HIGHER GRAPHIC COMMUNICATION ‘28°. ep seys es: ee oe oe DESIGN PRINCIPLES & ELEMENTS‘Graphic Design Principles & Elementi CONTENTS Pruwerpues PAGE Balance 3 Depth 5 Rhythm & Proportion 6 Unity - 8 Proxety - 8 Alignment a) Emphasis B Dominance 2 White space - ou Grid Steucture - 6 contrast oe Typography - 3B ELEMENTS Line 27 Shape - 2B Tenture Fy Colour 20 Value 2 Site Pn Weight 3 Mass 3 sven cspaccoumuntaron-10Graphic Deven Princes & Hlements. Ine reetion of ony publishes marena nas been cretly panned and esto sre the balance of sing key erephc design princes and element to communicate their desked message eal and fective, het ore Pines and Elements of gaphle design? Prlnclples ~The principles of rapic sin ae the key ule in whch you orgie the ‘varius elements na lyout, the recipe to 00d design) ~THE HOW! Elements ~The elements of raphic design canbe thought ofthe thing that are sided erate the publication (the Ingredients to good design) -THE WHAT! ve loka the construction ofa magazine layout, the elements are te ung blocks such asthe images, graphs, nes, colour being placed onthe ayt. The principles are the WAY ir which there placed onthe eyut ist of he various principles and element are sown below, you wl edt be able to understand ‘nd apply these in your on work within Higher Graphic Communication, rvcinues stamens + lance + tine + yt + shape + unity + Tenure = Proximity + coour ‘+ Alnment + Vote + Emphasis + size + Dominance = Weight + Whitespace + Mies + Typ0eraphy + Geasincure HIGHER GRAPHICCOMMUNICATION-1.0 |Graphic Design Princes & Elements Cnaiance, hen we look at publications and documents they wil ave some form of visual balance or vial weight of fferent graphic elements in theirayuts, There are 2 main types of balance within traphic design and these ae descabedbeow + Symmetries + Aeymmetria Publestion: wih symmetcalbalnce are ones that have an equal distrbuton of sal weight, a thei elements onthe page te centred and balanced te general seen as equal visual wight hat canbe deserved a having miro refecton vert an heron an example ofthis typeof baance canbe easily ceated by ranging your laments Sothat hey ae evenly dlstrbuted othe lft and right ofthe centre. see Symmetrical design can communicate stabity nd strength, which ae appeopite fora radon oF conservative plece often used by banks, lawyers and medal profession documents HIGHER GRAPHIC COMMUNICATION - 1.0Graphic Design Principles & Elements ll Asymmexra Balance Instead of smnmetical balance you canhave asymmetrical balance, this is when publeations have 2 layout that haves numberofelements arangedin ah order tat canbe weighted toa partlar side document ae AT STARBUCKS. Asynnmeticl layouts ae general more dyasmic and by intentional goringbalence the designer Cancrest tension expres movement contrast, varity of eonvey mood such as ane", ‘xcement, oy, oFeatval amusement ici GrapniccommunicaTion-1.0 |Graphic Desien Pinole & Elements bern Depth ie the effect of creating designs that appearto stand ou fom the page, simple techniques can ‘make you pblieation more ee catching to the reader. ‘Ways nwhich you can crestedepth in your publiation an besten below + Placing text bind and image + Using aropstadow to mae i standout + Placing objet in ont of other elements (ne, shapes, Images etc) ‘ana ane LO uy Lite powered by Samsung GALAXY G5 ‘The mages above show how Depth can be created in some example above, using drop shadow of the phone lyerng objects ontop of another mage and also layering ontop of colour backround cnx crap communicanon-12 [IlGraphic Design Princile & ements [lll 'n most publeaton hythm ued to create movement ans flected in the repetition of DTP ‘ements ina varied patter. The tw key aspects of Rhych ae repetilen and vation, Repetition - repeats the DP elements throughout document ‘Variation change inst, placement or style of DTP element Repetition helps to unity pits, without the ute of variation, epation canbe boring Many pages of ental corso ext sould be vaed with theuse of headlines, ub headlines and images, ‘You can balance repetition ard vation by repeating elements oun the pee, bt vary some of the elements to keep your reser: intrest. Proportion can often be seen inthe vation element of Rthm with objet contast in sie and als the amount feet form element to the nest. xamples of repetition canbeseen blow Repetition of Repettion of Colours, Patterns, shapes and Words OTP Elements Colour The blue ofthe gts sits echoedin the |The primary repeating element In ths pages the ue writing onthe wall andthe ble tte umber 5. (Patiemation #416") Sonthe clock Pateras/Shopes: The main backgrounds Sonthe tape measure which becomes part of repeating bik ptter the kt alo contains» |” the page ile "things every dy") repeating pattem + thelist of fue things words he wertnomtewen 4g thins tov ond nes bow the numbers over + the Stingers ofthe hand ver cuwccommuncaion-10 [ilGraph Design Principles & Hements Inthe pubeaton below, youl see a number of IH elements nave been arange ro create vial ‘epetton inthe tangle shapes, this haps rate movement forthe reader tofollow the ate ‘across the page, Repettion ot header & rule t op of page long wah we ofthe sametwo colts for fonts ha ale been used Anather example can be seein the design of 3 fl ther below: ‘The Rhythm of he documents carried out using the same colour layout on inside 2nd outside, and otter laments such as tet reverse, repetition of dle shpe ad ning 12 symbol HIGHER GRAPHICCOMMUNICATION 2.0Graphic Desin Princes & Barents {fl ‘unre Lnty in graphic deste allows the reader to have visa es telng ther which ars of the layout arolinked together. ke zen fren rth, Unity is cosly inked tothe epetion of our, ‘Shapes and entre. This ate on start unity within document but unt en so be gained ‘through layout structure and grouping of tems and typography ‘The example shown demonstates unity within he publication through the repetition ofthe hexagonal shape from one graphic to another. The ue ofthe red an green colour in ont nd Borers nk with elerentswthia he images (red Chita Ween Istlmage and green vee & ‘ed bubblein 2" nage) » Hexagon Hevagon shape “yposrophy sed within the cocument remains he same wth the Headings ony dferingin font site but agin is repeated treagh the pubcaton. ‘The ayout structures the sane rom 1 pageto another wth each page having roughly the same amount of white space tthe top and boon. vacnen cnamtccommumicanon-10 [iilGraphic Design Principles & Bements " 2 ‘elements. By adjusting the spacing . ere e pepe Information and content ob prevented alot ealr, quicker and ore enjoyable to ved forthe use. The pullition above hows now the proximity ofthe square shapes helps ‘The mageto the ft shows how prosmsty ofthe typography can make apubiation feickingbut athe same time givecaty to yout HIGHER GRAPHIC COMMUNICATION 1.0(Qatuonnaes Graphic Design Pinole & Cements [ENT ‘Algnmentof OTP elements a elp improve the aout structure ofa pubes, alignment wil ‘often vary from one layout to another, As wth al layouts, depends onthe purpove ofthe ‘ublation and the target mati simed fr. The slignment of a pubeationcan be shown through, 1+ the structure of bodytext within an article + Postoningf the various OTP element on the pee, ‘Aignment of bodytext “The alignment of body text canbe produced into several formats uch as et Right Centred and Fly lstifed. We wllook athow these aignments lookon 3 page and the reasoning behind each ‘method. Left/Right Agned Text ‘often considered more informaland used in everyday use compared to ustledtet. The eft ‘over space at the oppose endo alznment as an ‘ement of white space. Lf aignd tert ease 0 work th and requires stir, attention and ‘tweaking from the designer to ake tok good. Ply stified Text ‘en considered more formas renly han let aligned tet. justified text allows the dsignarto hhave more characters er ine, packing moc int the same space than let algned ext would have wed usted text, However, sometines reeds the dasgnr to tweak the spacing betwen words and ‘characters to avoid unsightly gaps of white space runing trough the body of te. Printed publications such as Newspapes, Sook and Magazines often use justified tot el fl in the ‘mutpage layouts “oven pum dlr ae uma mai se, Oso namo. Stan euptunverpe al dre ocusomiton et ne em ori sq eiptore Noinemis corpora es brite erat defor ‘3 Vitsum eu dua ate desea cen ‘enone “lorem ipsum dlrs ame, ura mals ae. Bue trutesaeperectegue ude coming canara Ws te mutt aperEt dorm forensbu® et, vc dacs ometam et ra som iu scp, Ne Ines crpra ex bse Stra iitanen mel \ateipum dun, vite eset ficient”Graphic Design Pincioles& Hlerents ena rent “toremipaumdelor st at sro mals u-Duo brute sepa rectequee, dam doing seer ar Stan vOut lamp a le dolre nonumy i Dare ‘centred texts mainly used fr headings but can be wed formote creatine tat structures wth number of posible layouts. Ceatred text also helps to crate rythm Allowing the reader to folw space of reading often seen inpoens, Postioningof TP Elements ‘Agent of elements such tot, Images and shapes onthe page shou be place in away that oes not appear random. By aligning elements you should te looking to connect the varius ‘ements nthe document val to achieve a eat and structured layout, this shoul be cared out deitertey ‘wong alignment can make a huge dferenceto the overall layout ofa pubication itshoulé ‘make the publication appear neater and ester to follow for This is the ‘the reader, main headline Poor alignmentin a publication anak the reader distoted and lost inthe layout making it harder to presen the message of ‘the pubition ‘Aleta created when ‘wothing with grids and guidelines. ‘Guideines makes obs for the designer to spot where the en tate comune 19raphe Design Princes & Elements ‘the sa eg ort align thecolomn of text to the same height on a page Thisis Thisis headline aa headline rel number one i = number one: ee PIC2 ‘Tis ts the socondary arti ie of the This the secondary article tia of the save Example of Algnment cred cut an pubeation From the example above, theo) text of arte 1 are aligned on top an not onthe otto, Thi i ‘tay since P's bottom isalgnedto the bottom of the body tex. The eft and right edges ofthe fst column of atic 2 (body ent aligned othe second column of ariel (body et). Pcie also aligned to fst column ofatice. HIGHER GRAPHIC COMMUNICATION. 2.0Graphic Design Principles laments lll! QemyHAst9 & DOMINANCE, Emphasis and Dominance aresimlar elements, theefference between are show below: Emphasis happens wen anitemis made mor eye atchig. Dominance —occuts whenone item stands out moce than others, It dominates the yout {When designing a pubeation the majority af the tine you wil probably incorporate some form of ‘emphasis into your layout, phasis canbe create by change of tet clou, drop shadow, border ~ Shalfect created to draw steton Dominance created by maiy making an object appea lager than te surrounding objets or layered on top of other elements to crete an overall dominant featur in the layout ‘Asa designer, you should be kong to create a tong focal pola n your publstion. This helps the ‘eater qui san and hod tha eade’atteton General» focal pont is crested when theres an element that fers rom the other elements For example i wotting with avertclayut, using ahoreortal element wil tan out. vertical Columns oftet witha hortonta picture) Here ar ome way ocreat omphass in your publatin + Cente smalline of reversed tet or smal hotograp in a large black and white rea, + Surourdan image with alt of text + Leave ‘white space’ ound and element to empha + Place an important lte oftext ona cued line oan ange andkeep the ther nes of text In srl clus. Set headlines and utheadng in bold typeface, and body tot in a ight typelac, Plceasmal bit of te near large mage. Set the most importa information ina clour ruse diferent typeface to reste contrast. Use bold type to hight information. Dominance placed onthe trapbic on the top ght ofthe page as ia largest element fn the page creating a focal ott a BISCIA SOLUPTIS Emphasis hasbeen created in at the headline, structured body ‘lous at wel reversed wren caoccoumuncsnon-10 [fl“Graphic Desig Principles & Elements (lil ‘Dominance placed on arse ogo / company name. Emphasis as been caled ‘out by changing clour of fey information plush. oie space around the tiles and product ame help tocrente breathing space and make tstand ot more alo, Whitespace refers tothe cans space et in between diferent ‘lment of your desig, You may have ao heard refrradto as negative space I's important because it keps yeu sen from beng too catered arto confusing ‘Theterm “whit space is 2cualy bit ofa conusng one because it Impl that the space hast be white in aur White space can tube any colour hat erent the negative space in Your desig. For example a presertation folder might sea beg hue Me yellow in plce of white to bring energy and colour tothe ses, white space can even havea repeating pattern (ihe asubtle texture) tomake more vsualy appealing. Coloured whitespace Is mare ineesting to ok st than pain white, bt the principe ae sith imei an area that you dont atthe Used to separates and group elements ‘hie space provides the brah with ual cues at which raphic design elrents belong together and which are Separate. Lets say that at thebotom ofa business ard, you have sere of phone numbers for your business, ‘mobile and home phones | SSteaatttaoee igHeR GraPiic communicaTION-1.0 [‘Graphic Design Principles & ements ll “re wie space et heifer es of man ie your brain the signal that each i pat of anew and deren sequence Instead of one longnumber. Spaces ao used to separate each ‘dua haacter rom te est, maling them leblanc) to comprehend to imply ur and sophistication Whitespace can be used as a design clement to make your marketing matrals ok sophisticated Whitespace can actualy beecme a central element ina design when i's used to create aceraln mood olook. We associate a loge amount of whitespace wth mur and sophistication, so sing it effectively maybe a way toring these asscations to ples aha food onto one plat wth tl room for anything fs. The same dea goes for your desen—too many graphic ‘ements con cheapen the overlook. Rather than ting to Improve a design by adding mare and more imagery, et the white space do ts jb 0 that you can simply focus on Inakng the graphic elements ook the best. ‘Adds emphasis ‘What happens when you septa design erent sing ‘tte pes? Any can ce Form example geo bans {endo putemphes and prance on deg cement that resound by whitespace ‘ “iss because the negate sce pking you veal ees ‘ ‘bout where you should be leking, providing pent of my bate rom around alors stat our ranean aly proces. Ts why mpatant design elements Ike logs aeofen surrounded by whitespace sothat they re emphasized ard deay vl The space eps ep ourlog separate omther elemento that the vewer \sarwmtoyour branding andes contre kwh ter mages Concition| Whatever you do, dont fallin the tap of thinking of whitespace as “empty space" may lok ‘empty, but that's because you designed the space tog viewers beter ook t your ese, not because you drt have anything better to put there. When i eames to raphe design, the ‘ements you leave out ae ust as mportant as the ones you create voserouteconmmncanon-s0 [FTGraphic Desen Principles & Elements [lll (Qsn0s & cvioeuNes Cris in graphic design referstoa series of intersecting horton ant ‘ert ines that are uid to tucure content ona page, Gd act 25 aframework that a designer can use to organise content ina ‘ational manner, Creating gr is usualy the frst echnical stp ofthe graphic design process Graphic designers begin with blsnkpage and begin iting ‘pw guidelines, which canbe turned on and throughout he design process and are nv nthe inal design. Purpose of ris & Guidlines Gis ge order to praphicdesgn They speedup the design process by helping designers decide where content shouldbe placed rather than wher it could te pace. For example, ina newspaper with ‘we column gg, the designer nows to flow the text int those fhe ‘ohms Using Grids 8 uldetines GRIDS || aco Arhough rts should be waco structure content, they are ony intended to guide the raphe design process, not diate They shoul be gnored aor should they be st followed. Senphy ‘owing athe content nto rove rcolrine can eats ria repettve and uninteresting design. 'tisupto the designer to know when and how tobreak out oft For example, while the main body op) may int singe columns, some elements sich as heaines, mages nd cal outs oul be fertended across multpe columns or pages. sven cpecoumuncaron-20Graphic Design Princes & ements the algnment spacing and eraupng of elements on page, the consistent placement of elements from page page an across elated documents help to create stutue Aue of Tied ‘The rule states hata publeatn canbe dided into ne equal, pars by two space horzortalines and vertclline, The Intersection pints can be ved to focus on your manlement, ‘orthe bores formed can prove a space for you elements. The tual tendency of te ul of hed that the mide boxe ‘ual leftlan, othe image work around You would not place an image's focus point empty central using hele of tres yout ‘Thiscan be shown nthe example ‘The theory that if you place points of interest inthe intersections or along the Ines that your photo becomes more Balanced and wilenable a viewer ofthe image to interac with Icmorenatray. tule have shown that when viewing ges ‘hat people's eyes usually goa one othe intersection pols ‘most natural rather than thecetre ofthe shot using the rule of thre works with tis natal way of viewing an image rather ‘han working agalst Pacing important elements othe focal point ofthe design within the vs entre of piece another desen tik The visual ante slightly tothe ght of and above the actual centee ofa poge Inthe mages above you cn se that gure J the logo hasbeen placed central tothe borders inthe ‘image, ut wal does no st wel. we change te locaton ofthe logo as seen in Figure 2 and ‘ace n the ope centr, now looks more balanced and visual comfortable forthe eae.‘GraphleDesin Princes & Elements (Qcowrmast __ Contract ccurewhen two element are ferent The greater the diference the greater the Contrast. The key te working wth contrast to make ure the diferences ae oous. Contras as intrest tothe page and provides a means of emphasing what isimportant or ‘rectng the rears eve, Ona page without contrast the eader does know where to lak fst lorviatis portant Contrast mates a page more iterating 2 the readers more ap to pay attention to what son the ge. Cantar side readabity by mating headlines and subheadings stand out. Contrast shows what [important by malingsnallar or ghter elements recede onthe page to alow other elements to takecentre tage Four comman methods of eesting contrast are by using eiferences Shape Tye see Inthe image Below, you can se avr imple example of contrac of, Your ayes are drawn to the large test. els natural: something bg beside something smal wlincat the big er i ar more signin ‘you establish the key. PEG Sort ny ete ‘oro Contrast of ize not appleableto ust tet Canale be the mages in tes necessary tat you fi the areas in your design where you want the viewer to fous on. Tryto the elements al exactly thesame se, mostly be prety uninteresting, HIGHER GRAPHIC COMMUNICATION: 10‘raph Design Princes & Elements Contrast of colauris arguably one ofthe hay principles of design and, as mentioned before is prtsbly one yer familar wth, You can gta very simple example ofthis theory you tke & tei background and drop black text on The contast between white and blck values lpetty CONTRAST Establing the right contrat of colours can make or beak your design, You don't want colours to fone with each other nsudh a way that ls confusing and eating to ook at. Looking Figure tat the mage above, your eyes wi probably start hurting after tring att fr even just fw seconds, Cn the othe hand, the Figure? shown above here shows great evel of contrat between the backround andthe tert colour which pleasing to look at The colours choren were simply Aferent shades ofthe previous mage, but thee work so much batter together Is cual work ‘with complementing colours that dont cause strain on the eyes. You ala dont want to work with Colours which ae very smarto eachother, Ie ed and orange for example shapes Uingcotran shape or Yourpublaton on ely heb tate hing td et tw Saniortyeeeines CONTRAST totteal eens spe COnpared there ofthe lemons nthe oyu oat inte cco kapes and arco & vere ns HIGHER GRAPHIC COMMUNICATION. 1.0‘Graphic Design ene & Elements ‘Depending on how far youtale ns, you can rene avery exreme levelof contrast to are more tention tan area For instance, f you havea layout where allo te elements are made up of ‘rectangles, butt inthe isle there’s ae, the viewer’ attention going to go directly tothe ‘ice becaure Ws illerent rom the rest ofthe element ao you examine the image above, you can see this layeuts almost entirely made up of rectangle ‘shapes. The images are recarles a wells the diferent eraphicalelrients The thing that wail ‘brobaby standout to you the mos, however, isthe lamp Because W's the ony element inthe {ompostion that ta rectangular shape, an your eye goes det to that images. Two layouts showing how conan | Shapes have been sed na pubiaton sppea that ten teed to drow attention oa speci tessage, HIGHER GRAPHIC COMMUNICATION 1.0,Graphic Design Principles & Elements ‘Typeface No mattr what pblstion yu" crenting, chance ro youl be working with ome type of font. ‘Wihen tcomesto typeface, he other elements of cantast can alle apple, whether’ eaour, site or shape. When working with layout, ou never want to have the same font use for the entice des. Instead, you should find places whereyou ce create variation, such as areas are of most snieance, For example, you can use these typeface but have one bald andthe other ight or regular The ‘ves you contract, butalea keep that un in your desig, Becase you don't want to have # ‘erent typeface for every bx of text. “THE FACTS” Inthe layout example above you can see great representation of contrast between ype. While there's ely only fees typefaces ured inthe desig, there's a great contrast between both type and eotour HicHER GrapaiccommunicaTion-10 [Graphic Design Penhles & lements Some examples of contrast wih typography are show below: S.. Weight Contras create by change se of pe Contact heavy weights with ight weight of ype. Structure Storm sample of combined tik on thin Cops vs iowercase contrast of frm, weighted type ae welos diferent fomies of ons (Ue Seni font & Sons Ser font) Direction "ype that hs been stretched horizontally versus tal arow columns of type rather type onastant ‘Contrast isone of he mestimportant princes in design ant goes much further than st ght tnd dark colour vais, thee elements of contrast hould work together ns layout oF publication to hep achieve th nl ook. Keepin ind that rot everthing eds huge level of ‘Contrast where punches you nthe face canbe subtle HIGHER GRAPHIC COMMUNICATION 2.0,Graphic Design Princes & laments Pll ‘QLYHUGKAPY & FONTS read by rapny 09 ee ra Up” raphy oo ty? Serif and sans Set "hee ae yet silestonand aceon pts bt th ot coon wo types you wl ind a Serif | Sans Serif HEADLINES O igHeR GRaPHiccomMUNIcATION-10 |)Serif Serifypafaces are among some ofthe oldest ‘mode typefaces. They are used in everything from book publishing to newspapers and ‘magatnes tobilboards and west. So what lea sertanyuay? este Ite decorative tro that extends fromleterst canbe inthe fom of al, sherp or bun, decorative or pin Each sec typetece wilhaveadstnctvestyiefor this rarkthat maker the family dota. Sere ‘ppear on bath upper and lowercase eters within afontfamiy 35 wells on numerals tnd other characters When touse them ‘The mood and fetng most sociated wth sen typefaces are classi elegant, femal ‘confident and exablshed. ome ofthe mort ‘wenn serif ypefces inl: ‘Times Roman Rockwell Georgia Baskerville Graphic Design Principles & Elements fl Sans-Serif ‘About Sone sec ypaacas are conidered more ‘modern and nude a varity of widths and shapes. ‘Thistle of typeface aks strokes atthe ends flees (hence “sans” seri. The type category is thought to embed simply because ofthis ak of added deta Sars serif typefaces have alook hats rect and prec, athough character edges maybe ether sarp or rounded The mood and feelings most assocated with sans serif typetaces are modern trina, rect, dean and minimal, Someaf the most welktnown sans se typefaces include: Helvetica Avial Calibei Franklin Gothic wren cnracconncavon-20 ff‘Graphic Design Principles & Elements lll ‘anatomy of ype ‘These ae some ofthe bas pus ofthe anatomy of typographic character djEeiLN =B x= ering the adustment of te spacing between invidel characters ‘Erust Wonder Vendor Trust Wonder Vendor Tracking, however, the spacng of group of characters, Trcking st 0 ‘priv ype crc which ord frstoresipshey rw aro mre dvr sjosing veo Abelzopar isotype of role in whch tienda ae stp by one or moe sage ave ao 2 halicopar se ype of rotor in hich i ond het are sppled by Sheer more engine driven stor vaokencunccommuntcanon-x0 |)Graphic Design Pindpes& laments (PE A helicopter is a type of rotorcraft in which lift and thrust are supplied by one or more wading engine driven rotors. Theimageshow theefettht A fel of rotorcraf i cnteaeacvientade’ © Which‘ and thrust ore supplied by seiutes Otenusedioceate gn ot more engine driven rotors. emphasis ona particular body oftex within the pubicaton. A helicopter is a type of rotorcraft in whi ‘and thrust are supplied by _one or more engine driven rotors. © Abhelicopter is a type of rotorcraft in which lift and thrust are supplied by The hole lok and fel of a publication canbe easly affected if typography hasbeen effectively onsidered the simplest task changing the font can make a publeation seem more at tractive to ‘particular target market Le modem vs tradlonal values. HIGHER GRAPHIC COMMUNICATION -L.0Graphic DesienPincoles& Elements THE ELEMENTS OF DESIGN Quue__ LUne are an important element in the design of publication, they are used to separate parts ofa leu, eonneet parts of layout or ereate smphasieto partial text of yout Une are general present troughout a design of publication. They canbe thckor tin, stright o-curved soko dashed or dotted. Lines fan be ary colour and: any style. Siaight lines ate often used at fetineaions between sectors ofa design, or they may be used 10 Girt viewers vslon in onedteton orate “The width fine has a eet effect ons ul impac. Thick nes are bold and strong they raw attention to themselves. Thi ines tend todo the oppose. Colour as eftects the impactfaline with brighter nd darter colours drawing more attertion than Ter and paler colours. They ofstine alo hasan elect dated or dashed nes ress imposing than sol es. Curved tines often gv a ore dynamic or Mid look toa desig. They neste movement and enrey ‘Theyre aso more common a desgns with an organic nature, 25 they’ more ley tobe sen Ia nature, Straight ines are more formal and structured, nd insti of vied cure, atraan* |) HIGHER GRAPHIC COMMUNICATION 2.0Graphic Design Principles & elements [NT stre _ re two-dimensional ces, squares, rectangles, iagls, and any other hind of polygon or abstract shape are incuded, Most esas include a varity of shapes, though deliberate use of specific shapes can gve a design a cetain mood o eli. esters use shapes to: Crganse infomation hugh conection and separation ‘Shmbolsediferent ideas Create ovement, texture and depth ‘Convey mood and emoten Emphasis and create etry points and areas of interest Lead heey rom one din element t the net. For example, cles are ofr associated with movement, and also wit organic and natural hn Squaresaremoreoftenseen vith order, struetured designs. The nour, style, andtextue of ashape anak o huge diference how its perceived von sic coumuncon-30 |)Graphic Design Pinos & laments ‘Qumxcune __ “extres are anmportant part offs about any publication. Even pubications that, onthe sues, fe smooth” and “Na” ar testures, oo). Textures canada to the feling and mood of a desgn, they can take aay. ‘The most commonly seen textures, apart fom flor smooth, ae things ke paper, stone concrete, th fae and natural lent “estres an be rule or prosunced, used Eberalor paring, depending onthe navi design, ‘ut textures an important aspect of design that can have a suprising effect on how ads comes {Erampies ofhow textures canbe wed ae shown, n backround and loa a connection to create ny nking oe tem to ante. igHeR GaaPniccommuUNicATION-1.0 |)‘raph Design Princiles & Elements Qcoioun _ Colurin designs very subjective. What evokes one reaction one person may evoke aver iferent reaction in someone ese. Sanetines ths s due t personal preference, and other times eto Cultural background Colour theory sa selence ite. Studying how clous affect ferent people ether inidualy oF 2 group, something some people Bul ther carers on. And there's lk to. Something 3 "imple a changing the erat hue or sturation ofa colour an evoke completely fren feeling Cara ifeancas mean ha something thas happy and upliting hoe county ean be aepressing Inarather. For example Incr, reds the clouof prosper and happiness Itean ao be used to tect goed luck ther eastern cltres, red is worn by bries on thee weding ys. n South tea, however, red isthe cobur of mourting, When working with colour nour publications it canbe used to create mood and crest a vsal connactionto the meseageberg promoted. Colour combinations are used ta caste entity ofarand but aoto create unity ané depth within pbleaton Colour Whee! Structure ofthe colour whaeie show tou Primary secondary- Yalow Orange Red Orange redVilet, Blue Green levee HIGHER GRAPHIC COMMUNICATION 1.0Graphic Design Principles & Elements Psion, Love, Anger nergy, Horpnes, italy Happiness, Hope, Decet New Bglonngs, Abundance, Nature Calm, Responsible, edness Creativ, Royaty, Wealth Mystery, Elegance Ex Moody, Conserve, Formalty Purity, Cleannes, Vitue Nature, Wholesomeness, spendabity concert, ety, Cull aly, gant, Purity ec5ee0e CO0888 ‘Worm Colours Advancing Clours Warm coloursincude red, rage, andyetow, snd varations of those three colours. These fe the colours of fie, offal leaves, and of Sunsets and. sunrises, and are_generaby ‘enerasng passionate, and postive. They are tbo krown os advancing calous as they 2ppear tobe cosr tthe reader. Red andyllow se both primary colours, wth orange align them which means warm colours are all uly warm and are created by combining a warm colour witha cool lot You can use ‘warm colours in your plats reflec: - passion, happiness, emusasm, and eneray. ool Colours ~ Receding Colours Cool cslours include green Hue, and purple, fare often more subdued than warm colour. hey are the colours of night of water, of ature, and are usualy calming relaxing. ane Someuiat reserved They ae so known ‘eceding colours a5 they appear tobe further ‘way tothe ender, ues the only primary colour within the col spectrum, which means the other colours ae created by combining Be wth a warm colour yellow for gren and red fr purple. Greens take on some of ‘he attributes of yon, and purple tales on some ofthe atibutes of Ved. You can we cool colours Inyour publieatons to gvea sense of: calm o professionalism, HIGHER GRAPHIC COMMUNICATION. 1.0,Graphic Design Pines & lements armonious colour schemes ae the next eatlest create, Hamonous schemes ae created by using tres colours that are net fo eachother on the ‘clout whee. Caen aC Generally, Harmonious colourschemes alsin Colour level but yas one, shades an its we an a irtrestt thes schemes and adapt them to our needs for designing publestions to hep ‘stablsh unity and colour comections within the [Beer pee focument Contrasting Colours Contrasting. schemes are created by ‘combining colours from oppeste ides of ‘the colour es In ther most base orm, these schemes cant of oly two colours, but can easy be expanded using tones, tints, and shader, auton must be taking though 2s using Colouts that are exact oppostes with the Same colour andor value reht nex to each other can be very joing wsually {they appear to ectualy vibrate along thelr border inthe most severe uses) The Is best avokied (ether by leaving white ‘Wanstionaleolour between them), HIGHER GRAPHIC COMMUNICATION 1.0Graphic Deven Pinos & ements Qvauue __ Vale is cosy elatedocnosr butts more genera show light or dark specie designs Aga this rele diet to the mood piece ees Darker designs convey afferent feeling than feter designs, even th allother desig elements being etal Not ever piece asa caret value With very colour pieces, you might nt rely be able to tll how high orlow the value ne tick sto convert the desig to preyecae, to get a etter sense of howlght or dart’ ‘The contrast between fet and darks often used to create emphasis tow particular part of dese, Le healings, brand names, sSogans te name few. ‘one ‘ome The value Iie in Example 1, however, there is change ia vale inthe es lin inthe headin This creates emphasis onthe headline drawing the atetion tothe reader. Example 2 Neate 0 design with darker ae the dar background ceates contrast th the bodytext, making the ma content standout HIGHER GRAPHIC COMMUNICATION 1.0“Graphic Design Princes & ements (Ose. mass 8 WEIGHT In your design pubetion, mas tems witha your yout can be thoveht of having mass. A heading ‘that as been bold wll ary greater mass than other poste headings or Body text. Elements Ike line and colour can add massto publication by ther thickness ar ae + Masses + There spi se and visual se + Sizecan be relative ‘A physicaly smal brochure cn have a gret deal of mass through the use ofheawy text and apie clement. & physi age Ercture can appearsmalier, hte by sing text nd graphies spongy “suze typography sioment is. Note the drop cap to; it'sa great way iaeate where the ener Should startandan example ct ing eto dret the viewers, {END oF BooKLer) HIGHER GRaPHc COMMUNICATION 1.0