Desktop Publishing Principles

8/3/2019 Desktop Publishing Principles

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Design Principles


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Principles

Overview

1.BalanceA.Symmetrical

i. Vertical

ii. Vertical

andHorizontal

B.Asymmetricali. Asymme

tric

alii.Asymme

trical /AllOverBal

ance

iii.AsymmetricalTension

C.RadialD.Rule of Thirds, Visual

These basicprinciples of

design appear in-every welldesigned piece of

.work Although wewill discuss each

,individually theyare really.interconnected

Rarely will youapply only one

principle to your.design


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Balance Symmetrical

Easiest to see in perfectly centredcompositions or those with mirror images.

In a design with only two elements they

would be almost identical or have nearlythe same visual mass.

If one element was replaced by a smallerone, it could throw the page out ofsymmetry. To reclaim perfect symmetricalbalance you might need to add orsubtract or rearrange the elements so thatthey evenly divide the page such as acentered alignment or one that divides

the page in even segments (halves,uarters etc. .


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Balance Symmetrical

VerticalSymmetry

Each vertical half

(excluding text)of the brochureis a near mirrorimage of theother,

emphasized withthe reverse incolors. Even theperfectly

centered textpicks up the


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Balance Symmetrical

Vertical and HorizontalSymmetry

Poster design divides thepage into four equal

sections. Although not mirror

images the overalllook is verysymmetrical and

balanced. Each of the line

drawings are more orless centered withintheir section.

The graphic (text andimage) in the upper


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Balance Asymmetrical

Typically off-center or created with an odd ormismatched number of disparate elements.However, you can still have an interestingdesign without perfect symmetry.

Elements are evenly distributed within theformat which may mean balancing a largephoto with several small graphics. Or, tensionis created by intentionally avoiding balance.

Uneven elements present more possibilities for

arranging the page and creating interestingdesigns than perfectly symmetrical objects.

Asymmetrical layouts are generally moredynamic and by intentionally ignoringbalance the designer can create tension,express movement, or convey a mood suchas anger, excitement, joy, or casual


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Balance Asymmetrica

lAsymmetrical BalanceThis example uses a 3column format to create

a neatly organizedasymmetrical layout.

The two columns of textare balanced by theblocks of color in the

lower left topped by alarge block of whitespace. In this case,because the white spaceis in a block shaped

much like the textcolumns, it becomes an


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Balance Asymmetrical

Asymmetrical / AllOver Balance

It can't be neatlysliced in half like a

symmetrical designbut most of theelements have onlysmall differences inshape and mass. This

page achieves anoverall balance by useof an underlying gridthat spreads the many

pieces out over theentire page, more or

B


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Ba ance Asymmetrica

lAsymmetrical TensionThe off-balance designcreates a sense offreedom and movement.

In this example, like awild, unruly garden, theelements of thisbrochure cover arebarely contained on the

page. The plants springup primarily along theleft side but with a fewstems escaping andarching across the page.

The text, althoughrandomly placed, follows


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Balance Radial

On square and rectangularpages we generallyplace elements in

orderly rows andcolumns. With radialdesigns the elementsradiate from or swirlaround in a circular or

spiral path. Parts of the design must

still be arranged so thatthey are balanced

across the width andlen th of the a e


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Balance Radial

xa m p le 1H e re w e h a ve a n ex a m p le o f ra d ia lb a la n ce in a

.re cta n g u la r spa ce T h e ye a r re p re se n ts th e ce n tre o f th ed e sig n w ith th e su b tle co lo u r se ctio n s ra d ia tin g fro m

.th a t ce n tre T h e cale n d a r m o n th g rid s a n d th e irco rre sp o n d in g a stro lo g ica l sym b o ls a re a rra ye d a ro u n d

.th e y e a r in a circu la r fa sh io n


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Balance Radialxa m p le 2

C o lo u rs an d te xtra d ia te o u t fro m th e

a p p le in th e m id d leof th is C D cove r

.d e sig n T h e e ffe ct isa lm o st o n e o fsp ira lin g d o w n in to

th e ce n tre o f th e.ap p le Th e ap p le

itse lf lo o ks n e a rlysym m e trica l b u t th ecu rv in g te x t a n d th eo u tlin e s e d g in g o ff

the page to the top

a n d rig h t th ro w s it a ll- .slig h tly o ff b a la n ce


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Balance Rule of Thirds, Visual

Centre Grids Three related aspects of page layout

and balance.

These are layout principles help thedesigner achieve arrangementswith visual balance.


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Balance Rule of Thirds

The rule says that mostdesigns can be mademore interesting byvisually dividing thepage into thirdsvertically and/orhorizontally andplacing our mostimportant elementswithin those thirds.

Take this concept a step

further, especially inphotographiccomposition, bydividing the page intothirds both vertically

and horizontally andplacing your most


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Looking at a previousexample: In this vertically

symmetrical

layout theheadline appearsin the upper thirdof the page, thelogo in the middle

third, and thesupportingdescriptive text inthe lower third.

The mostimportant


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Looking at aprevious example:

This asymmetricallayout has mostelements in theupper third andleftmost third of

the page withthe main focalpoint beingaround the

intersection of


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Balance Visual Centre andBalance

Placing importantelements or thefocal point of the

design within thevisual center of apiece is anotherdesign trick. Thevisual center isslightly to the rightof and above the

actual center of a


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It's easy to seethe actual center,it's where the fourbox corners meet.

But the focus is onthe earth.


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In this calendar, the monthsemanate from the year located

front and (visual) center.


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Balance Grids and Balance

This invisible structure (visible while working inyour page layout program) helps ensure thatyou place all the elements in the rightlocation to achieve balance as well as to helpwith continuity and consistency of design.

Roughly dividing a page into thirds or findingthe visual centre are relatively easy and youdon't usually have to be exact to achieve yourgoals. However, constructing the underlyingstructure of a piece is a bit more complicated but essential for most designs.

Most balanced designs (and even unbalancedones) rely on a grid.

Grids can be simple or complex depending onthe needs of the design and the designer.

Sometimes the use of a grid is obvious.


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Back to a previousexample:

This asymmetricallybalanced design uses

a simple three columngrid to ensure thateach text column isthe same width andthat it is balanced by

the nearly emptycolumn on the left. Thegrid also dictates themargins and ensuresthat the page number

and header appear inthe same place on


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Back to anotherprevious example:

A 5x5 grid keeps this

design in line. Thegrid is obvious alongthe bottom (eachsquare equals onegrid square in thislayout) but it isinvisibly keeping allthose random lettersin order in the middle.


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Proximity/Unity Principle Space Matters

Basic purpose of proximity is toorganize.

Group related items together.

Several items in close proximity toeach other become one visual unitrather than several separate units.

Considerations for white space. You should be able to follow a logical

progression through the piece, froma definite beginning to a definite

end.


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Proximity Principle Image 1hiteSpace

Emphasis

Is everything related?

Cluttered?


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Proximity Principle Image 2


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Proximity Principle Image3

Proximity Internet Link

Do you feel dazed andconfused from the lack

of proximity?
http://www.nhsdesigns.com/principles/proximity/index.phphttp://www.nhsdesigns.com/principles/proximity/index.phphttp://www.nhsdesigns.com/principles/proximity/index.php


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Alignment Principle

Basic purpose is to unify and organizethe page.

Nothing should be placed on a page

arbitrarily. Every element should havesome visual connection with anotherelement on the page.

Unity some visual tie between the

separate elements. Be conscious of where you place

elements. Always find something elseon the page to align with, even if the

two objects are physically far away


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Alignment Principle Image 1


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Alignment Principle Image 2

Can you see all the places,where items could be aligned

but aren t?


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Repetition (Consistency)

Repetition of visual elements throughout thedesign unifies and strengthens a piece bytying together otherwise separate parts.Repetition is very useful on one-page pieces,and is critical in multi-page documents

(where we often just call it being consistent). Repeat some aspect of the design throughout

the piece.

The repetitive element may be a bold font, athick rule (line), a certain bullet, colour,

design element, particular format, the spatialrelationships, etc. It can be anything that areader will visually recognize.

Purpose of repetition is to unify and to addvisual interest.

Avoid repeating the element so much that it


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Repetition Image 1

epeatedame or

imilar.mages

Triangula.motif

ea cup.otif


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Repetition Image 2-ulti page

publicatio.s

Singlerepeating rule

across thebottom of each

.page

Consistenttypeface inheadlines and

- ,sub heads andconsistent

space above.each

Consistentdouble rule on

.all pages

Page numbersin the same

place and sameand same

typeface on.each page


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Contrast Principle

Contrast occurs when two elements aredifferent. The greater the difference, thegreater the contrast.

The key to working with contrast is to makesure the differences are obvious.

Four common methods of creating contrast areby using differences in size, value, color, andtype.

Contrast adds interest to the page and providesa means of emphasizing what is important or

directing the reader's eye. On a page withoutcontrast, the reader doesn't know where tolook first or what is important.

Contrast aids in readability by making headlinesand subheadings stand out.

Contrast Internet Link
http://desktoppub.about.com/od/contrast/ss/contrast.htmhttp://desktoppub.about.com/od/contrast/ss/contrast.htm


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Contrast with Size Image 1

B ig a n d sm a lle le m e n ts o f th e,sa m e ty p e su ch

a s b ig a n d sm a llim a g e s an d b ig

a n d sm a ll typ ea re th e m o stob viou s u se s o f

size to cre a te.contrast

C o n tra stin g w h itesp a ce o r th e

p h ysica l size o fth e p ie ce w ith

a n oth e r e le m e n t

Contrast with Value Image


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Contrast with Value Image2

T h e re la tiv elig h tn e ss o rd a rkn e ss o f tw oe le m e n ts to

ea ch oth er cancreate aco n tra st in

.valu e W h eth erw ith sh a d e s o f

g ra y o r tin tsa n d sh a d e s o f a

,sin g le co lo r th efu rth e r a p a rt

th e v a lu e s th egreater the

Contrast with Colour


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Contrast with Colour Image 3

,U se h a rm o n izin g

,co m p le m e n ta rya n d o p p o site

co lo u rs to cre a te.con trast B e

ca re fu l w ith th e

va lu e o f th e .co lo u rs a s w e ll

,For ex a m p leh a rm o n izin g

(co lo u rs a d ja ce n t

to e a ch o th e r on)th e colo u r w h e e l

c a n a p p e a rw a she d o u t if th e re

is n ot e n ou g h

d iffe re n ce in th evalu es of ea ch

Contrast with Type Image


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Contrast with Type Image4

Type contrast can, ,utilize size value

and color to createcontrastingtypographic

.treatments

Add bold or italics.to create contrast

Mix large type with.small type

Combine serif with

sans serif type to

.create type contrastSet portions of text

in contrasting colors.or varying values

Changes in typealignment create

.contrast


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White Space Principle

1. Increase paragraph spacing.Use a line of space or a deep indent (but not both)to put white space between paragraphs.

2.3. Increase space between columns of text.

Alleys or gutters that are too narrow cause the eyeto skip over to the next column. Put white spacebetween columns with adequate alleys.

4.

5.Put space at the end of lines of text.Use ragged-right alignment to add white spacebetween columns and at the end of lines of text.

6.7.Put more space around outer edges of page.

If space is necessarily cramped within the body of
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White Space Principle

5.Leave more room around graphics.When wrapping text around graphics orwherever text and graphics meet, provide plentyof standoff white space. Don't run text right up tothe edge of graphics.

6.7. Increase space around headlines.Add white space between headlines or subheadsand the preceding copy and a bit below as well.

8.9. Increase space between lines of type and

individual characters.Add typographic white space by increasing theleading of body text, using lighter type, avoidingletterspacing that is too tight, and avoidingunending condensed or heavy type.
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Date post:	06-Apr-2018
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