1. PRINCIPLES OF GRAPHIC DESIGN
The principles of design suggest effective and pleasing ways to arrange text and graphics on the page as well as the arrangement of individual elements within illustration, logos, and the overall graphic design of a document. Generally, all the principles of design apply to any piece you may create. How you apply those principles of design determines how effective your design is in conveying the desired message and how attractive it appears.
Alignment
Balance
Proximity
Consistency / Repetition
White Space
Contrast
All designs have certain basic elements or building blocks chosen to convey the message beyond the actual words or photos used. How we place those items on the page determines the structure of our designs and affects the overall readability and determines how well our design communicates the desired message. The principles of design govern that placement and structure.

2. BALANCE
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.
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3. PROXIMITY
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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.

4. ALIGNMENT
There is nothing inherently wrong with centred 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 centred 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.
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5. REPITION & CONSISTENCY
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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 colours 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.

6. CONTRAST
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 similar (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 colour echo the shape and colour 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.
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7. WHITESPACE
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.
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8. VERTICAL AND HORIZONTAL BALANCE
SYMMETRICAL BALANCE
Symmetrical balance is easiest to see in perfectly centred compositions or those with mirror images. In a design with only two elements they would be almost identical or have nearly the same visual mass. If one element was replaced by a smaller one, it could throw the page out of symmetry. To reclaim perfect symmetrical balance you might need to add or subtract or rearrange the elements so that they evenly divide the page such as a centred alignment or one that divides the page in even segments (halves, quarters, etc.).
VERTICAL AND HORIZONTAL BALANCE
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VERTICAL BALANCE

9. ASYMMETRICAL BALANCE
Asymmetrical design is typically off-centre or created with an odd or mismatched number of disparate elements. However, you can still have an interesting design without perfect symmetry.
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Asymmetrical/All Over Balance — It can't be neatly sliced in half like a symmetrical design but most of the elements have only small differences in shape and mass. This page achieves an overall balance by use of an underlying grid that spreads the many pieces out over the entire page, more or less evenly.

10. ASYMMETRICAL BALANCE
Asymmetrical Tension — Like a wild, unruly garden, the elements of this brochure cover are barely contained on the page. The plants spring up primarily along the left side but with a few stems escaping and arching across the page. The text, although randomly placed, follows the lines of the plants keeping them anchored to the overall design. The off-balance design creates a sense of freedom and movement.
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Asymmetrical Balance — This page uses a 3 column format to create a neatly organized asymmetrical layout. The two columns of text are balanced by the blocks of colour in the lower left topped by a large block of white space. In this case, because the white space is in a block shaped much like the text columns, it becomes an element of the design in its own right.

11. REPITION Repetition of an Image Reinforces Message
Tie the number of copies of a piece of clip art to the numbers in your text. A simple flower symbol used four times reinforces the "Buy Three, Get One Free" headline in the coupon/postcard (larger image). Each flower is identical. A dashed line (as an actual or fake coupon) separates the first three flowers from the "free" flower.
Repetition — whether it's words or images — reinforces your message, provides consistency, and creates familiarity.
REPITION
Provide Comfort for Readers with Repetition
Readers gain comfort from having certain elements repeat themselves at consistent intervals or in the same position. It is much easier to flip to the desired page of a magazine if the reader knows that the page number will be in the same location on every page. Specific columns or special sections of a newspaper are more readily recognized, even when they change location, if they look the same from issue to issue. Here are a few examples of how to use repetition:
Use the same font for all your headlines.
Use the same graphic rule at the top of all pages in a multi-page document.
Put repeating elements (like page numbers) in the same location on each page of a multi-page document.
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12. REPITION
It Bears Repeating: You Don't Have to be an Artist to Use Clip Art Effectively
Multiple images can work
One of the complaints about clip art is that many people — desktop publishing beginners and pros included — tend to overuse it, use it inappropriately, or use the same old boring images over and over. However, there are easy ways to use the same image over and over without being boring.
These techniques require little to moderate skill using graphics programs. They are great if you have limited graphic design skills or for those times when you just need to throw something together fast — but you still want to avoid that "canned clip art" look.
If one piece of clip art is good — 2, 3, or 4 are even better, right? Could be. Try these illustrated repeating ideas. Take a single piece of art and make several duplicates.
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13. REPITION Resize, Recolor, Reverse to Turn One Image Into Many
Multiply your clip art collection by changing an image multiple times
Use duplicates of a piece of clip art in varying sizes, colours, and orientations. The butterflies on this sign (larger image) have been resized smaller and larger than the original. Some are arranged at different angles. Others are flipped horizontally or vertically. Half of the butterflies are light gray, the other half a slightly darker gray. Tiny duplicates of the butterfly also become the dots on the i in Spring and Fling.
When modifying your clip art, be sure you're doing it correctly. Find out why it's not OK to rotate or resize graphics in a page layout application. Use your image editor or illustration program.
REPITION
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14. REPITION Make a Single Image Stand Out with Dramatic Contrast
Use colour or size to greatly alter a duplicate image
Use colour to make a dramatic change to a single copy of your clip art. One of the ten black and white penguins (larger image) gets a wild new orange and green suit that makes him stand out from his duplicate friends.
This same principle - contrast - can work with size. Make a single duplicate much, much larger or smaller than the other copies. To a less degree alignment (1 to the right, the rest to the left) and proximity (1 alone, of to one side and many others grouped together) can create a similar change.
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15. CONTRAST How Contrast Works
                                                                                 
Use size, value, colour, and type to create contrast
Contrast is one the principles of design. Contrast occurs when two elements are different. The greater the difference the greater the contrast. The key to working with contrast is to make sure the differences are obvious. Four common methods of creating contrast are by using differences in size, value, colour, and type.
Contrast adds interest to the page and provides a means of emphasizing what is important or directing the reader's eye. On a page without contrast, the reader doesn't know where to look first or what is important. Contrast makes a page more interesting so the reader is more apt to pay attention to what is on the page. Contrast aids in readability by making headlines and subheadings stand out. Contrast shows what is important by making smaller or lighter elements recede on the page to allow other elements to take centre stage.
CONTRAST
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16. CONTRAST Use Obvious Contrasting Elements
                                                                                   
The key to effective contrast is substantial difference
Other methods of creating contrast include using texture, shape, alignment, direction, movement. Remember, the key is to use a substantial difference. A bold face, a font size change that is barely noticeable, and colours that are too close in value looks more like a mistake than an attempt to provide emphasis or interest.
Some Ways to Use Contrast
Add visual interest to a layout of tall skinny columns of text by using wide or irregularly shaped photos.
A series of static images with a single picture showing movement will draw the eye to the contrasting image.
Align text to the left but set subheads right-aligned in an adjacent column.
Typically, a layout may employ a combination of 2 or more contrasting elements.
CONTRAST
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17. CONTRAST Contrast with Size
                                                                                                                             
Big and small elements of the same type, such as big and small images and big and small type are the most obvious uses of size to create contrast. Contrasting white space or the physical size of the piece with another element of the design is another method.
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18. CONTRAST Contrast with Type
                                                                                                                               
Type contrast can utilize size, value, and colour to create contrasting typographic treatments. Add bold or italics to create contrast. Mix large type with small type. Combine serif with sans serif type to create type contrast. Set portions of text in contrasting colours or varying values. Changes in type alignment create contrast as does type spacing such as extreme kerning for headlines.
CONTRAST
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19. CONTRAST Contrast with Colour
                                                                                                                                     
Use harmonizing, complementary, and opposite colours to create contrast. Be careful with the value of the colours as well. For example, harmonizing colours (adjacent to each other on the colour wheel) can appear washed out if there is not enough difference in the values of each colour.
CONTRAST
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20. WHITESPACE How To Add White Space
White space is an important principle of design missing from the page layouts of many novices. White space is nothing. White space is the absence of text and graphics. It breaks up text and graphics. It provides visual breathing room for the eye. Add white space to make a page less cramped, confusing, or overwhelming
Here's How:
Increase paragraph spacing. Use a line of space or a deep indent (but not both) to put white space between paragraphs.
Increase space between columns of text. Alleys or gutters that are too narrow cause the eye to skip over to the next column. Put white space between columns with adequate alleys.
Put space at the end of lines of text. Use ragged-right alignment to add white space between columns and at the end of lines of text.
Put more space around outer edges of page. If space is necessarily cramped within the body of the publication, add white space with generous margins or gutters.
Leave more room around graphics. When wrapping text around graphics or wherever text and graphics meet, provide plenty of standoff white space. Don't run text right up to the edge of graphics.
Increase space around headlines. Add white space between headlines or subheads and the preceding copy and a bit below as well.
Increase space between lines of type and individual characters. Add typographic white space by increasing the leading of body text, using lighter type, avoiding letterspacing that is too tight, and avoiding unending condensed or heavy type.
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21. WHITESPACE Tips: Keep design balanced.
Achieve a balance of ink and white space using a mix of techniques described above, as appropriate to your design.
Don't go overboard.
Avoid 'bad' white space caused by trapping space within text, rivers of white (often found with unadjusted justified type), overuse of expanded type, too wide gutters, excessive leading, and poorly kerned headlines.
White space is any colour.
White space isn't white, literally, unless your paper is white. If the paper is yellow, the white space is yellow. White space is simply empty space - that area devoid of text and graphics.
Pre-printed designs need white space.
When printing on pre-printed paper that has its own obvious design elements - lines, circles, etc. that aren't simply an overall pattern blending into the background - treat those elements as if they were part of the text and graphics you are printing and allow for adequate white space around those parts of the design.
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22. CENTRE ALIGNMENT Centre alignment can lend a formal tone to a layout
                                                                              
Centre alignment can lend a formal tone to a layout
Centre alignment may be horizontally or vertically aligned, or both. Elements may be centred on the page, within sections of the page, and centred with other elements on the page. In this example, each line of text and the large graphic are centred horizontally on the page. The main block of text and graphic are also centred vertically on the page. Centre alignment generally gives a layout a formal appearance and is often seen in traditional wedding invitations and formal stationery.
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23. LEFT ALIGNMENT
Edge alignment lines up text or objects along their top, bottom, left, or right edges. Left-aligned text (with ragged right edges) is one of the most familiar alignments.
The text in this layout example is all left aligned within each column. The headline is aligned with the left edge of the centre column of text. The page number in the upper left corner is both left-aligned with the text near the bottom of the column and aligned with the bottom edge of the rule above the headline, an example of horizontal alignment.
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24. RIGHT ALIGNMENT
Right alignment, another edge alignment method, generally works best for small bits of text, such as posters, some ads, and in this business card layout. Not only are the lines within each of the three blocks of text aligned to the right, all three blocks of text are right-aligned to the same invisible line.
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25. VISUAL ALIGNMENT
Visual or optical alignment fixes some of the problems that can occur with other types of alignment due to the varying shapes of letters and graphics. In visual alignment the objects may not be precisely aligned but to the eye they appear lined up.
In this business card makeover, the original version has the text technically aligned to the left. However, the slant of the cursive font and the large flourish on the V made it appear that the text underneath was not aligned.
In the re-do of the design the non-script text has been visually aligned beneath the point of the cursive V.
Visual alignment applies as much to graphics as to text. When aligning neat squares adjustment may not be necessary but with images of irregular shape it often looks better to ignore small parts that stick out.
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26. SYMBOLS
Symbols are things that stand for some object or idea. From caveman to the Egyptians and Summerians in 3000BC Hieroglyphics – picture or symbol used to represent a word, syllable or sound.

27. TRADEMARKS

28. PICTOGRAPHS

29. LOGOGRAMS

30. MONOGRAMS

31. Three sample logos are shown below
Three sample logos are shown below. Each logo as been designed with the customer in mind. For example, the Jaguar logo is designed for potential sports car owners. It is intended to give the potential customer the feeling of speed, power, agility and supremacy. For each of the Coca-Cola and Vodafone logos explain what message they are trying to put over to customers.
                                          
LOGOS
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32. COMPARE AND CONTRAST
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33. SYMBOL ANALYSIS
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34. IDENTIFY
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36. Compare and contrast, applying the 6 Principles of Graphic Design , the two Yellow Pages Advertisements shown below.
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