Fundamentals of Design: Elements, Principles, and Formats
Elements of
Good Design
Design
adapted from
R
o
b
i
n
S
a
w
y
e
r
F
i
r
s
t
F
l
i
g
h
t
H
i
g
h
S
c
h
o
o
l
T
h
i
s
p
r
e
s
e
n
t
a
t
i
o
n
w
i
l
l
p
r
o
b
a
b
l
y
i
n
v
o
l
v
e
a
u
d
i
e
n
c
e
d
i
s
c
u
s
s
i
o
n
,
w
h
i
c
h
w
i
l
l
c
r
e
a
t
e
a
c
t
i
o
n
i
t
e
m
s
.
U
s
e
P
o
w
e
r
P
o
i
n
t
t
o
k
e
e
p
t
r
a
c
k
o
f
t
h
e
s
e
a
c
t
i
o
n
i
t
e
m
s
d
u
r
i
n
g
y
o
u
r
p
r
e
s
e
n
t
a
t
i
o
n
•
I
n
S
l
i
d
e
S
h
o
w
,
c
l
i
c
k
o
n
t
h
e
r
i
g
h
t
m
o
u
s
e
b
u
t
t
o
n
•
S
e
l
e
c
t
“
M
e
e
t
i
n
g
M
i
n
d
e
r
”
•
S
e
l
e
c
t
t
h
e
“
A
c
t
i
o
n
I
t
e
m
s
”
t
a
b
•
T
y
p
e
i
n
a
c
t
i
o
n
i
t
e
m
s
a
s
t
h
e
y
c
o
m
e
u
p
•
C
l
i
c
k
O
K
t
o
d
i
s
m
i
s
s
t
h
i
s
b
o
x
T
h
i
s
w
i
l
l
a
u
t
o
m
a
t
i
c
a
l
l
y
c
r
e
a
t
e
a
n
A
c
t
i
o
n
I
t
e
m
s
l
i
d
e
a
t
t
h
e
e
n
d
o
f
y
o
u
r
p
r
e
s
e
n
t
a
t
i
o
n
w
i
t
h
y
o
u
r
p
o
i
n
t
s
e
n
t
e
r
e
d
.
The
b
asics of
d
esign
and l
ayout
•
E
v
e
r
y
d
e
s
i
g
n
e
r
w
o
r
k
s
w
i
t
h
t
h
r
e
e
b
a
s
i
c
visual elements
•
Copy or text (words set in type)
•
Graphics or art (photographs, artwork
and lines)
•
White space (blank areas on the page)
•
T
h
e
p
h
y
s
i
c
a
l
s
i
z
e
o
f
t
h
e
p
a
g
e
i
s
i
t
s
p
a
g
e
f
o
r
m
a
t
.
○
Most city newspapers (dailies) use the
broadsheet
format (14
by 22 inches)
.
○
S
tudent
newspapers typically use the tabloid format, which is
approximately 11 by 17 inches.
•
T
h
e
f
o
r
m
a
t
w
i
l
l
,
g
e
n
e
r
a
l
l
y
,
d
i
c
t
a
t
e
t
h
e
w
i
d
t
h
o
f
y
o
u
r
c
o
l
u
m
n
s
.
Formats and grids
Most graphic designers use the
following measurement units:
•
1 inch = 6 picas
•
1 pica = 12 points
•
1 inch = 72 points
Measurement
Dominance
•
Every single page and every double-page spread should
have one dominant element.
•
A dominant element is about 2.5 times larger than any
other element on the spread.
•
The dominant element serves as
the
visual “entry point”
to the page.
•
The action in a dominant photo
should face into the
spread rather than off the page.
•
Without a dominant, the reader’s eye will either bounce
around from element to element or the reader will skip
the page a
lt
ogether.
Principles of design
What’s it
called?
teasers
flag/nameplate
4-deck
headline
pull quote
cutline (caption)
byline
j
umpline
standing sig
refer (refers
to a related
story inside)
package (sidebar
info compliments
content of story)
What’s itcalled?
main
deck
with subhead
folio
6-column format
(standard format)
jump head
rule line
p
ull quote
3-column
photo
jump line
4-column
format
(bastard
measure)
text / copy
gutter (white
space
between
columns)
•
One way to unify a page is by
using consistent internal and
external margins.
o
Internal
m
argins: white space
between copy and graphics.
▪
Usually
one
pica between
elements
▪
It differs by publication. For
example, one student
newspaper uses
two
picas
between unrelated items
(two different stories,
stories and ads, etc.) and
one
pica between related
items (headline and story,
photo and caption).
Unity
Plac
ing
a
dominant
photo or art
so that it
runs across
the center of
the two
pages helps
to link the
spread.
Another name for a double-page spread is doubletruck.
Unity on double-page spreads
Use an eyeline
(one pica of
horizontal
white space
that extends
across the
spread).
An eyeline
should run at
least six picas
above or below
the horizontal
center of the
spread.
Unity on double-page spreads
•
With few exceptions, no more than
three
different type styles should be used in any
publication.
(1)
One style is chosen for the nameplate and the folios
(standing sigs).
(2)
A second is chosen for the headlines.
(3)
The third is the text or body type.
•
The only acceptable variation is an
occasional special type to achieve a
specific purpose or communicate a definite
idea for a major feature.
Unity with type
•
One of the most important aspects of design is
contrast.
o
Use of opposites in size, shape, weight and color or
tone.
●
A design should feature one dominant photo or
other graphic contrasted by several smaller photos
or graphics with horizontal as well as vertical
photos.
●
Different typefaces and the discreet use of screens
also create contrast.
Contrast
•
Repetition (rhythm) involves duplicating a
color, graphic or typographic element to hold
a design together.
Yearbooks & Magazines
o
Template designs may use a specific
headline design throughout a particular
section.
Repetition
•
Pages that are balanced can be folded in
half vertically, with each half mirroring the
other half of the page.
This is called
symmetrical balance.
•
Informally balanced pages feature weight
distributed diagonally.
This is preferred.
o
Big, bold graphic elements are placed toward the center,
o
White space, story copy, headlines and captions are
pushed to the outside so that pages do not “weigh
heavy” to one side or the other.
Balance
•
Certain elements of a publication should remain
unchanged.
•
Newspaper and newsmagazine staffs should
establish the following and keep them the same
from issue to issue:
o
Byline style
o
Folio style
o
Standing sig style
o
Caption style
o
Nameplate or flag
Consistency in newspaper
•
Using the same page elements, typography and
graphics throughout the theme pages, on the
cover, and on the front and back endsheets
creates a consistent publication.
•
Consistency within each section is established
by using
o
The same grid/col
umn structure
o
Headline design
o
Caption design
o
Repeating sidebar element(s)
Consistency in yearbook
•
From a design standpoint, the basic
component of any story is copy – words set
in type.
•
When choosing typefaces in general,
choose a font that’s easy to read for body
copy – columns of copy for stories.
•
Serif fonts (those with "feet") are usually
easier to read in large chunks.
Selecting and using type
•
Consider mixing a serif and sans serif
font for your main deck and
subheads.
•
Set the leading in body copy at
two
points higher than your type size. (For
example, 10-point body copy would
be set with 12-point leading.)
Typography guidelines
•
Choose a font family for headlines that has
many different varieties as a way of mixing
things up visually on the page.
o
Roman
o
Italics
o
Bold
o
Bold italics
o
Semibold
o
Semibold italics
Typography guidelines
•
Point
s
ize – Changing the point size
changes the height of the font.
•
The bigger the point size, the taller the
type.
•
A headline in
72-p
oint type
is
one
inch
tall because there are 12 points in a pica
and
six
picas in an inch(6 x 12 = 72).
Modifying type vertically
•
L
e
a
d
i
n
g
(
p
r
o
n
o
u
n
c
e
d
l
e
d
d
i
n
g
)
–
t
h
e
v
e
r
t
i
c
a
l
s
p
a
c
i
n
g
b
e
t
w
e
e
n
l
i
n
e
s
o
f
t
y
p
e
–
m
o
r
e
s
p
e
c
i
f
i
c
a
l
l
y
,
i
t
’
s
t
h
e
d
i
s
t
a
n
c
e
f
r
o
m
o
n
e
b
a
s
e
l
i
n
e
t
o
t
h
e
n
e
x
t
.
•
L
e
a
d
i
n
g
m
u
s
t
a
c
c
o
m
m
o
d
a
t
e
a
s
c
e
n
d
e
r
s
(
p
a
r
t
o
f
l
e
t
t
e
r
a
b
o
v
e
s
t
a
n
d
a
r
d
b
a
s
e
l
i
n
e
-
b
,
d
,
f
,
k
,
l
,
t
)
a
n
d
d
e
s
c
e
n
d
e
r
s
(
p
a
r
t
o
f
l
e
t
t
e
r
b
e
l
o
w
s
t
a
n
d
a
r
d
b
a
s
e
l
i
n
e
-
g
,
y
,
p
j
)
.
Modifying type vertically
•
Photo
•
Cutline
•
Headline
•
Text
These elements should appear in this order if they
are related. NEVER put art between the headline
and the start of the story.
The
four basic page elements
•
G
e
n
e
r
a
l
l
y
w
r
i
t
t
e
n
d
o
w
n
s
t
y
l
e
(
l
i
k
e
a
s
e
n
t
e
n
c
e
w
i
t
h
o
u
t
e
n
d
p
u
n
c
t
u
a
t
i
o
n
)
•
R
u
n
l
e
f
t
a
l
i
g
n
e
d
•
Are usually wide rather than narrow.
•
Use decks optionally, as in this example:
H
u
l
a
h
o
o
p
s
h
a
v
e
A
m
e
r
i
c
a
n
s
a
l
l
a
-
t
w
i
r
l
That ’60s trend
is back, and it’s
hotter than ever
Today’s headlines are
K
i
c
k
e
r
s
These l
ead into headlines by using a word or phrase to
label topics or catch your eye. They’re usually smaller
than the main head, set in contrasting style or weight.
A TREND RETURNS
Hula hoops are on a roll
Types of headlines
S
l
a
m
m
e
r
s
This two-part head uses a boldface word or phrase
to lead into a contrasting main headline. Some
papers limit these to special features or jump
headlines.
Hula hoops: A hot new hit
T
ypes of headlines
H
u
l
a
h
o
o
p
s
a
r
e
c
i
r
c
l
i
n
g
t
h
e
n
a
t
i
o
n
R
a
w
W
r
a
p
s
Most headlines cover all the text below; this
treatment lets text wrap alongside.
Types of headlines
Hula hoops are sweeping the nation this summer
Hoop-la
H
a
m
m
e
r
s
Hammers use a big, bold phrase to catch your
eye, then add a lengthier deck below. They’re
effective, but used primarily for special
stories
.
T
ypes of headlines
They were hot in the ’60s,
but they’re hotter today
HULA HOOPS:
T
r
i
p
o
d
s
This head comes in three parts: a bold word or
phrase (often call caps) and two lines of deck
squaring off alongside.
These are b
est reserved
for special features.
Types of headlines
H
u
l
a
h
o
o
p
s
a
r
e
c
i
r
c
l
i
n
g
t
h
e
n
a
t
i
o
n
t
h
i
s
s
u
m
m
e
r
S
i
d
e
s
a
d
d
l
e
This style lets you park the head beside, rather than above,
the story. It’s best for squeezing a story
—
preferably one
that’s boxed
—
into a show horizontal space.
Types of headlines
•
Generally, from largest to smallest as you
go down the page.
•
Page One broadsheet
o
54-72 point for the main story (five or six
columns
wide)
o
30-36 for a secondary story that is one or two
columns
wide
o
36-42 for the next story down that is four or five
columns wide
o
24-30 for the next one-column head
o
30-36 for the next three- or four-column headline
How to size headlines on the page
•
A
s
i
d
e
b
a
r
i
s
a
n
y
s
h
o
r
t
f
e
a
t
u
r
e
t
h
a
t
a
c
c
o
m
p
a
n
i
e
s
a
l
o
n
g
e
r
s
t
o
r
y
.
•
A
n
i
n
f
o
g
r
a
p
h
i
c
(
s
h
o
r
t
f
o
r
i
n
f
o
r
m
a
t
i
o
n
a
l
g
r
a
p
h
i
c
)
b
l
e
n
d
s
t
e
x
t
a
n
d
i
l
l
u
s
t
r
a
t
i
o
n
s
t
o
c
o
n
v
e
y
i
n
f
o
r
m
a
t
i
o
n
v
i
s
u
a
l
l
y
—
c
l
a
r
i
f
y
i
n
g
t
h
e
f
a
c
t
s
w
i
t
h
c
h
a
r
t
s
,
m
a
p
s
o
r
d
i
a
g
r
a
m
s
.
Sidebars and infographics
•
Fast-fact box
•
Bio box
•
List
•
Glossary
•
Checklist
•
Quiz
•
Q & A
•
Public-opinion
p
oll
•
Quote
c
ollection
Types of sidebars
•
Fever
c
hart
•
Bar
c
hart
•
Pie
c
hart
•
Table
•
Map
•
Ratings
•
Timeline
•
Step-by-step
g
uide
•
Diagram
Types of infographics
•
All stories should be
shaped like rectangles
or squares.
•
Avoid placing any
graphic element in the
middle of a leg of type.
•
Avoid placing art at the
bottom of a leg of type.
•
Text that wraps below
a photo should be at
least one inch deep.
•
In vertical layouts
stack elements:
o
Photo
o
Cutline
o
Headline
o
T
ext
General layout guidelines
•
Every page should
have a dominant
piece of art.
•
A well-designed page
is usually at least
one-third art.
•
Avoid
placing
a photo
or box directly on top
of an ad.
•
Avoid boxing stories
just to keep
headlines from
butting; it’s best to
box stories only if
they’re special or
different.
General layout guidelines
•
The optimum depth
for legs of text is
between
two
and 10
inches.
•
Avoid
planning
legs
of text more than 20
picas wide, or
less
than 10 picas.
•
Use italics, boldface,
reverse, or any other
special effects in
small doses.
•
Type smaller than 8
-
point is often difficult
to read. Use small
type sparingly, and
avoid printing it
over
a screen.
General guidelines for text
•
Every story needs a
headline.
•
Headlines get
smaller as you move
down the page.
Smaller stories get
smaller headlines.
•
5-10 words is
optimum for most
headlines.
•
Never allow an art
element to come
between the headline
and the start of a
news story.
•
Don’t butt headlines.
V
ary their sizes,
styles and the
number of lines.
General guidelines for headlines
•
Shoot photos of real
people doing real
things.
•
Directional photos
should face the text
they accompany.
•
When in doubt, run
ONE big photo
instead of TWO small
ones.
•
When using two or
more photos, make
one DOMINANT -
that is, substantially
bigger than any
competing photo.
•
Try to vary the
shapes and sizes of
photos on a page.
General guidelines for photos
•
To avoid confusion,
run one cutline per
photo; each cutline
should “touch” the
photo it describes.
•
When cutlines run
beside photos, they
should be at least
six
picas wide.
•
When cutlines run
below photos, square
them off as evenly as
possible on both
sides of the photo.
They should not
extend beyond either
edge of the photo.
General guidelines for cutlines
Understanding the essentials of design such as elements like text, graphics, and white space, principles like dominance, and formats like page layout and measurement units are crucial for creating visually appealing and effective designs. Designers need to grasp concepts like unity, consistency in margins, and utilizing grids for an organized layout to enhance the overall impact of their design work.
Download Presentation
Please find below an Image/Link to download the presentation.
The content on the website is provided AS IS for your information and personal use only. It may not be sold, licensed, or shared on other websites without obtaining consent from the author. Download presentation by click this link. If you encounter any issues during the download, it is possible that the publisher has removed the file from their server.
E N D
Presentation Transcript
Elements of Good Design Design
adapted from Robin SawyerFirst Flight High School
The basics of design and layout Every designer works with three basic visual elements Copy or text (words set in type) Graphics or art (photographs, artwork and lines) White space (blank areas on the page)
Formats and grids The physical size of the page is its page format. Most city newspapers (dailies) use the broadsheet format (14 by 22 inches). Student newspapers typically use the tabloid format, which is approximately 11 by 17 inches. The format will, generally, dictate the width of your columns.
Measurement Most graphic designers use the following measurement units: 1 inch = 6 picas 1 pica = 12 points 1 inch = 72 points
Principles of design Dominance Every single page and every double-page spread should have one dominant element. A dominant element is about 2.5 times larger than any other element on the spread. The dominant element serves as the visual entry point to the page. The action in a dominant photo should face into the spread rather than off the page. Without a dominant, the reader s eye will either bounce around from element to element or the reader will skip the page altogether.
flag/nameplate teasers 4-deck headline standing sig byline What s it called? cutline (caption) jumpline pull quote refer (refers to a related story inside) package (sidebar info compliments content of story)
folio main deck with subhead 3-column photo text / copy gutter (white space between columns) rule line 6-column format (standard format) jump head jump line pull quote 4-column format (bastard measure) What s itcalled?
Unity One way to unify a page is by using consistent internal and external margins. o Internal margins: white space between copy and graphics. Usually one pica between elements It differs by publication. For example, one student newspaper uses two picas between unrelated items (two different stories, stories and ads, etc.) and one pica between related items (headline and story, photo and caption).
Unity on double-page spreads Placing a dominant photo or art so that it runs across the center of the two pages helps to link the spread. Another name for a double-page spread is doubletruck.
Unity on double-page spreads Use an eyeline (one pica of horizontal white space that extends across the spread). An eyeline should run at least six picas above or below the horizontal center of the spread.
Unity with type With few exceptions, no more than three different type styles should be used in any publication. (1) One style is chosen for the nameplate and the folios (standing sigs). (2) A second is chosen for the headlines. (3) The third is the text or body type. The only acceptable variation is an occasional special type to achieve a specific purpose or communicate a definite idea for a major feature.
Contrast One of the most important aspects of design is contrast. oUse of opposites in size, shape, weight and color or tone. A design should feature one dominant photo or other graphic contrasted by several smaller photos or graphics with horizontal as well as vertical photos. Different typefaces and the discreet use of screens also create contrast.
Repetition Repetition (rhythm) involves duplicating a color, graphic or typographic element to hold a design together. Yearbooks & Magazines oTemplate designs may use a specific headline design throughout a particular section.
Balance Pages that are balanced can be folded in half vertically, with each half mirroring the other half of the page. This is called symmetrical balance. Informally balanced pages feature weight distributed diagonally. This is preferred. oBig, bold graphic elements are placed toward the center, oWhite space, story copy, headlines and captions are pushed to the outside so that pages do not weigh heavy to one side or the other.
Consistency in newspaper Certain elements of a publication should remain unchanged. Newspaper and newsmagazine staffs should establish the following and keep them the same from issue to issue: oByline style oFolio style oStanding sig style oCaption style oNameplate or flag
Consistency in yearbook Using the same page elements, typography and graphics throughout the theme pages, on the cover, and on the front and back endsheets creates a consistent publication. Consistency within each section is established by using oThe same grid/column structure oHeadline design oCaption design oRepeating sidebar element(s)
Selecting and using type From a design standpoint, the basic component of any story is copy words set in type. When choosing typefaces in general, choose a font that s easy to read for body copy columns of copy for stories. Serif fonts (those with "feet") are usually easier to read in large chunks.
Typography guidelines Consider mixing a serif and sans serif font for your main deck and subheads. Set the leading in body copy at two points higher than your type size. (For example, 10-point body copy would be set with 12-point leading.)
Typography guidelines Choose a font family for headlines that has many different varieties as a way of mixing things up visually on the page. o Roman o Italics o Bold o Bold italics o Semibold o Semibold italics
Modifying type vertically Point size Changing the point size changes the height of the font. The bigger the point size, the taller the type. A headline in 72-point type is one inch tall because there are 12 points in a pica and six picas in an inch(6 x 12 = 72).
Modifying type vertically Leading (pronounced ledding) the vertical spacing between lines of type more specifically, it s the distance from one baseline to the next. Leading must accommodate ascenders (part of letter above standard baseline - b, d, f, k, l, t) and descenders (part of letter below standard baseline - g, y, p j).
The four basic page elements Photo Cutline Headline Text These elements should appear in this order if they are related. NEVER put art between the headline and the start of the story.
Todays headlines are Generally written downstyle (like a sentence without end punctuation) Run left aligned Are usually wide rather than narrow. Use decks optionally, as in this example: Hula hoops have Americans all a-twirl That 60s trend is back, and it s hotter than ever
Types of headlines Kickers These lead into headlines by using a word or phrase to label topics or catch your eye. They re usually smaller than the main head, set in contrasting style or weight. A TREND RETURNS Hula hoops are on a roll
Types of headlines Slammers This two-part head uses a boldface word or phrase to lead into a contrasting main headline. Some papers limit these to special features or jump headlines. Hula hoops: A hot new hit
Types of headlines Raw Wraps Most headlines cover all the text below; this treatment lets text wrap alongside. Hula hoops are circling the nation
Types of headlines Hammers Hammers use a big, bold phrase to catch your eye, then add a lengthier deck below. They re effective, but used primarily for special stories. Hoop-la Hula hoops are sweeping the nation this summer
Types of headlines Tripods This head comes in three parts: a bold word or phrase (often call caps) and two lines of deck squaring off alongside. These are best reserved for special features. They were hot in the 60s, but they re hotter today HULA HOOPS:
Types of headlines Sidesaddle This style lets you park the head beside, rather than above, the story. It s best for squeezing a story preferably one that s boxed into a show horizontal space. Hula hoops are circling the nation this summer
How to size headlines on the page Generally, from largest to smallest as you go down the page. Page One broadsheet o54-72 point for the main story (five or six columns wide) o30-36 for a secondary story that is one or two columns wide o36-42 for the next story down that is four or five columns wide o24-30 for the next one-column head o30-36 for the next three- or four-column headline
Sidebars and infographics A sidebar is any short feature that accompanies a longer story. An infographic (short for informational graphic) blends text and illustrations to convey information visually clarifying the facts with charts, maps or diagrams.
Types of sidebars Fast-fact box Bio box List Glossary Checklist Quiz Q & A Public-opinion poll Quote collection
Types of infographics Fever chart Bar chart Pie chart Table Map Ratings Timeline Step-by-step guide Diagram
General layout guidelines All stories should be shaped like rectangles or squares. Avoid placing any graphic element in the middle of a leg of type. Avoid placing art at the bottom of a leg of type. Text that wraps below a photo should be at least one inch deep. In vertical layouts stack elements: o Photo o Cutline o Headline o Text
General layout guidelines Avoid boxing stories just to keep headlines from butting; it s best to box stories only if they re special or different. Every page should have a dominant piece of art. A well-designed page is usually at least one-third art. Avoid placing a photo or box directly on top of an ad.
General guidelines for text Use italics, boldface, reverse, or any other special effects in small doses. Type smaller than 8- point is often difficult to read. Use small type sparingly, and avoid printing it over a screen. The optimum depth for legs of text is between two and 10 inches. Avoid planning legs of text more than 20 picas wide, or less than 10 picas.
General guidelines for headlines Every story needs a headline. Headlines get smaller as you move down the page. Smaller stories get smaller headlines. 5-10 words is optimum for most headlines. Never allow an art element to come between the headline and the start of a news story. Don t butt headlines. Vary their sizes, styles and the number of lines.
General guidelines for photos Shoot photos of real people doing real things. Directional photos should face the text they accompany. When in doubt, run ONE big photo instead of TWO small ones. When using two or more photos, make one DOMINANT - that is, substantially bigger than any competing photo. Try to vary the shapes and sizes of photos on a page.
General guidelines for cutlines To avoid confusion, run one cutline per photo; each cutline should touch the photo it describes. When cutlines run beside photos, they should be at least six picas wide. When cutlines run below photos, square them off as evenly as possible on both sides of the photo. They should not extend beyond either edge of the photo.
