Aditya On DESIGN

A
SHATTER
IN THE
DARK
ADITYA PALURI
A
SHATTER
IN THE
DARK
ADITYA PALURI
© Aditya Paluri
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Aditya Paluri
The Brand Republic
www.thebrandrepublic.in
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PROLOGUE
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Chapter 1
ETIAM SIT AMET DONEC
Shape As A Visual
Element In Graphic
Design
The graphic part of graphic design, is

made up of visual elements, the building
blocks of design. Through the harness
of artistic expression we choose these
visual elements and arrange them on a
surface in a layout to convey an idea.
The basic visual elements that combine
to create graphic design include the
following: line, colour, shape, texture,
space, form and typography.
Whatever work you produce be it for a
magazine, a poster, a website or
advertisement, these visual elements
will play a part in your design.
Shape
Everything is ultimately a shape. All
objects are composed of shapes and all
visual elements are shapes in some
way. In design shapes have two
dimensions and are measured by their
height and width.
Shapes are defined by boundaries such
as with lines or colour and can also be
created with negative space.
Shapes are used to add interest and
substance to a piece of graphic work.
They can be used to decorate, they can
be symbolic and can be used to create
patterns and textures.
There are two types of shapes:
geometric and organic.
Geometric shapes are the shapes that
can be drawn using a ruler or compass.
Wether simple or complex, these
shapes produce a feeling of control or
order.
Organic shapes are shapes that can be

drawn free hand or shapes found in
nature. Organic shapes wether simple
or complex produce a natural feel.
It’s important to keep in mind that
shapes are signal visual elements. In
design when we begin to place shapes
together we create a relationship
between them.
However simple or complex, it’s this
relationship between shapes that
can trigger feelings, convey
messages, engage an audience,
and add emphasis to a portion of a
layout and create movement.
When we group or move shapes closer
or further apart, we’re applying the
design principle called proximity.
In design geometric and organic shapes
can combine together on many levels to
create various design elements we use
to communicate.
One example of this is with brand logos.
In logos, shape is used in its purest
form. The below are some well known
brand logos.
Here we have a mix of logos where
some are made with geometric shapes
and some are made with organic
shapes and some with a combination of
both. We have some that are single
solid shapes and some that are
composed of a few shapes that are
placed near each other. Keep in mind
that proximity is playing a crucial role
here in the logos that are made with few
shapes. If we were to move some of the
shapes further away or closer they
would have an entirely different look and
feel.
Another example where geometric and
organic shapes can come together is in
typography.
A single letter in a typeface is a
combination of geometric and organic
shapes which build together to create a
larger shape. Nowhere in design is
shape used more literally to
communicate visually than in
typography.
It’s the type of shapes that combine
together that give the typeface its
distinct look and feel. In the above
example, shape is again being used as
a symbol.
The below are some more examples of
how shape is used in design.
Shape is what makes up the foundation
of any composition. A layout can be
simple, made of one or few shapes or
complex made by groups of many
individual shapes. In design shape can
be used in many ways, it’s how they are
arranged that determines the visual
outcome.
When creating a composition you must
always consider how the shapes interact
and work together to present and
communicate the intended message.
Colour As A Visual
Element In Graphic
Design
The graphic part of graphic design is

Colour
Colour plays one of the biggest roles in
graphic design. It can give emphasis, it
can be used as a mechanism of
organization, it can create impact and
create a specific look and feel in a piece
of graphic design work.
When working with colour, it helps to
have a good understanding of colour
theory. Colour theory provides us with
practical guidance to help us mix
colours and create interesting colour
combinations and it all starts with the
colour wheel. The colour wheel is a
really useful tool designed to help us
choose colours that work well together.
The above is the red, yellow, blue colour
wheel model which consists of 12
colours. If we jump onto the Adobe
colour website we can see this colour
wheel as more of a spectrum. This is a
very useful resource to explore and
create colour schemes.
The colour wheel consists of primary
colours, secondary colours and tertiary
colours and these can be split into warm
and cool colours. Lets take a look at
each of these:
Primary Colours
Primary colours make up the basis for
the colour wheel. Here they are in red,
yellow and blue.
Secondary Colours
Secondary colours are made by mixing
equal portions of the primary colours
which create green, orange and purple.
Tertiary Colours
Tertiary colours are made by mixing a
primary colour with a neighboring
secondary colour, for example if we mix
the yellow with orange we’ll get a
yellowy-orange colour in between. If we
continue to mix the primary and
neighboring colours, we’ll fill the gaps
and get the remaining tertiary colours.
If we separate the colour wheel, we get
two categories i.e. warm and cool
colours. On the right we have the warm
colours, which incorporate the red violet
through to yellow.
This is a really useful tool designed to
help us choose colour schemes. To help
us choose interesting colour
combinations that have harmony
together or create contrast, there are
some colour rules we can explore.
These colour rules are referred to as:
monochromatic colours, analogous
colours, complimentary colours and
triadic colours.
Monochromatic Colours
Monochromatic colours are shades and
tints of the same colour. The
monochromatic colour scheme is
typically balanced and easy on the eye.
Analogous Colours
Analogous colours are those found
close to each other on the colour wheel.
Analogous colours typically work well
together since they have similar origins.
Like the monochromatic colours, they
are also balanced but typically more
interesting as these colours have more
contrast.
Complimentary Colours
Complimentary colours are those found
on opposite ends of the colour wheel.
Complimentary colours have high
contrast which produce vibrant exciting
colour schemes. As implied,
complimentary colours enhance each
other and typically always work well
together.
Triadic Colours
Triadic colours are those spaced equally
on the colour wheel and they typically
produce vibrant effects.
Line As A Visual
Element In Graphic
Design

Line
One of the most basic visual elements
of design is the line and it should not be
underestimated. As simple as lines are
they can be quite versatile and can be
used as crucial elements of design.
Lines can be straight, curved, thick,
solid or dashed.
Lines can be used to add structure to a
composition, to frame information and to
divide information.
Used considerately, lines can add
elegance to a composition, add
hierarchy and to draw the eye to a
specific point.
With type, lines can be used to
emphasize and put stress on a word, a
phrase or paragraph. Lines can be used
to decorate, illustrate and represent
information in infographics.
If we think about magazines,
newspapers and maps, one of the most
common visual elements is the line as it
works very well to structure information.

Here are some simple horizontal lines.

We have some strokes in various sizes
and below some alternatives. A line can
be made of more than a single stroke, it
can be made with many individual
strokes and even dots.
Below are simple examples of how lines
may be used in design.

In this first example line plays a role of

building infographics made of lines in
different shades. Overall, a simple visual
with another line below as an anchor
point for the associated information.

Next is an example in typography. Here

lines are used to divide and draw
emphasis to a particular word.

Next is an example where lines are
used to create a border. In this example
there are two stroke lines that create
this thick and thin border. The type of
stroke lines you use in a relationship to
other elements can define the look and
feel of your composition. In this case we
have a boutique feel. Notice we also
have a line that elegantly divides the
type.

In this example lines are used to

predominantly structure a composition
but at the same time decorate. This is a
simple chapter index page where we
have a large dark line running vertically
down the page and smaller lines running
horizontally across the page. The
horizontal lines are passing through the
vertical and inverting in colour as they
do so creating a loose grid for the type
element to exist. You can see where the
lines are defining and positioning the
type elements.

Next is an example where lines can be

used for structure and decoration in a
minimal elegant way. Here lines make
up the board elements that frame a
quote and a line is drawn vertically
aligned left creating a base to carry the
paragraph next to it. The lines in black
and white could also be used to add a
bit of colour onto the page as well as
structure.

Next is a general example of how lines

can divide information. Newspapers can
be very complex and busy media
platforms with a lot of information being
presented at any time. Here we see how
lines play a role to divide and decorate
information. In this section we also have
small lines, details used to decorate. A
line does not necessarily have to be a
solid stroke but can also be created by
contrast of colour or shape on a page. In
the article we have a big picture which
even though there isn’t any stroke
applied to it, the solid colour fill of the
image creates a line around it. Below
this we have the main body of text in
which we have an infographic made with
lines and other lines that break
information out such as diagrams,
quotes and footers.

The last example shows lines creating
decoration, texture and structure on a
page. In this example, there are various
types of lines being used. First we can
see the physical line used to create
decoration with various stroke effects
applied. In this instance the lines also
create another white line through the
middle of the page as negative space.
Here we have three columns of type
where the third column is breaking
alignment to fit in the space creating an
interesting and dynamic layout.

There are lots of ways line can be used
in design and the above are just a few
examples. When looking at graphic
designs be sure to observe how line has
been considered and used as a design
element.
Function Principle Of
Design
In graphic design, there are principles of

design that should be considered. These
principles are what typically separate
good design from bad design. All these
principles have a relationship between
each other and appear in every well
designed piece of work you see.
A good grasp of design theory will mean
there is always substance behind your
work.
The key principles of design are:
contrast, hierarchy, alignment, balance,
proximity, repetition, simplicity and
function.
magazine, poster, website or
advertisement, the principles of design
should be considered.
A good designer will keep these
principles and guidelines in their toolkit
and will consciously use them to
develop their ideas.
Lets have a closer look at the function
design principle:
Function
Function is the consideration of the main
objective for a piece of graphic work and
how well a design is explored and
executed to meet that end.
The ultimate goal of any graphic design
is to communicate and make an
impression, but what’s equally important
is that the right impression is made and
the intended outcome is achieved.
Graphic design is the unity of two
opposing forces: artistic expression and
practical application. These two forces
will always be at odds with each other in
your mind. When you can harness these
two forces together in harmony then you
can create great visual communication.
When we create a piece of graphic
design more often than not there will be
a specific requirement that will have to
be fulfilled. Depending on the complexity
of the task that could be one or many
requirements. In design one typically
gets that requirement in the form of a
brief from a client, either written or
verbally. Before a designer starts any
piece of work there is key information
that will need to be understood. This will
ensure that a designer is put in the best
position to produce the right creative
solution.
A good and thorough brief will include at
least three key things:
•• An overview
Requirements
• Intended Outcome
The Overview should introduce the idea
of the project and what exactly the
design is intended for. The overview
should clearly highlight the target
audience the client wishes to address
with any other relevant information
which may be of importance.
The requirements will outline exactly
what will be needed creatively across
print and digital media. This could be
anything from a printed poster, a
brochure, to a website.
The intended outcome should clearly
state what the client hopes to achieve
with the graphic work i.e. how he/she
wants people to respond to the work
and how he/she wants people to think,
feel or act.
A brief may go as far as to suggest what
is required visually, a particular style or
colour scheme to be used or typeface. A
brief may be creatively limiting or open
to exploration. A brief will set out all the
challenges and boundaries a designer
will have to deal with in order to create
the right solution. It will be the details
outlined in the brief that will influence
the creative solution. If a design fails to
deliver on what the brief asks then it
fails in its function. This is where form
versus function often comes into play.
For beginners it is easily assumed that
simplistic practical design might not be
good or interesting so form (how good
something looks) may be seen as a
priority. However in professional design
it is understood that form follows
function and therefore priority should
always be given to function over form
(how good something looks).
During research, development and
design, one must always take into
account the ‘function‘ of the design.
One of the most important things you
can do is understand your audience and
the required goal. Considering
language, colour and layout will enable
you to communicate well and engage
with a particular audience to encourage
the intended result. As a rule you can
always ask yourself the question: Why
am I using that colour? Why am I using
that typeface? Why am I arranging my
elements in this way? Why am I using
these shapes, photos and so on? Is it
adding anything to the piece of design
or is it distracting, misleading? Always
ask yourself why and have a good
rationale for each decision.
In design one should always try and
avoid the appearance of having made
arbitrary decisions. If noticeable, this
can devalue a piece of work. However
limited a brief or however creative a
brief, whatever is done, remember to
keep in mind the function and be sure it
delivers on its function. A good designer
will always strive to achieve a harmony
in beauty and function.
When you look at design ask yourself,
how well does it function? Does it get
across the intended message? Could it
be more striking? How clear is the
message? And how clear is the design?
Is there anything you would do to
change the design? And what
impression does it make on you?
Simplicity Principle Of
Design

work.
function.
Lets have a closer look at the simplicity
design principle:
Simplicity
Simplicity is the discipline of minimizing,
refining or editing back a design.
The ultimate goal of any piece of
graphic design is to make an
impression. If a design achieves this
goal, it will be fulfilling it’s purpose of
communicating and insisting upon a
particular message.
More often than not in graphic design,
keeping it simple works really well. In
design there is a general consensus that
less is more i.e. less is more striking.
We consider simplicity to ensure that a
piece of communication has maximum
clarity. We consider simplicity to create
balance and impact. Simple design is
easier to understand and is more likely
to make a lasting impression.
For beginners it is easily assumed that
simplistic design might not be good or
interesting design. However, simplicity is
recognized as adding a level of function,
elegance, consideration, premium and
luxury to a design.
In graphic design it’s harder to take
away than it is to add. This is what
separates amateur designers from
professionals and takes experience,
confidence and discipline. One of the
hardest and most skillful disciplines in
design is knowing how to edit a piece of
design.
When applying simplicity in design we
should avoid an overwhelming amount
of visual elements. We should try and
get across one strong idea instead of
incorporating many.
When considering simplicity we should
remove or edit down information and
details that are not needed. The more
simplistic your design the more striking
and easy to understand it will be. Too
many things going on in a composition
will make for a very confusing and bad
experience.
Simplicity is not about stripping a design
down to the point it’s soulless. It’s also
about harmony and balance between
visual elements. In design you want to
avoid visual competition and achieve
visual harmony.
Complex visual elements can indeed
work to communicate a simple
message. For example an image texture
or a pattern texture maybe seen as
complex but these work to suggest a
mood, a feeling, a notion. Coupled with
a simple logo placement or bold
message this can be striking. When you
think of some of the most prestigious
brands, it’s common to see: simplicity
set on a backdrop of complex beauty.
It’s a striking dynamic which can also be
seen in advertisements. Often an advert
will only have a few seconds to
communicate a message so must be as
striking and as easy to understand as
possible.
Advertisements typically seek to charm
you with some sort of dazzling visual art
coupled with a simple bold tag line
message. What is seen to be simple can
often be complex. This clever
achievement in design is highly sought
after and is regarded as elegant,
premium and luxurious. If this visual
harmony is not executed well it may
lead to be busy and a confusing
message which will not fulfill it’s
purpose.
Consideration of simplicity is often seen
in good brand logos. Poorly designed
logos can be too complex and busy with
too many colours. Some of the best
logos are also some of the most simple.
When you look at design ask yourself
how is simplicity being considered? Is
there visual harmony or visual
competition? How clear is the design?
And how clear is the message? Could it
be more striking? Is there anything you
could change to simplify the design?
And what impression does it make on
you?
Repetition Principle of
Design

work.
function.
Lets have a closer look at the repetition
principle of design:
Repetition
Repetition is the reusing of the same or
similar elements throughout the design.
Now this is not to be mistaken for
repetition of visual elements as a
pattern. Visual elements as a pattern is
more to do with visual style or visual
artwork in an overall piece of design
work.
Good design practice seeks to repeat
some aspects of a design throughout a
piece of simple or complex work. We
use repetition to create a sense of unity
and consistency throughout a design.
Repetition creates a particular style,
creates cohesiveness, creates
emphasis, hierarchy structure and
strengthens a design.
The ultimate goal of any piece of
graphic design is to make an
impression, hopefully a lasting
impression.
If a design achieves this goal, it will be
fulfilling it’s purpose to communicate and
insist upon a particular message which
lingers and becomes familiar.
It could be said that repetition in design
is a type of brainwashing. The more we
see of something the more we
familiarize with it, thus remember it.
Whether we like it or not, repetition is
impressionable. It’s human nature to find
comfort and attraction to familiarity.
A good example of the use of repetition
in design is in branding. In any good
brand there will be a consistent use of a
graphic style or language. This can
manifest in many forms such as the use
of a particular color or color scheme, a
consistent use of a typeface or set of
chosen typefaces, shapes and motifs,
patterns, alignment, photography style,
tone of voice and so on.
All this is not done as a coincidence.
This is a carefully orchestrated design to
create a noticeable and memorable look
and feel. It is valuable to any business
that their brand is impressionable and
memorable. The same can be said for
presentations, leaflets and brochures. It
really pays to maintain focus and
consistency which adds value.
Another good example is in magazines.
If you flick through any well designed
magazine, you will notice a consistent
style throughout. This is done to create
a particular user experience which you
will become fond of and want to
experience again and again.
When you look at a design, ask yourself
how is repetition been considered?
What elements have been repeated and
how? Is there clear consistency? And
how well does it work as part of the
design?
Proximity Principle Of
Design

work.
function.
Lets have a closer look at the proximity
design principle:
Proximity
Proximity is the grouping and shaping of
objects in a composition. In design we
use proximity for two main reasons:
1. To Create Connections 
Proximity can create relationships
between visual elements in a
composition, create relevance,
hierarchy, create organization and
structure.
2. To Dispel Connections 
Proximity can also be used to
suggest no relationship between
elements, to break organization and
structure.
By moving visual elements closer
together or further apart, we are
applying the proximity design principle.
In design these two forces can be
applied in various degrees to help
achieve a particular effect or outcome to
communicate a message.
Typically in design, related elements
should be grouped together so that they
will be viewed as a group. Unrelated
elements should have distance and
should not be in close proximity to each
other. Audiences will assume that
elements that are not near each other in
a design are not closely related.
A good sense of proximity in design can
help differentiate visual elements to
reduce visual clutter and make design
more comprehensible. Proximity is
influential to the balance and hierarchy
design principles. Space between visual
elements will communicate a particular
dynamic on a page. Depending on the
intended purpose or look and feel, a
designer must sense which type of
balance to execute to suggest hierarchy.
Here we can see the same message but
laid out in various different ways. The
most comprehensible layout can easily
be picked out.

Audiences should never have to work at
trying to figure out which caption goes
with which graphic or whether or not a
line of text is a subtitle or a line of text
unrelated to the title. Viewers should
never have to work trying to figure out
the connection of information in a
design. This makes for a poor user
experience and an inability to digest
information.
In design, one should avoid the
appearance of having
made arbitrary decisions.
When visual elements appear randomly
or poorly positioned, it is noticeable, and
can devalue a piece of work if done
unintentionally. When we begin to place
shapes together we create a particular
relationship between them.

In the above examples we have three
individual shapes. If placed together
with just the right proximity, negative
space is made to suggest a new visual
shape entirely. This gives new meaning
to the individual shapes that make this
composition. If we move them even
slightly this visual/message is lost.
From a young age we learn shapes and
symbols that are imprinted into our
memory. The alphabet for example,
these shapes and symbols are used to
communicate visually as a visual
language or represent meaning when
we think of all the symbols and logos we
know so well. It’s through the
combination of shapes and proximity
that works to imprint images into our
memory.
If we take the above most simplest and
well known shapes and alter their
proximity, they no longer have their
meaning and become something
entirely different.
However simple or complex, it’s
the relationship or lack of
relationship between shapes that
can trigger feelings, convey messages,
engage an audience, add emphasis to a
portion of the layout and create
dynamics.
Proximity is a powerful principle to use
in design. A good grasp and sense of
proximity can be the difference between
good and amazing design.
When you look at design, ask yourself
how is proximity being considered?
What relationships has the designer
created or dispelled? How has proximity
been used to create the overall
composition? and how well does it work
as part of the design?
Balance Principle Of
Design

work.
function.
Lets have a closer look at the balance
design principle:
Balance
Balance is the visual weight of elements
in a composition. Balance is used to add
stability, add structure, create emphasis
and to create dynamics. In design, one
should attempt to place visual elements
in an aesthetically pleasing
arrangement, or particular arrangement
to fulfill a purpose or achieve a particular
look and feel.
There are three main types of balance:
Symmetrical Balance (formal)
Asymmetrical Balance (Informal)
Radial Balance
Understanding these three types of
balance will help achieve the right type
of visual effect in your design.
The following are some examples of
balance:
Symmetrical Balance

Symmetrical balance is mirror image
balance. If you drew a line down the
center of the page, all the visual
elements on one side of the screen are
mirrored on the other side. They don’t
have to be identical visual elements but
can be similar in number, colour, shape
and scale. When visual elements are
equal in weight, they are said to be in
balance.
Symmetrical balance can be used when
one wishes to achieve a formal design,
a sense of structure, a sense of
organisation and stability.
Asymmetrical Balance

Asymmetrical balance is used to
describe a kind of balance that is not
identical on both sides of a central line
i.e. not relying on symmetry, opposite of
symmetrical balance.
Asymmetrical balance occurs when
several smaller visual elements on one
side are balanced by a large visual
element on the other side or smaller
visual elements are placed further away
from the center of the screen than larger
visual elements.
Asymmetrical balance can be used
when one wishes to achieve a more
casual or less planned look and feel. An
asymmetrical composition can create a
sense of tension as if the page or
screen may tip or things might slide off
the side. Asymmetrical balance is more
dynamic than symmetrical balance and
normally keeps the audience’s attention
focused on the visual message.
Radial Balance

The third type of balance is radial
balance where all elements radiate out
from a center point in a circular fashion.
It is very easy to maintain a focal point
in radial balance since all the elements
lead your eye towards the center.
Depending on the intended purpose or
look and feel, a designer must sense
which type of balance to execute. A
designer must sense whether or not a
composition is balanced or not. Success
in using good balance can help achieve
a strong visual effect and good quality
designs.
Alignment Principle Of
Design

work.
function.
Lets have a closer look at the alignment
principle:
Alignment Principle
Alignment is the placement of visual
elements so they line up in a
composition. In design, we use
alignment to organize elements, to
group elements, to create balance, to
create structure, to create connections
between elements, to create a sharp
and clear outcome.
In design there are two alignment
principles: Edge alignment and Center
alignment.
Edge Alignment
Edge alignment is either to the left, right,
top or bottom.
Center Alignment
Center alignment as it states is aligned
to a center line down the middle or
across the horizontal.
Alignment is often an invisible line visual
elements are aligned to but can also be
hinted at physically. Alignment can be
used to achieve a particular look and
feel. One should always be conscious
when working with alignment to achieve
the intended result.
Good Alignment
Bad Alignment
Where visual elements are aligned, a
composition can appear clear, confident,
elegant, formal and trustworthy. Good
alignment is invisible i.e. this doesn’t
have to be a literal line in your design.
In design, one should try and avoid the
appearance of having made arbitrary
decisions. When visual elements are out
of alignment, it is noticeable, and
can devalue a piece of work if done
unintentionally.
Mixed Alignment
If mixed alignment is intended as part of

a design, it can appear more radical,
dynamic, free and playful.
Grid Examples

Alignment can be simple or complex
and is commonly achieved with the use
of a grid. A grid can create an invisible
structure on which visual elements can
be placed on. These grids can ensure
accurate alignment and consistency in a
large piece of design work. Nowadays,
grids are typically constructed in design
software as a guide when layout is
created on a computer.
The following examples demonstrate
various approaches of alignment in
design.
First we have a typical layout based on

a grid of three columns. We can see
how the line elements hint at the grid
structure while the main title and image
fits nicely into the two far right columns
aligned with the article copy below.
Everything in this composition appears
well aligned, neat and organized.
Alignment is typically used to organize
and create a degree of structure as
seen in the previous examples.
However, alignment can also be used in
more abstract ways as part of a visual
message or to add dynamics to a layout.
The next example explores alignment

both vertically and horizontally which
creates a nice dynamic on the page.
The main title is aligned to the top of the
page and the cap height of the header
type is defining the column widths
below. The lists below then follow down
the page aligned to the left of the
columns defined by the header type
above.
Next is a type composition exploring

both left and right alignment of type. The
contrast between alignment in each
column creates an interesting dynamic
on the page.
Here’s another simple layout. On top we

have a bold header and beneath this we
have a column of type. The justified type
itself is aligned to the left but the column
flows down aligned along a diagonal
spine. This adds an interesting dynamic
to the composition suggesting
movement and direction on the page.
This layout is a lot more abstract and
attempts to challenge the limits of
alignment. Through the implementation
of contrast in type size, weight and
alignment, a more radical and freestyle
composition is achieved here.
This last example is another abstract
composition. The elements here seem
to suggest no hierarchy, no formal order.
The contrast between the contradictory
alignments creates an interesting
visually stimulating composition.
The above are just a few examples
showing the variety in which alignment
can be utilized in both practical and
more abstract design.
Hierarchy Principle Of
Design

work.
function.
Lets have a closer look at the hierarchy
design principle:
Hierarchy
Hierarchy is the control of visual
information in an arrangement or
presentation to imply importance.
Hierarchy influences the order in which
the human eye perceives what it sees.
In design, hierarchy is used to:
•• Add structure
Create visual organisation
•• Create direction
Add emphasis
• Help a viewer navigate and digest
information easily
Hierarchy is typically created by contrast
between visual elements in a
composition. Typically visual elements
with highest contrast are noticed first.
Using hierarchy we can control how a
viewer engages with information to
ensure that information is navigated and
digested in the way it is intended. For
example: Where do we want the eye to
look first, second, third and so on.
Establishing clear visual hierarchy is
important because it holds a design
together. Used effectively, hierarchy can
make a complex message simple.
In design, hierarchy can manifest itself
in many visual ways. It’s through the
careful arrangement of visual elements
that creates a clear hierarchy. Hierarchy
can manifest itself in many visual ways
such as in scale, colour, contrast, space,
alignment, shape and form.
Hierarchy in scale
Here we have some stroke lines going
from thick to thin, from top to bottom in
eight steps. The hierarchy of scale in
these eight steps also suggests
direction of hierarchy. The flow of
importance here starts from the top and
travels down from thick to thin. The next
example challenges this perception.
Hierarchy in colour
Here we have the exact same
composition but this time, the colour has
been changed. In this example, the
thinnest stroke is the darkest colour and
the thickest stroke is the lightest colour.
Even though the strokes are larger
above, the thin stroke is perceived as
bolder and stronger because it’s more
apparent and appears closer, more in
focus. By changing the colours we have
changed the hierarchy structure.
Hierarchy in scale
This example demonstrates hierarchy in

scale again but also contrast. By
contrast in scale and number this
suggests that the larger circles carry
more importance than the smaller one.
Hierarchy in colour
If we modify the colour, this creates a
new dynamic and shifts the hierarchy.
By contrast the smaller circle is now
more prominent.
Hierarchy in colour
The inside shapes are more darker than
those on the outside therefore we
perceive them as more prominent.
Hierarchy in space

If we change the space of these shapes
through overlapping, we now create a
new hierarchy. The shapes that are on
top appear closer to us and they are the
ones we see more clearly. Hierarchy
here is now defined by space.
Hierarchy in Depth
In this example we have the same
shapes in various colours but this time
the shapes are in various sizes with
various blur effects applied. This creates
an illustration of depth unlike with space
in the previous example. It’s not
necessarily about the shapes that
appear closer to us here but the shapes
that appear the most clear to us.
Shapes that are most in focus do a
better job of attracting the eye.
Hierarchy in Perspective

Here we perceive the shapes coming
closer to us. The flow of hierarchy here
starts from the perceived front and
moves towards the back into the
distance.
In design, depending on the simplicity or
complexity of the intended message,
hierarchy in design can exist in multiple
forms and compete against each other
at the same time.
The following are some practical design
instances where hierarchy plays a role.
This is a simple index page which has a

lot of information but through the
consideration of alignment and space,
each subsection from the top down
takes a step to the right and there is
adequate space separating the
individual parts. The header and sub-
header are a different and bolder
typeface to the body copy highlighting
important breakpoints. All this works
together to create a clear and
comprehensive list easy to navigate.
Hierarchy here exists through contrast in
alignment, space, colour and typeface.
In this next example we have a

letterhead which come in various
designs but they typically follow the
same pattern. Hierarchy here is working
in composition as well as typesetting.
Letterheads will almost always lead with
a brand. In this example the logo in the
top left is looking pretty prominent. To
the right of this is the address details of
the company which contrasts nicely with
the main message. So the top of the
letterhead is pretty prominent here and
communicates the important information
about the company. Below is where the
main message is placed. The margin
here is quite large which leaves for
some nice negative space down the left
side which creates a nice clean design
which also gives prominence to the
logo. Below this we have a footer with
some required details. There’s a small
horizontal stroke to partition this away
from the message and the type size is
smaller so as not to clash with the main
message. And finally, below this we
have simple blocks of colour which are
part of the brand motif. For a simple
letterhead, there is quite a lot going on
here but through careful consideration of
the visual elements, the order of
importance is nice and clear.
Next is an example of a simple

infographic. Hierarchy here is working in
the illustration and in the overall
composition. The graphic above clearly
illustrates a timeline or tree diagram.
The diagram starts from the base and in
this instance the flow of information
starts from the bottom to the top, from
dark to light distinguishing the various
branches. Placed below this is a simple
list which is a reference to the visual
above. Overall, the illustration is the
most dominant visual element here
supported by the reference below.
This is an example of where hierarchy

starts to push the boundaries in more
creative layouts. First we have an index
page where hierarchy exists in many
forms. Overall as small as the white type
is, compared to the title it still exerts
more prominence due to the contrast in
colour. The type here is not treated as
individual elements but as one rigid
column cutting through the loosely
scattered title below. Within the column
we have a number or type sizes and
weights which creates contrast to
distinguish order. The title is left as a
playful decorative piece in a darker tone
allowing the column type to come to the
front.
Next we have a simple layout that could
easily be a magazine article. The
composition immediately draws your
attention to the large playful type layout.
Then we have a sub-header and the
body copy below. Contrast is created
between the sub-header and body copy
by two different typefaces, sizes and
also by the right alignment of the sub-
header and the left alignment of the
body copy. Below this we have a small
horizontal stroke signifying the end of
the article.
In this magazine cover, hierarchy starts

to get really complex. This media is
common for communicating a lot of
information in one instance. Hierarchy
typically establishes itself through
overlapping space and size. Generally a
magazine cover will revolve around one
main point of focus. In this example we
can see the image of the woman is on
top of the magazine title. Then the
header of the article which the
photograph supports is on top of the
photo. So the three important parts of
this composition are: big title, person’s
photo and the magazine title. After that
we have some hints of what else is in
the magazine via sub-headers around
the figure in the picture. There’s also a
call out in a circle which compared to
the other sub-headers, does draw our
attention more. This suggests the
magazine sees this article as something
people want to read perhaps to draw
attention to buy the magazine. For
decoration and dynamics, the other titles
have been applied in various typefaces
but don’t typically compete too much
with each other.
Next is the newspaper example. Unlike
the magazine cover which revolves
around a single main point of focus, the
newspaper will want to shout about
multiple headlines at once. Hierarchy
typically establishes itself on newspaper
covers through contrast in scale. On
newspaper covers, the most prominent
article will exert the most space on the
page and less prominent articles will sit
next to or around it. In this example we
see the main prominent article taking up
most of the space and the smaller
articles are positioned to one side.
Contrast Principle Of
Design

work.
function.
Lets have a closer look at the contrast
design principle:
Contrast
Contrast occurs when two or more
visual elements in a composition are
different.
In design we use contrast to generate
impact, highlight importance, create
exciting graphics and create visual
interest and dynamics.
Context is integral to contrast. We may
think that the chosen visual object in a
composition says something about itself
but it is more often the visual
elements around it that give it it’s
meaning.
For example: Here is a simple circle.
What is it saying about itself? Well, all it
says here is that it’s a circle but does it
say how big or small it is? or how far
away from us it is?
To suggest that, we need another visual
element. So here is a smaller circle and
by placing this new visual object next to
the original circle we now create
contrast by context. By contrast, the
above image is now saying that the
original circle is bigger.
But what if we bring in another circle the

same size as the original but this time
it’s darker. Well this may suggest that
this circle is perhaps closer to us or
more important and it certainly grabs our
attention more.
Contrast creates interesting
relationships between the visual
elements. It can push elements away,
connect them or complement them.
Without contrast, visual elements can be
meaningless.
Contrast provokes our visual senses.
Our eyes like contrast because it grabs
our attention and makes it easier to
digest and make sense of what we are
seeing which is why it can be a strong
method to communicate visually without
the presence of type.
Below are a few examples of how
contrast can be used in design:
Contrast in Shape
Here we have two shapes almost
identical in scale but they both vary in
characteristic. One has a smooth
surface and the other has a pointed
surface. Now, what shape is your eye
drawn to? In this case it may be the
shape with the smooth surface is so
simple it makes us want to look at the
other shape more because it’s more
complex.
Contrast in Colour
The next example demonstrates

contrast in colour and as well as shape.
Even though we have a mixture of
shapes, they appear in various degrees
of colour. Regardless of contrast
between shapes here, there is a clear
contrast of colour or tone. The darker
the shape, the more attention it
commands.
Contrast in Scale

Here we have eight strokes but in
different stroke sizes and a grid of
circles. Again, we can see how context
is integral to contrast here. It’s the visual
elements around each other that give
meaning to one another.
Contrast in Layout
Next we have contrast in layout. The top
composition appears regimented and
structured. The lower layout seems
more free and random.
Contrast in Type
In type, contrast is commonly used to
create hierarchy and structure. There
are many methods for creating contrast
in typography: alignment, typeface, type
size, colour and weight can be all
considered.
Contrast in Type and Colour
In this next example we can see a word
pop out from a block of type by simply
being of a darker shade.
Contrast in Type and Alignment
Here we can see contrast in type in a
more dramatic way. We have type in
various sizes, weights and alignments.
The type is mostly dark but but there is
some white cutting through the dark
solid bar and we have type cutting off
and onto the page from top to bottom.
Contrast in Type and Colour
Next we have some similar type contrast
but also contrasting with other visual
elements. The main focus is on the title
word which creates it’s own dynamic as
it crosses over from a light space into a
dark space which our eye is mostly
drawn to.
Contrast in Shapes and Colour
Contrast is such a strong method of
communication that it is used on some
of the most important visual
communication like road signs.
Some of the most iconic logos are some
of the most simple and contrasting. Just
like how contrast plays it’s role in road
signs to communicate bold important
messages, contrast is used in logos for
the same purpose to be remembered.
What Is Graphic
Design?
This is a hard question as it does not

really have a simple answer without
some degree of explanation.
So, what exactly is graphic design?
Well, let’s start with simple.
With graphic design there are two
things: We have the ‘graphic’ part and
the ‘design’ part.
Graphic is visual, which is mainly
associated with art, imagination and
expression involving many mediums
such as drawing, painting, engraving or
lettering, given clear and explicit detail.
made up of visual elements which are
the building blocks of design.
following:
Line
Shape
Space
Typography
Colour
Texture
Form
Through the harness of our artistic
expression we choose these visual
elements and arrange them on a
The second part is design, which is to
decide upon the look and function of
something before it is made. Design is
thinking, problem solving and
practicality.
In graphic design there are rules that
are to be considered and these rules are
called ‘The Principles of Design’. All
these principles have a relationship
between each other and appear in every
well designed piece of work you see.
work.
The key principles of design are the
following:
Contrast
Alignment
Proximity
Simplicity
Hierarchy
Balance
Repetition
Function
When we bring both the visual elements
and the design principles together we
have graphic design.
Graphic design is not about making
things look pretty or drawing, painting,
creating a poster or a quick logo on your
computer. These things are the means
to the end and are skills in their own
right.
Graphic design is:
The organisation and presentation of
information developed through a
creativeprocess for a particular function.
In graphic design we must first
understand information, a message or a
brief and then research, think, imagine,
develop and create a solution or
concept in order to communicate that
information, story, message or idea in a
visual way.
It’s only when we have a solid idea,
developed through the design process is
when we can use our skills with layout,
colour, typography and creative tools to
bring that idea to life.
Once upon a time that would have been
with just the aid of a pencil or paint
brush on paper but these days we also
have cameras, computers and printers.
Since the invention of the print press
which enabled reproduction on a mass
scale, graphic design has been used to
communicate and spread messages
worldwide.
Through the evolution of technology,
today we are surrounded by an
abundance of visual communication.
Today, graphic design is implemented
across a broad spectrum of media both
print and digital such as: Advertising,
Branding, Web Design, Interface
Design, Magazine Layout, Paper
Engineering and Packaging, TV, Motion
Graphics, Infographics, Signage, Art and
Installations and Digital Art.
If you’re looking to pursue a career in
graphic design, you will inevitably end
up creating work across one of those
sectors.
Over many decades in the past, graphic
design has shaped culture through pop
art, political art and commercial art.
Today graphic design has a big
commercial side and used to sell and
advertise things, but that’s not all it has
to be.
The power of graphic design to inform,
influence and instruct on a commercial
level can also be used to educate and
inspire a generation.
Graphic design is the unity of two
opposing forces: artistic expression and
practical application. As a graphic
designer these two forces will always be
at odds with each other in your mind.
When you can harness these two forces
together in harmony, then you can
create great visual communication.
So… that’s an introduction to what
graphic design is for anyone who was
not sure of what graphic design was all
about.
The Design Funnel
Salespeople have a road map of the

sales process, often called the Sales
Funnel. The Sales Funnel is a metaphor
for the typical process, from contact with
many potential customers to the
eventual payment of a single customer.
It’s time we designers treat ourselves to
our own funnel metaphor: The Design
Funnel.
The Design Funnel doesn’t introduce
any new tools. It’s simply a road map of
when a designer can use which tools to
stimulate better work. As a matter of
fact, many successful creatives use
similar processes on a daily basis.
Here are the steps:
1. Define values and goals
2. Discover moods and metaphors
through association
3. Generate ideas and define a
concept
4. Create a visual language
5. “Design” it
Between each step comes the same
sub-step: Verify that you’re on the right
track.
Why is most design bad design?
Because most designers “jump into the
funnel” at step 4 or 5. These are the
steps involving “using Photoshop” and
other fun, tool-based stuff. The funnel,
on the other hand, focuses on the hard
mental work involved in designing. Let’s
walk through these steps in more detail.
1. DEFINE VALUES AND
GOALS
Notice that the Design Funnel is slightly
different than the design process most
of us have seen before:
•• Define the problem
Generate ideas
•• Design stuff
Pick the best design
• Produce it
These steps are implied in the Design
Funnel, but the problem is defining the
problem.
Ever heard a client say they’d like a
“modern” design? how about something
“dynamic”? Or “professional”? Well,
what are these people talking about?
Don’t worry about it. We’re at step 1.
Our job is to aggregate everything the
client (or you, if you’re designing for
yourself) can give you, no matter how
vague.
Ask the client what they want to
accomplish, communicate, sell, or tell.
Ask them for keywords describing their
company, product, services, values, and
most importantly, ask them for keywords
describing how they would describe the
ideal design for this project.
Remember that clients often offer
solutions to problems instead of simply
stating their problems. They’ll say, ”We
want the focus to be on the brand, so
the logo should be pretty big.” Don’t fire
your client just yet. Just get this stuff
down.
Ask lots of questions. 
To whom are we communicating? Are
there any branding guidelines? Who will
be making decisions regarding the
design? 
Are there any restrictions whatsoever?
Technical? Creative? What are they? 
How will success be judged? What’s the
budget? 
What design work do you like? What
don’t you like? Why?
Once you get the answers to these
questions, go home. Review your notes,
and then do nothing for a day or two. Let
these things incubate. You’ll start to form
ideas about what the client is looking for.
Often, it’s not necessarily what the client
says it is.
Do look at what the competition is doing
design-wise, but see this simply as an
orientation exercise. Note the things that
work and the things that don’t. You will
not be copying what the competition
does. That would be design sameness.
Read that sentence about five million
times.
VERIFY: Reformulate the client goals in
your own words, as YOU think they
should be, based on your findings. Just
goals, no solutions yet. Make the goals
measurable, and give them a deadline.
Present this to the client and ask if you
understood them correctly. If the client
agrees with you, go on to step 2. If not,
review your notes again, think again,
ask more questions, reformulate.
2. DISCOVER MOODS
AND METAPHORS
THROUGH ASSOCIATION
Now it’s time to start using the useless
and vague keywords from step 1 and
turn them into the basis for a successful
design. Get all these keywords into one
list and start brainstorming. Remember,
in brainstorming, there is no judgment of
ideas. You’ll do that later. You’ll want to
brainstorm two things:
1. Metaphors.
“Strong” = Pirates? Body Odor?
Superheroes? “Friendly” = Flirtatious?
Family? Bartender? Smile? unusual
associations are okay. Just record
these.
2. Visual elements.
“Strong” = black, navy blue, pinstriped,
jagged. “Friendly” = round edges,
circular, orange.
Now you’ve turned words like
“professional” into things you can
actually picture. You should get as many
associations down as you can.
VERIFY: Once you’ve generated as
many associations as possible, start
filtering your list by considering the end
result for step 1. When put up to the
light of the client goals and values,
which associations hold up and which
don’t? Discard the ones that don’t.
3. GENERATE IDEAS AND
DEFINE A CONCEPT
You’ve got some useful associations;
you can now begin brainstorming ideas
for an overall visual concept based on
these associations. Your concept may
turn out to be to design a website which
presents itself as a digital assistant “at
your service,” or an office supply
brochure presented as a fashion
catalog. It could simply mean that your
“friendly” design is based on editorial-
style photo shoots of satisfied
customers in their home environment.
Idea generation deserves its own
manifesto. There are many, many
techniques available. It can help to
consider the opposite of every idea you
get, or to place fake limits upon yourself:
what if it had to be completed in one
day? What if it had to be black-and-
white?
Just looking at old books, architecture,
and work from realms of design other
than your own can give you an endless
supply of surprising ideas.
Again, generate as many ideas as you
can. Choose the one or two which
arouse the associations you defined in
step 2, and which still hold true to the
client goals and values. Note that you
are still not designing visually. You
could, however, work out some
conceptual sketches or “mood boards”
along with a written (it helps) description
of your concept(s).
The more ideas you generate, the
higher the chance a winner is in there
somewhere.
VERIFY: Present your ideas to your
client. If the client accepts, go on to step
4. If not, congratulations! You’ve proven
that design is not easy, and that more
than Photoshop and some cool freeware
fonts are required. You’ve already done
a lot of the hard work. Revisit some of
your discarded ideas or try some other
techniques to come up with a few new
ones. Sometimes it’s a numbers game.
The more ideas you generate, the
higher the chance a winner is in there
somewhere. And if you really keep the
original goals and values in mind, you
won’t be far from home.
4. CREATE A VISUAL
LANGUAGE
This is where a lot of designers jump
into the design process. They note the
client goals passively, and proceed to
start making stuff. You now have more
going for you than these designers. You
have a concept. now you’ll start creating
a “design language” for this concept.
This “language” will allow you to
“speak”, to tell your story in form.
The visual language will consist of the
following elements (in arbitrary order):
Imagery: What types of images fit with
your concept? Artful? Grainy? Aerial?
Perhaps not even photography, but
illustration? Which style? Perhaps no
imagery at all?
Color: Which colors fit your concept?
Which colors are naughty and don’t?
Could you perhaps use those?
Typography: Think out of the box here.
Don’t blindly use a “handwritten”
typeface just because your concept has
a “personal feel” to it. Surprise yourself,
and you’ll surprise others.
Form: Again, think outside of the box.
Wait—does it have to be a box?
Composition/Layout: Start considering
where and how you’ll lay things out on a
page.
If you are in a different field of design,
you could choose texture, space, sound,
materials, etc.
Don’t “design” just yet. You can
brainstorm each element separately and
see how they play together, or you can
develop different elements at the same
time. You’re finished when you feel the
all elements work well together in
different combinations. Your design
language should be flexible.
VERIFY: Do your chosen elements play
well together? Do some mockups and
see. When you’re happy with what
you’ve done, show the client. If they
accept, go to step 5. If they don’t… boy,
clients are a pain, aren’t they? hear
them out, go back and come up with a
solution which makes you both happy.
5. “DESIGN” IT
Ah, the fun part. Use your visual
language and speak. Tell your story.
now that you have approved mockups, it
shouldn’t be hard to do.
During this phase you will often be
required to design things you haven’t
really considered thoroughly. How errors
are presented on an incompletely filled
contact form on a website, for example.
Now that you have a visual language in
place, it’s simply a matter of finding the
right “words” to use.
Because of all the homework you’ve
done, you’ll find this step quite fun and a
lot easier to do than if you had just
“started designing”.
This process is about design that
communicates. Design that stands out.
Design that will be considered more
creative than most because it is based
on ideas rather than design trends and
cool techniques. This process starts at
zero for every project. Nothing is
determined beforehand, and you’re free
to create something unique to fit each
specific project. Don’t be afraid of the
thinking, the brain work. As with
anything, the more you do it, the better
you’ll become.
Designers have their own bags-of-tricks
which they could pull out at any time
because they know exactly what
response they’ll get. Good designers
leave their bags unattended, or dispose
of them altogether. You should do the
same.
And when people ask you how you get
all these creative ideas, you can say
that they usually just come to you during
your morning shower.
Colours And The
Moods Or Emotions
They Invoke
If used effectively, colour theory is one of the

most powerful tools a designer can wield.
Colours are a form of non-verbal
communication that can speak volumes in a
fraction of a second. They can instantly set a
mood, convey an emotion, invoke a
physiological reaction or inspire people to
take action. When we harness the right color
emotion to help tell a story, it can have a
powerful effect. Below is a list of colours and
their associated moods:
Deep Red
PMS Code 1945 c | CMYK 25 100 69
16 | RGB 166 9 61 | HEX A6093D
Positive: Rich, Elegant, Refined, Tasty,
Expensive, Mature, Sumptuous,
Cultivated, Robust
Brick Red
PMS Code 188 c | CMYK 34 92 71 40 |
RGB 118 35 47 | HEX 76232F
Positive: Earthy, Warm, Strong, Sturdy,
Established
Bright Red
PMS Code 186 c | CMYK 15 100 91 5 |
RGB 200 16 46 | HEX C8102E
Positive: Exciting, Energizing, Sexy,
Passionate, Hot, Dynamic, Stimulating,
Provocative, Dramatic, Powerful,
Courageous, Magnetic, Assertive,
Impulsive, Adventurous, Demanding,
Stirring, Spontaneous, Motivating
Negative: Overly aggressive, Violent,
Warlike, Temperamental, Antagonistic,
Danger
Bright Pink
PMS Code 205 c | CMYK 7 88 26 0 |
RGB 224 69 123 | HEX E0457B
Positive: Exciting, Theatrical, Playful,
Hot, Attention-getting, High energy,
Sensual, Wild, Festive, Vibrant,
Stimulating
Negative: Gaudy
Light Pink
PMS Code 1895 c | CMYK 1 35 3 0 |
RGB 245 182 205 | HEX F5B6CD
Positive: Romantic, Affectionate,
Compassionate, Soft, Sweet tasting,
Sweet smelling, Tender, Delicate,
Innocent, Fragile, Youthful
Negative: Too sweet, Too sentimental
Dusty Pink
PMS Code 693 c | CMYK 14 40 21 0 |
RGB 215 163 171 | HEX D7A3AB
Positive: Soft, Subtle, Cosy, Dusky,
Gentle, Composed, Nostalgic
Peach
PMS Code 162 c | CMYK 0 30 34 0 |
RGB 255 190 159 | HEX FFBE9F
Positive: Nurturing, Soft, Fuzzy, Tactile,
Delicious, Fruity, Sweet tasting, Sweet
smelling, Inviting, Warm, Physical
comfort, Intimate, Modest, Embracing
Coral
PMS Code 170 c | CMYK 0 59 49 0 |
RGB 255 134 116 | HEX FF8674
Positive: Life force, Energizing,
Flexibility, Desire
Tangerine
PMS Code 715 c | CMYK 0 54 93 0 |
RGB 246 141 46 | HEX F68D2E
Positive: Vital, Juicy, Fruitful,
Energizing, Tangy
Vibrant Orange
PMS Code 151 c | CMYK 0 60 100 0 |
RGB 255 130 0 | HEX FF8200
Positive: Fun, Whimsical, Child like,
Happy, Glowing, Sunset, Hot,
Energizing, Active, Gregarious, Friendly,
Good natured, Expensive,
Spontaneous, Optimistic,
Communicative, Jovial, Sociable, Self
assured, Persuasive, Animated
Negative: Loud, Raucous, Frivolous
Ginger
PMS Code 180 c | CMYK 18 91 87 7 |
RGB 190 58 52 | HEX BE3A34
Positive: Spicy, Flavorful, Tangy,
Pungent, Exotic
Terra Cotta
PMS Code 7522 c | CMYK 24 65 67 8 |
RGB 180 106 85 | HEX B46A55
Positive: Earthy, Warm, Countryside,
Wholesome, Welcoming, Abundance
Tan
PMS Code 729 c | CMYK 26 50 76 7 |
RGB 181 129 80 | HEX B58150
Positive: Rugged, Outdoor, Rustic
Chocolate/Coffee Brown
PMS Code 477 c | CMYK 42 70 78 47 |
RGB 98 59 42 | HEX 623B2A
Positive: Delicious, Rich, Robust,
Appetizing
Earth Brown
PMS Code 438 c | CMYK 56 65 57 40 |
RGB 88 68 70 | HEX 584446
Positive: Earthy, Grounded, Steady,
Solid, Rooted, Wholesome, Sheltering,
Warm, Durable, Secure, Reliable,
Natural, Traditional, Supportive
Gold (Metallic)
PMS Code 871 c | CMYK 45 45 75 17 |
RGB 132 117 78 | HEX 84754E
Positive: Bling, Rich, Glowing, Divine,
Intuitive, Luxurious, Opulent, Expensive,
Radiant, Valuable, Prestigious
Negative: Goudy
Amber
PMS Code 1385 c | CMYK 14 61 100 2
| RGB 213 120 0 | HEX D57800
Positive: Jewellery, Multi-cultural,
Mellow, Abundant, Original, Autumn
Golden Yellow
PMS Code 130 c | CMYK 4 37 100 0 |
RGB 242 169 0 | HEX F2A900
Positive: Nourishing, Buttery, Tasty,
Sun-baked, Wheat, Hospitable, Comfort
food
Bright Yellow
PMS Code 116 c | CMYK 1 18 100 0 |
RGB 255 205 0 | HEX FFCD00
Positive: Illuminating, Joyful, Hot,
Lively, Friendly, Luminous, Enlightening,
Energetic, Sunshine, Stimulating,
Innovative, Radiating, Awareness,
Surprise, Caution
Negative: Cowardice, Betrayal, Hazard
Light Yellow
PMS Code 127 c | CMYK 6 8 70 0 |
RGB 243 221 109 | HEX F3DD6D
Positive: Cheering, Happy, Soft, Sunny,
Warming, Sweet, Easy, Pleasing,
Babies
Chartreuse
PMS Code 584 c | CMYK 21 4 82 0 |
RGB 210 215 85 | HEX D2D755
Positive: Artsy, Bold, Trendy, Startling,
Sharp, Pungent
Negative: Gaudy, Tacky, Slimy,
Sickening, Mold
Light Green
PMS Code 358 c | CMYK 34 0 56 0 |
RGB 173 220 145 | HEX ADDC91
Positive: Calm, Quiet, Soothing,
Neutral, Light weight
Olive Green
PMS Code 5767 c | CMYK 47 32 85 9 |
RGB 138 141 74 | HEX 8A8D4A
Positive: Military, Camouflage, Safari,
Classic
Negative: Drab
Lime
PMS Code 377 c | CMYK 58 22 100 4 |
RGB 122 154 1 | HEX 7A9A01
Positive: Fresh, Citrusy, Youthful,
Acidic, Tart, Refreshing
Dark Green
PMS Code 3435 c | CMYK 86 45 78 49
| RGB 21 71 52 | HEX 154734
Positive: Nature, Trustworthy,
Refreshing, Cool, Restful, Stately,
Forest, Hushed, Outdoorsy, Traditional,
Reliable, Money, Prosperity
Foliage Green
PMS Code 349 c | CMYK 90 33 99 25 |
RGB 4 106 56 | HEX 046A38
Positive: Natural, Fertile, Healthy,
Balance, Life, Growth, Soothing,
Harmony, Restful, Restoration,
Reassurance, Environmental
awareness, New beginnings
Bright Green
PMS Code 347 c | CMYK 85 13 100 2 |
RGB 0 154 68 | HEX 009A44
Positive: Fresh, Grass, Irish, Lively,
Spring, Renewal, Lush
Emerald
PMS Code 334 c | CMYK 84 17 68 2 |
RGB 0 151 117 | HEX 009775
Positive: Luxurious, Jewel-like, Up-
scale
Aqua
PMS Code 565 c | CMYK 37 1 24 0 |
RGB 161 214 202 | HEX A1D6CA
Positive: Water, Refreshing, Cleansing,
Young, Babies, Cool, Dreamy, Soft,
Lightweight
Turquoise
PMS Code 3258 c | CMYK 64 0 39 0 |
RGB 73 197 177 | HEX 49C5B1
Positive: Infinity, Compassionate,
Protective, Faithful, Water, Coolness,
Sky, Gemstone, Tropical, Oceans
Teal
PMS Code 315 c | CMYK 91 49 37 12 |
RGB 0 103 127 | HEX 00677F
Positive: Serene, Cool, Tasteful,
Sophisticated, Confident
Sky Blue
PMS Code 7458 c | CMYK 55 15 15 0 |
RGB 113 178 201 | HEX 71B2C9
Positive: Calming, Cool, Heavenly,
Constant, Faithful, True, Dependable,
Restful, Contentment, Tranquil,
Reassuring, Trusting, Serene,
Expansive, Open, Infinity, Transcendent,
Distance
Light Blue
PMS Code 283 c | CMYK 40 13 0 0 |
RGB 146 193 233 | HEX 92C1E9
Positive: Calm, Quiet, Patient,
Peaceful, Cool, Water, Clean
Periwinkle
PMS Code 7452 c | CMYK 50 38 0 0 |
RGB 128 148 221 | HEX 8094DD
Positive: Genial, Lively, Sprightly,
Convivial, Cordial
Bright Blue
PMS Code 285 c | CMYK 84 54 0 0 |
RGB 0 114 206 | HEX 0072CE
Positive: Electric, Energy, Brisk,
Vibrant, Stirring, Impressive, Aquatic,
High spirits, Exhilarating
Deep Blue
PMS Code 2747 c | CMYK 100 96 23
20 | RGB 0 26 114 | HEX 001A72
Positive: Credible, Authoritative, Basic,
Conservative, Classic, Strong, Reliable,
Traditional, Uniforms, Service, Nautical,
Loyal, Confident, Professional, Thought
provoking, Introspective
Negative: Aloof, Distant, Melancholy
Lavender
PMS Code 264 c | CMYK 23 35 0 0 |
RGB 193 167 226 | HEX C1A7E2
Positive: Romantic, Nostalgic, Fanciful,
Lightweight, Lightly scented
Mauve
PMS Code 5145 c | CMYK 42 57 26 2 |
RGB 155 119 147 | HEX 9B7793
Positive: Wistful, Sentimental,
Thoughtful
Amethyst
PMS Code 2573 c | CMYK 29 54 0 0 |
RGB 184 132 203 | HEX B884CB
Positive: Curative, Protective, Peace of
mind
Blue Purple
PMS Code 267 c | CMYK 78 97 0 0 |
RGB 95 37 159 | HEX 5F259F
Positive: Contemplative, Meditative,
Spiritual, Soul-searching, Intuitive,
Mysterious, Enchanting
Deep Purple
PMS Code 2627 c | CMYK 85 100 31
34 | RGB 60 16 83 | HEX 3C1053
Positive: Visionary, Rich, Royal,
Prestigious, Subduing, Distant,
Introspective
Negative: Aloof
Neutral Gray
PMS Code 423 c | CMYK 49 38 40 3 |
RGB 137 141 141 | HEX 898D8D
Positive: Classic, Sober, Corporate,
Practical, Timeless, Quality, Quiet,
Neutrality, Logical, Unobtrusive,
Deliberate, Reserved, Fundamental,
Basic, Modest, Efficient, Dutiful,
Methodical
Charcoal Gray
PMS Code 425 c | CMYK 66 55 53 28 |
RGB 84 88 90 | HEX 54585A
Positive: Steadfast, Responsible,
Staunch, Accountable, Conscientious,
Resolute, Restrained, Conservative,
Professional, Classic, Sophisticated,
Solid, Enduring, Mature, Business-like
Negative: Dull, Conformist, Detached
Taupe
PMS Code 7536 c | CMYK 37 32 48 1 |
RGB 166 159 136 | HEX A69F88
Positive: Classic, Neutral, Practical,
Timeless, Quality, Basic, Authentic,
Organic, Versatile, Inconspicuous,
Understand, Discreet, Compromising,
Modest
Negative: Bland, Tasteless
Ivory
PMS Code 7401 c | CMYK 4 9 42 0 |
RGB 245 225 164 | HEX F5E1A4
Positive: Classic, Neutral, Soft, Warm,
Comforting, Good taste, Creamy,
Smooth, Subtle, Natural, Bridal
Silver Metalllic
PMS Code 877 c | CMYK 49 39 38 3 |
RGB 138 141 143 | HEX 8A8D8F
Positive: Sleek, Classy, Stylish,
Modern, Cool
Black
PMS Code none | CMYK 75 68 67 90 |
RGB 0 0 0 | HEX 000000
Positive: Powerful, Empowering,
Elegant, Sophisticated, Mysterious,
Heavy, Bold, Basic, Classic, Strong,
Expensive, Invulnerable, Magical, Night
time, Sober, Prestigious, Stylish,
Modern
Negative: Depression, Death,
Mourning, Underworld, Evil, Oppression,
Suppression, Menacing
White
PMS Code none | CMYK 0 0 0 0 |
RGB 255 255 255 | HEX FFFFFF
Positive: Pure, Clean, Pristine,
Spotless, Innocent, Silent, Lightweight,
Airy, Bright, Bridal, Ethereal, Clarity,
Simplicity, Arctic, Efficient
Negative: Sterile, Cold, Clinical
What Is A Graphic
Design Brief?
When designers undertake projects, they

want to do the best job they can and to do
that they need to achieve the right results and
to achieve the right results they need to
understand exactly what the design task
requires.
A lot of inexperienced designers make the big
mistake of jumping right into the fun part of
the design process i.e. the act of designing or
creating which happens to be the most
important step in the design process.
The best design work:
•• Fulfills its purpose or function
Delivers on the requests of the project
• Communicates a key message or
concept boldly and strongly
• Communicates in a unique,
visually exciting and engaging way
Graphic design is not about making things
look pretty. Graphic design is
the organisation and presentation of informati
on developed through a creative process for
a particular function.
Before a designer begins the design process
for any project they should always seek to
understand what that particular function is
and to do this, he/she should start by seeking
as much information about the project as
possible.
This information is typically provided to the
designer in the form of a graphic design brief.
So, what is a graphic design brief?
It’s an overview of the project, what’s
required and the design problems that need
to be solved.
Here’s an example of a typical design brief:
A typical brief should include all the relevant
information a designer will need in order to
understand the context, requirements and
needs of the project.
Why is the design brief so important?
The design brief is really key to the
development of a project. The more thorough
the initial brief, the more potential there will
be to solve the design problems required by
the project.
One of the most frustrating things that can
happen to any designer is having to create
work without being given an adequate design
brief.
This can delay the process, it can misguide
the designer or the client might not be happy
with the end result which leads to lots of
amends having to be made in future.
So, lots of time wasted which is a nightmare
for most designers and frustrating for clients.
A well outlined and detailed design brief
will:
•• Help the designer stay on point
Be the source of reference for the
duration of the project
• Can be used to contest solutions later
should there be any disputes
For a project to be successful, you should
always start with a well thought out design
brief.
Ten Questions A
Designer Must Ask
Before Creating Your
Business Website
Whoever you pick to design your website, he

or she must ask these questions. Otherwise,
they’re just wasting your time and money:
1. What does your business actually do?
2. What do you want your site to
accomplish? What do you want most from
it?
3. And if your visitors aren’t ready to buy
right now, as in take you up on your
primary offer/action, what would you like
them to do instead?
For example:
• Get more inbound leads / quote requests /
phone enquiries?
• Increase brand awareness?
• Educate their audience?
• Encourage sales?
• Collect email addresses and build a list?
• Encourage onsite or social media
interaction?
4. What makes your company
remarkable?
For example:
• Being the cheapest.
• Having awesome customer service.
• An amazing guarantee or returns policy.
• Being the exclusive supplier of a product in
a certain area.
• Supplying the best quality product around.
• Offering unique add-on packages no one
else can.
5. Who are your competitors?
6. What websites do you like and why?
7. Who exactly are your customers and
what are their pains?
The goal here is to communicate the pain,
the promise and finally the proof.
8. What features do you want your website
to have?
For example:
• A shopping cart?
• Social media implementation?
• Email collection and email marketing
capability?
• Auto-responders for nurturing?
• A blog or news feed?
• Photo galleries?
• Onsite videos?
• A slider banner?
• A mobile site?
• A responsive site?
• A blog or news page?
• The ability for people to leave comments?
• A quick contact form, quote request or
booking form?
9. How will you record your results?
For example:
• The amount of new enquiries you get.

• Number of signups for the site’s free trial.
• Number of signups for a FREE eBook.
• Number of users of the site’s forum.
• Number of sales.
• Customer’s average order size.
• Amount of traffic.
• Level of activity on the site’s blog.
• Number of social media (Facebook / Twitter)
followers.
10. Do you have a style guide or any
existing collateral?
For example:
Logos, brochures, old websites, posters and
web banners etc.
It’s important to get everything down in
writing for two key reasons:
(A) You want something to refer back to for
both you and the designer just in case the he/
she forgot to include something important you
had asked for. You do not want to have to ask
twice.
(B) To prevent any disagreements. If you
don’t have anything in writing, then you have
nothing to back your argument up if the
designer makes an error and believes
something was agreed to or discussed when
it was not.

Aditya On DESIGN

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Aditya On DESIGN

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A

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The graphic part of graphic design, is

Organic shapes are shapes that can be

The graphic part of graphic design is

The graphic part of graphic design is

Here are some simple horizontal lines.

In this first example line plays a role of

Next is an example in typography. Here

In this example lines are used to

Next is an example where lines can be

Next is a general example of how lines

In graphic design, there are principles of

In graphic design, there are principles of

In graphic design, there are principles of

In graphic design, there are principles of

In graphic design, there are principles of

In graphic design, there are principles of

If mixed alignment is intended as part of

First we have a typical layout based on

The next example explores alignment

Next is a type composition exploring

Here’s another simple layout. On top we

In graphic design, there are principles of

This example demonstrates hierarchy in

This is a simple index page which has a

In this next example we have a

Next is an example of a simple

This is an example of where hierarchy

In this magazine cover, hierarchy starts

In graphic design, there are principles of

But what if we bring in another circle the

The next example demonstrates

This is a hard question as it does not

Salespeople have a road map of the

If used effectively, colour theory is one of the

When designers undertake projects, they

Whoever you pick to design your website, he

• The amount of new enquiries you get.

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