythm
Random rhythm
Gradated rhythm
This principle is sometimes referred to as repetition.

9. Rhythm Regular Rhythm A element is repeated at the same repetition each time.
Flagpoles, windows on buildings, stripes on awning, lights that illuminate awning all represent regular rhythm.

10. Rhythm Graduated Rhythm The beats of the element become closer or further apart as they move.

11. Rhythm Random Rhythm The beats of the element are random
or are at irregular intervals.

12. Rhythm Gradated Rhythm The repeated element is identical with the exception of one detail increasing or decreasing gradually with each repetition.
The shelves get smaller and smaller.

13. Emphasis Points of attention in a design.
The feature in a design that attracts one’s eye.
The focal point.
Emphasis can be achieved through size, placement, color and use of lines.
The most personal aspect of a design.

14. Proportion and Scale
Comparative relationships between elements in a design with respect to size.
3:5 ratio is known as the Golden Mean.
Scale
The proportions or size of one part of the image in relationship to the other.

15. Unity
Unity is applying consistent use of lines, color, and texture within a design.
To be harmonious.

16. Unity

17. Readability/Typography
Style of type, font
Size of type, point
Font enhancements,
underline, shadow, word art
White space
Line length and justification
Color of the text and
color of the text background
Page layout
Readability is a key factor in graphic design. The human eye can only handle so much. There are guidelines which make designs easier to read. There are designs where readability is not the goal. In legal contracts, very small type and very long line lengths are used. This arrangement results in a document that is very hard to read. The intent is that the document has to be provided by law; it is not to have the reader be able to read or understand the material within the document.

18. Graphic Design Audience Analysis Who is the audience?
What are their demographics?
Where are they located?
How long do they have to read the message?
What is their anticipated level of interest?
Trends?
Understanding the audience is essential when crafting an effective graphic design. Once the audience is understood, the content of the message and how it will be delivered can be considered. Which principles of design will be based on what the demographics tell the designer about the audience’s interest level in the information or product that is being offered. For example, is the audience seeking the information, or will they need to be convinced to look at the design by the use of emphasis and rhythm to get them to move their eyes down the design to the information that they need to purchase the product?
Where the audience is and how long do they have to read the information, should dictate the content of the message. For example, a McDonalds along an interstate wants more customers, a bill board seems like a good idea, a 40’ x80’ board with the very large golden arches the exit Number and direction are all that is needed. The reader is actively seeking the information but has only a few seconds to see and read he message. This minimal use of graphics and text is the effective way to present the message, more words and graphics would actually make the message MUCH less effective because the reader does not have time to read all of the information.

19. Demographics Age Sex Social status Religion Education level
Economic level
Interests
Demographics are used to establish the likes and dislikes of the groups which make up any society. When crafting a message, the designer must have an understanding of the audience. Does the group actually need the object, service, or information we are trying to market to them, or are they going to have to be convinced as to the need? How well does the audience read? Is the audience on elementary school or high school level, or are they college educated? All of these groups have different backgrounds, abilities, and interests and must be approached differently.

20. Location Where are they in reference to the Message? – Distance
Where are they? – Describe Location
Distance and location are very important to how a designer should attack a design. The size and shape of a message should correlate with the distance the viewer is from the message. A 2” x 3” business card is fine to give an individual personal information about a salesman or company if the card is going to be placed in the reader’s hand, but that same information needs to be placed on a 40’ billboard if that reader in in his/her car going down the interstate.

21. Time How long do they have to read the message?
What is in competition with the message for reading time?
Time can play a major role in deciding what elements to include in the design. How long is the audience going to have to view the design? In some cases, the design may have only seconds to gain the attention of the audience. An ad in a major magazine may only be viewed for seconds as the reader flips the articles. Emphasis may need to be used to bring the reader to the design. The opposite may be true of a design placed in a waiting room of a doctor or dentist. This audience may be in the same location for many minutes with little to do. It would be a likely assumption that anything placed on the walls will be read at some time during the waiting period. A design in this situation may not need to employ any special design principles to gain the reader’s attention.

22. Interest How interested is the audience in the subject of the message?
What do they like or dislike?
What interest can be exploited to get the audience to read the message?
Does the audience need and want the information on the design, or do they need to be convinced to even look at it and, perhaps, even be entertained by the design to continue? The design of a dictionary is perfect; everyone who picks up a dictionary is looking for the information inside. The only design principles needed are those which go towards organization to help the reader find the information as quickly as possible. On the other hand, a print ad trying to increase the sales of a type of soft drink has many obstacles to overcome. Everyone already has a soft drink that he/she prefers. The ad may have to put beautiful people or sports stars on the ad in order to try to convince people that if they drink their brand that they can play ball as well as the star in the ad.

23. Human factors Values Beliefs Attitudes Character Temperament Outlook
Perspectives

24. Effective Graphic Design
Incorporates Message Analysis
Message Content - concise but complete
Size and Shape - how the message is to be delivered
Readability – typography
Needs the Audience - understands demographics
Use of proven Design Principles and Elements
Once the audience is fully understood, an effective message can be crafted. The study of how groups of people think, what they like and dislike, what makes them buy one product over another, is a whole career in itself. Why aren’t many food products packaged in black containers? Through trial and error and market research, it has been found that it does not sell as well as food packaged in primary colors. Why is the cost of high end cars often not included in ads for them? The first job in trying to sell a high end car to those who can afford them is to convince them that the car will give them more luxury or status. Ads for low end cars almost always have the cost included because consumers looking at those cars want the cheapest way to get to their job; cost is the first and sometimes the only concern.
Students who are beginning their design careers are at a disadvantage; they have no background. Whatever the design, whether a physical object or simply a graphic design, students need to study what has been successful. Looking at and trying to understand successful designs are critical to the development of a good designer. Good design is good design and it stands the test of time. Designers do not need to reinvent design but rather to use/to adapt tried and true methods.
The following slides are just a few guidelines about how different elements can affect different audiences. This is by no means intended to be a complete treatment of graphic design.

25. Visual Design Elements
Six integral components in the creation of a design:
Space
Texture
Value
Line
Color
Form/Shape

26. Line
Types
Vertical- Represents dignity, formality, stability and strength.
Horizontal- Represents calm, peace and relaxation.
Diagonal- Represents action, activity, excitement and movement.
Curved- Represents freedom, the natural, having the appearance of softness and creates a soothing feeling or mood.

27. and profound effect on a design.
Color
Color has an immediate
and profound effect on a design.
Types
Warm Colors
Reds, oranges, yellows
Cool Colors
Blues, purples, greens
Colors can affect how humans feel and act.

28. The shape, outline, or configuration of anything.
Form and Shape
The shape, outline, or configuration of anything.
Examples
Squares
Circles
Ellipses
Ovals
Rectangles
Triangles

29. Space By incorporating the use of space
in your design, you can enlarge or reduce the visual space.
Types
Open, uncluttered spaces
Cramped, busy
Unused vs. good use of space

30. The surface look or feel of something.
Texture
The surface look or feel of something.
Types
Smooth surface
Reflects more light and, therefore, is a more intense color.
Rough surface
Absorbs more light and, therefore, appears darker.

31. The relative lightness or darkness of a color.
Value
The relative lightness or darkness of a color.
Methods
Shade
Degree of darkness of a color
Tint
A pale or faint variation of a color
Add black to get a shade. Add white to get a tint.