Elements of Design

Elements of Design
All designs have certain basics elements or building blocks chosen to

convey the message beyond the actual words or photos used. The
five elements of: lines | shapes | mass | texture | color are the
building blocks of design for desktop publishers.
Other concepts sometimes lists as elements of design are form, space,
and value (as in lightness or darkness of color).
Explore each of these elements of design in-depth.
Links to elements of design tutorials continue below the ads and
sponsored links on this page.
Elements of Design: Color
Color is not essential to a good design. However, color is an added
dimension that can evoke moods and make powerful statements when
used wisely. Explore the theories and symbolism of color along with the
technical processes involved in color printing.
Elements of Design: Lines
Lines are one of the basic elements of design. These lessons define
and explore the appearance, patterns, and uses of lines in desktop
publishing and graphic design projects.
Elements of Design: Mass
Mass equals size. Each piece you create has a physical mass.
Additionally, each component of the design have their own mass
relative to the whole piece. Explore mass and the related topics of size
measurement.
Elements of Design: Shape
The three basic types of shapes are geometric, natural, and abstract.
Explore shapes with an emphasis on the meanings and use of basic
geometric shapes of square, circle, triangle.
Elements of Design: Texture
Texture is always a part of our designs whether intentional or not.
Learn about texture - actual and visual - used in design and desktop
publishing.
Elements of Design : Colour

Color is one of the basic Elements of Graphic Design. From your inkjet
or a commercial printing press, learn about choosing and using color
on screen and on paper, get calibration techniques for perfect colormatching, and work with the color tools in page layout programs.
Explore color palettes and design tips for using process and spot colors
in print.
Color Theory & Aesthetics
Color Basics & Theory
Color Symbolism & Choosing Colors
Books on Color Selection & Symbolism
Technical Aspects of Working with Color
Color Printing
Color Scanning
Process Color
Spot Color
Color Calibration, Color Management Systems
Color Correction & Management Tips
Color Separations
PANTONE Color Guides & Chips
Color categories, with descriptions, continue below the ads and
sponsored links on this page.
Color Basics and Theory
These resources are for understanding and using color in desktop
publishing. Start with the basics of color wheels, subtractive and
additive color, and RGB vs. CMYK.
These resources are for understanding and using color in desktop
publishing. Start with the basics of color wheels, subtractive and
additive color, and RGB vs. CMYK. Get tips and ideas on choosing and
using color in print and web design
Color Talk
Explore color wheels (not exactly what you learned in elementary
school), additive and subtractive colors, RGB & CMYK, hues, tints,
shades, and saturation.
Did you know that the color wheel you learned in school isn't the same
as the colors used for the Web? It's not even the way colors are mixed
for printing? Well, ok, same colors, just different arrangements and
mixes.
The traditional primary colors are RED, YELLOW, and BLUE.

Mix two primary colors to get the complementary colors.
The traditional complementary colors are ORANGE (Red plus
Yellow), GREEN (Yellow plus Blue), and PURPLE (Blue plus Red).
In grade school you probably had plenty of opportunities to mix
primary colors and make new colors. It was magic!
The way we see color is a bit different. You've probably seen a prism
break a beam of light into a rainbow of colors. The visible spectrum of
light breaks down into three-color regions: RED, GREEN, and BLUE.
Add RED, GREEN, and BLUE (RGB) light to create WHITE light.
Because you ADD the colors together to get White, we call these the
additive primaries.
Subtract one of the colors from the other three and you are left with
yet another color. RGB minus RED leaves CYAN. RGB minus the BLUE
leaves YELLOW. RGB minus GREEN leaves MAGENTA. These are called
the subtractive primaries (CMY).
Try mixing GREEN and BLUE paint and I bet you don't end up with a
nice CYAN. Why? Because the color we see is reflected light and light
and ink don't work in quite the same way.
Now put all this aside for a bit and look at the way we try to reproduce
color in print and on the Web.
Your computer monitor emits light so it stands to reason that the

computer uses the three color regions of RED, GREEN, and BLUE to
reproduce the colors we see.
Working with images destined for the screen or the Web, we
designate colors by the amount of RED, GREEN, or BLUE in the color. In
your graphics software these numbers might look like this:
255 RED 255 GREEN 0 BLUE
A number between 1-255 designates the amount of each color RED,
GREEN, or BLUE.
In order for your computer to understand these numbers we translate
them into 6 digit hexidecimal numbers or triplets.
255 RED 255 GREEN 0 BLUE becomes FFFF00. The first pair (FF) is the
Red, The second pair (FF) is the Green, and 00 is the Blue. FF is the
hexidecimal equivalent of 255 and 00 is the hexidecimal equivalent of
0.
In print, we try to reproduce the colors we see. Remember how color
(light) is made by subtracting differing amounts of other colors from
the additive primaries (RGB)? Well, in printing when we are mixing
(adding) inks together the colors don't come out as we might expect.
Therefore, we start with the subtractive primaries (CYM) and mix those
in varying amounts (plus BLACK abbreviated as K) to get the colors we
see printed in magazines and books.
Colors are mixed in percentages such as:
50% CYAN 100% YELLOW 25% MAGENTA
This CMY(K) color model is only one of many ways we can express
color for print but we'll save that topic for another feature.
There are other color-related terms which we'll address briefly. The
overview on the next page will help you see how the different terms
work together and interact to describe the colors we see in the world,
in print, and on the Web.
There are more colors that we can see and create than just Red, Green,
Blue, Cyan, Yellow, and Magenta. Although we often depict the color
wheel as shown above with blocks of solid color. It is really millions

of colors that blend one into another as we move around the wheel.
Similar to this color wheel:
Each of those individual colors is a hue. Red is a hue. Blue is a hue.

Purple is a hue.
You can change the saturation of a hue by adding black (shadow) or
white (light). The amount of saturation gives us our shades and tints.
Add varying amounts of black to get shades. Think of the coming
darkness and the darkening shadows to remember that a hue plus
black equals a shade.
Add varying amounts of white to lighten a hue. The light hues are
tints.
If you thought the primary colors were Red, Blue, and Yellow, with
complementary colors of Purple, Green, and Orange, then you need to
take a look at part 1 of this feature because for this discussion we rely
on the additive and subtractive colors, RGB and CMY.
Several factors affect the way we perceive color. One of those factors
can be shown by the position of colors on the color wheel in relation to
other colors. These color wheels (below) take out the all or some of the
transitional colors so that you can more readily see the relationship of
the colors to one another.
Adjacent colors (next to each other) harmonize with one another.

They work well together (usually). For example Green and Yellow
or Purple and Magenta. Generally one of the colors has a little
touch of the other in it (i.e. with the Blue/Magenta pair, Magenta
is made up of Red and Blue).
Colors separated by another color are contrasting colors. You
may also see these referred to as complementary. Red and
Green are contrasting colors. The more transitional colors
separating two colors, the greater the contrast. For example,
Magenta and Orange is not as high contrast as Magenta and
Yellow.
Colors that are directly opposite from one another are said to
clash. You'll note that these clashes occur between
primary/complementary or ADDITIVE/SUBSTRACTIVE pairs such
as Blue and Yellow or Green and Magenta.
While these terms can be useful, they can also be deceiving.
The term harmonize sounds nice, pleasant. But some

harmonizing colors may appear washed out (yellow/green) or too
dark and similar (blue/purple) to work well together.
While contrast is often needed to provide optimum readability
(such as high contrast between background and text) contrasting
colors on the color wheel when printed side by side can appear
to vibrate and be very tiring on the eye.
Although it sounds bad, sometimes clashing colors can work
together in a design depending on the amount of color and how
close they appear together on the page or screen.
Some of the ambiguities of these color combinations can be alleviated

with the introduction of black and white, dark and light, shades and
tints. Previously we defined shades as the addition of BLACK to a hue
(color) and tint as the addition of WHITE to a hue.
In using adjacent or harmonizing colors, you can achieve a greater

degree of legibility by adding black or white to one of the hues.
WHITE is the ultimate light color and contrasts well with dark colors
such as red, blue, or purple. BLACK is the ultimate dark color and
makes lighter colors such as yellow really pop out.
Any single or multiple colors can change or rather our perception of
them changes due to the other surrounding colors, the proximity of
the colors to each other, and the amount of light.
A light color appears even lighter when it is adjacent to a dark color
(including black). Two similar colors side by side may appear as two
distinct colors but placed far apart they start to look like the same
color.
The amount of light we perceive in a color is also affected by the

surface on which it is printed. A shiny RED corvette printed in a
magazine ad on slick, glossy paper is not going to look the same as the
RED corvette printed in the newspaper ad. The papers absorb and
reflect light and color differently.
Additionally, our color choices are often dictated by the emotions that
specific colors and color combinations evoke. But once we have the
colors we want, getting them to print or display as intended is the next
step.
Choosing the most pleasing or effective color combinations is only part
of the equation in working with color. You must also be able to specify
the colors you want. For printing there are a number of ways to specify
color and it can vary depending on the number of colors used and how
you use them. We'll just go through a few of the possibilities.
You can achieve a large variety of effects using a single color

(1/C) by specifying that the color be screened (tints). These tints
are percentages of the solid color (100%) as depicted below.
Combine solids and screened tints of two or more colors (2/C,

3/C, 4/C etc.). In the example, below, the colors are all
combinations of a single color plus black (K) (top three are cyan,
bottom three are magenta). (for printing purposes black is a
color) They are also percentages.
To match a color exactly (or as near as printing can get) you can
use a system such as the Pantone Matching System. There are
others as well. Color mixes are numbered for easy reference.
Your graphics program may have color palettes named for some
of the more popular color-matching systems. These allow you to
choose colors for your design that correspond to the colormatching system your printer uses.
In four-color process printing, to reproduce full-color continuoustone color, we use four specific colors. These process colors are
cyan (C), yellow (Y), magenta (M) (the SUBTRACTIVE colors from
our color wheel), and black (K). The perception of millions of
colors is achieved not by mixing these colors of ink but by
printing thousands of tiny dots of each color in different sizes and
patterns. The viewers eye "mixes" the colors and sees more than
the four colors of CMYK (or sometimes, CYMK).
In four-color process printing, rather than specifying specific
colors, you create separations [def.] a different copy of your
artwork for each of the four colors. Each copy is printed one on
top of the other to create the optical effect of full-color.
Obviously this is only a quick overview. Hundreds of books and articles

have been written about the process of specifying and printing in color.
In many ways specifying color for the Web is actually much simpler
than printing in color. Just as four-color process printing relies on how
our eyes interpret dots of cyan, magenta, yellow, and black in varying
patterns, our computer screen relies on how our eyes interpret dots of
red, green, and blue.
Color on the Web is specified in terms of the amount of red, green, and
blue in the color. Black is the presence of 100% of all three. White is
the absence of all three.
In our graphics program these amounts of red, green, and blue are
specified with numbers for 0-255 (255 being the pure 100% value of
the color).
255 RED 255 GREEN 0 BLUE
In order for your computer to understand these numbers we translate
them into 6 digit hexidecimal numbers or triplets.
255 RED 255 GREEN 0 BLUE becomes FFFF00. The first pair (FF) is the
Red, The second pair (FF) is the Green, and 00 is the Blue. FF is the
hexidecimal equivalent of 255 and 00 is the hexidecimal equivalent of
0.
It would appear that there are 256 possible color combinations that
you can see on your computer monitor.
Simple enough, until we start talking about browser safe colors and
cross-platform color appearance. The truth is, different browsers
interpret colors slightly differently and the same color will not appear
the same on all computer screens. It's very much like the way a printed
color looks different on different types of paper.
In creating color graphics or specifying colors for backgrounds and text
for display on the Web there are some things you can do that will help
ensure that your colors will look acceptable to the majority of viewers.
See our extensive collection of links to color selection, color on the
Web, and other color topics.
Color Symbolism and Choosing Colors

How to select and use color effectively in desktop publishing. Explore a
variety of color palettes. Learn about color symbolism - what colors
mean - and get help with choosing colors.
How to select and use color effectively in desktop publishing. Explore a
variety of color palettes. Learn about color symbolism - what colors
mean - and get help with choosing colors.
Links continue below the ads and sponsored links on this page.
Books on Color Symbolism and Choosing Colors
Choose pleasing color combinations and learn how we react to certain
color palettes through these guidebooks.
Just as we often find ourselves using the same fonts over and over,
many designers are stuck in a color rut using and reusing the same
old color palettes.
Try the color palettes presented here to jazz up your designs or to
create specific moods. Each color combo is based on actual historic
and modern formulas used in posters, packaging, ads, and other
design work over the past century. Pick a palette based on specific
colors and its color wheel companions or devise a look that echoes the
colors of the Victorian Age, the psychedelic sixties, or shades of mother
nature. Although presented in CMYK formulas, you may prefer to pick
PMS colors or Web colors that match or nearly match the CMYK
combinations for similar effects.
The color combinations presented here come from The Designer's
Guide to Color Combinations by Leslie Cabarga. It contains over
500 historic and modern color formulas in CMYK. Instead of only little
blocks of color Cabarga shows simple layouts that use varying amounts
of each color. These layouts make it easier to visualize how a design
will look using the three to seven colors in each palette. Follow his lead
or rearrange the colors in any way you please. I've used a similar
sample layout to show one color scheme in each of the era palettes.
Some of the books listed on the next page provide not only pleasing
palettes but hints and tips on why certain colors and color
combinations are appropriate
Color Palettes - Modern and Historic
Try the color palettes presented here to jazz up your designs or to
create specific moods. Color combinations are based on actual historic
and modern formulas used in posters, packaging, ads, and other
design work over the past century.
Color Palettes - Patriotic
Set a patriotic tone by choosing colors of the flag. These color palettes
represent flags from many nations.
When printing a flag in red, white, and blue is it PMS 193 and PMS 281
or PMS 186 and PMS 280? It depends on if you're printing Old Glory or
the Union Jack. Then again, if it's the flag for Iceland, Luxembourg, or
Norway there are different reds and blues to consider.
On the next few pages we'll explore patriotic palettes based on the
official or customary Pantone printing colors for a variety of national
flags from Antigua to Vanuatu. In some cases the colors are based on
the prescribed color specifications of the country. Not all countries
have official colors matching the Pantone Matching System so a best
guess or customary mix is used in these palettes.
The Red, White, & Blue palettes feature ten reds and thirteen blues in
various combinations. The Yellow palettes combine nine different
shades of yellow or orange with red, blue, black, or white. The Green
palettes include eight greens with red, white, blue, yellow, purple, or
black.
Definition: Pantone Matching System
The palettes in the patriotic series use the Pantone Matching System
(PMS). PMS colors are a set of spot colors commonly used in printing.
By specifying a PMS color you insure that the correct color is printed
regardless of what your monitor might display. Most graphics programs
come with PMS palettes and more complete PMS colors can be found in
products from Pantone, Inc., the company that developed this system.
You can also use your graphics program to translate the PMS colors
used in this feature to RGB, CMYK, or other equivalents for Web display
or process printing. There are other color systems as well, but PMS is
probably the most widely used for spot colors.
These palettes feature ten faces of red and thirteen shades of blue in
various combinations of red, white, and blue (or black). Please keep in
mind that the colors as shown on the Web may appear different from
the color in print.
Known as Old Glory Red and Old Glory Blue, these are the colors of the
United States Flag. Some US States, such as Texas, use the same red
and blue.
The colors of the Union Jack of the United Kingdom can be found in
the flags of many nations, with or without additional colors. The flag of
Australia, for instance, incorporates the Union Jack. The rest of the
flag is sometimes depicted in slightly different shades or may match
the UJ Red and UJ Blue.
Leave out the blue and use just this red and white for the flag of
Bahrain.
This red, white, and blue belongs to Iceland.
Here is the red, white, and blue of Luxembourg.

Drop the blue and you'll have the colors of Canada. PMS 032 is
specified as the closest Pantone match for the red of the Canadian flag.
They further suggest PMS 485 for use in screens to retain the orange
cast of the red.
This is the red, white, and blue used by Norway.
Use this red for the flag of Denmark.
Use this purplish red plus black and white for the flag of Georgia (the
country not the US State).
Although there are no specified Pantone colors for the flag of Scotland
the blue should be lighter than the darker UJ Blue. This PMS 299 or the
PMS 300 (seen in the Antigua and Barbuda flag) are recommended.
This is the blue and white of Greece.
Here are the colors of Estonia.
Color Symbolism and Color Palettes

Red is love and war. Blue suggests trustworthiness and stability.
Orange is vibrant and energetic. Learn about color symbolism and
emotions evoked by the different warm, cool, and neutral color
palettes and get suggestions on their use in your print projects.
Color is more than a combination of red, green, and blue or cyan,
magenta, yellow, and black. It is non-verbal communication.
Colors have symbolism and meanings that go beyond ink. As you
design brochures, logos, and Web sites, it is helpful to keep in mind
how the eye and the mind perceive certain colors.
Sometimes colors create a physical reaction (red has been shown to
raise blood pressure) and at other times it is a cultural reaction (in the
U.S. white is for weddings, in some Eastern cultures, white is the color
for mourning and funerals). Colors follow trends as well. Avocado, a
shade of green, is synomous with the 60s and 70s in the minds of
some consumers.
On the next few pages we'll explore the symbolism of different colors.
Cool Colors (calming): Blue, Green (& White)
Warm Colors (exciting): Red, Yellow, Orange (& Black)
Mixed Cool/Warm Colors: Purple
Neutral Colors (good for backgrounds): Brown, Tan, Beige, Gray,
Silver, Black, White
The relationship of adjacent, complementary, and clashing colors is
more fully explained here. Below is a brief synopis.
Adjacent or harmonizing colors appear next to each other on the

color wheel.
harmonizing (adjacent) colors often work well together but if too close
in value they can appear washed out or not have enough contrast
Complementary colors are separated by another color on the color
wheel.
complementary colors printed side by side can cause visual vibration
making them a less then desirable combination
Clashing colors are directly opposite each other on the color wheel
colors that clash are not always a bad combination if used carefully
1. Sophisticated, rebellious
2. Makes time pass more quickly
3. Transition
4. Raises blood pressure
5. Joy and deceit
6. Women, nostalgia
7. Unique, mysterious
A. Red
B. Blue
C. Green
D. Purple
E. Gray
F. Yellow
G. Navy
Blue
H. Lavender
8. Importance, confidence
9. Balance, harmony, stability
10. Seldom evokes strong emotion
I. Black
J. Orange
Guide Review of ColorMap

This handy printed chart is like a mini-swatch book for CMYK colors. It
also includes The Color Harmonizer, a type of color wheel with tips to
help you pick pleasing color combinations. Nice, inexpensive item to
add to your toolbox.
Color Symbolism Matching Exercise
What message do you want your design to convey? See how well you
can match the colors with the emotions and symbolism they convey in
this quick quiz.
Color Printing
Get an overview of taking color from your scanner and the screen and
putting it onto paper then delve into the technical and aesthetic
aspects of process color, also known as CMYK or 4-color process
printing, and spot color, especially PANTONE or PMS spot colors.
Learn how to take color from your scanner and the screen and
put it onto paper. Various color printing techniques for desktop and
commercial printing are explored here or delve deeper into process
and spot color printing.
Process Color
Also known as CMYK (or CYMK) or 4-color, learn how to specify and
print process colors. Other related issues include Euroscale, SWOP,
Trumatch, and Hexachrome colors.
Process color, also known as CMYK or 4-color process printing, uses
cyan, magenta, yellow, and black to simulate thousands possible
colors.
Each of the process colors is layed down on the page one at a time in
varying amounts.
Learn how to specify and print process colors and browse a gallery of
CMYK color palettes. Other related issues include Euroscale, SWOP,
Trumatch, and Hexachrome colors.
Buyer's Guide to PANTONE Process Guides
Pick a PANTONE swatch book for your 4-color selections. These books
full of color chips show what different combinations of CMYK will look
like in print.
CMYK Color Palettes
Look through a series of color combinations in CMYK, many based on
historical color usage. Browse the CMYK color palettes by color
grouping and by era such as Victorian or Sixties.
Definition: To reproduce full-color photographic images, typical
printing presses use 4 colors of ink. The four inks are placed on the
paper in layers of dots that combine to create the illusion of many
more colors. CMYK refers to the 4 ink colors used by the printing
press.
C is cyan (blue), M is magenta (red), Y is yellow, and K is black, the key
plate or keyline color.
A mistake often made when submitting artwork for 4-color printing is
not converting the images to the CMYK color space. This is needed so
that the file can be separated into the four colors (see example) so that
a separate printing plate can be made for each of the colors.
Also Known As: 4-color | process colors
Alternate Spellings: CYMK
Examples: "The image, below, shows a color photograph (center)
separated into its CMYK components. A separate plate for the printing
press would be made from each one. Those areas on the C plate, for
example, that are black and shades of gray would print in varying
shades of Cyan. The white areas get no Cyan. Each ink is added in turn
to create the final full color image on paper."
Spot Color
Learn how spot colors are specified and used in desktop publishing
with emphasis on PANTONE, the dominant spot color printing system in
the United States. Other spot color systems include TOYO, DIC, and
ANPA.
Spot colors are specially mixed inks that come in a rainbow of colors,
including some speciality inks such as metallic and flourescent. Unlike
CMYK or process color which creates colors by laying down layer of
cyan, magenta, yellow, and black in varying amounts on the printed

page, spot colors are pre-mixed and applied individually to the printed
page.
Learn how spot colors are specified and used in desktop publishing
with emphasis on PANTONE, the dominant spot color printing system in
the United States. Other spot color systems include TOYO, DIC, and
ANPA. Browse galleries of spot color palettes and tips on designing with
spot colors
Buyer's Guide to PANTONE Formula Guides
Choose the PANTONE spot color swatch book that works best for the
way you work.
PANTONE Spot Color Name Suffixes
Here's help in understanding C, U, CV, and other naming conventions
for PANTONE spot colors.
Color Scanning
Get the colors right when scanning.
Photographic Resolution
How much resolution to use when scanning color photographs; from
Wayne Fulton.
Resolution and Color Photographs
Another view of scanning photos over 200dpi, with images for
comparison, from Wayne Fulton.
Color Calibration, Color Management Systems
Calibrate, profile (or characterize), and optimize your monitor, printer,
digital camera, and scanner so that what you see is what you print.
Learn about ICC profiles and their use in Color Management Systems
(CMS). Find target images for use in visual calibration or to use with
your CMS tools.
Color Correction and Management Tips
Pick up software tips for working with color in your favorite desktop
publishing programs. How to use palettes, manage and correct colors.
Color Separations
Types of separations and how they work in color printing.
PANTONE Color Guides and Chips
The PANTONE Matching System (PMS) is the dominant spot color
printing system in the United States. Pantone, Inc. sells color guides
(known as swatch books) and chips for both their spot colors and for
process color printing. Learn more about Pantone colors and where to
obtain swatch books.
Element of Design: Lines

Lines are one of the basic elements of design. Alone or in combination
with other lines or shapes they can:
organize
texturize
guide the eye
provide movement
make a statement
convey universal meanings
Lines
In Class 1 you began creating a folder or notebook of Class Samples.
Continue adding to the folder. If you don't already have numerous
examples of lines, look for materials around you that include lines of all
kinds. You'll refer to these Class Samples in some of the lessons in this
class.
In Lesson 1 we'll look at what a line is and the different looks of lines.
In Lesson 2 we'll combine lines and see how the patterns we create
convey different ideas. Then in Lesson 3 we'll look at how lines are
used in design and some practical uses of lines in common desktop
publishing projects.
A line is a mark connecting two points. How we get from point A to
point B gives the line its distinctive character and appearance. Lines
can be long or short, straight or curved. Lines can be horizontal,
vertical, or diagonal. Lines can be solid, dashed, thick, thin, or of
variable width. The endings of lines can be ragged, blunt, or curved.
Exercise
Go through your Class Samples and try to find as many different types
of lines as possible including straight, curved, and freeform lines. Look
for blunt and curved line endings, solid and dashed lines and lines with
variable widths.
Lines are often found in pairs or groups. Lines of the same general
appearance or lines that are quite different can form a variety of
patterns that create textures, suggest movement, or lead the eye - the
same as single lines.
If you aren't creating original illustrations or doing logo design, your
main concern with this part of the study of lines is being able to
recognize these patterns in the illustrations you may select for your
work and understand how these patterns may or may not project the
image you want for your project. These bits of line patterns illustrate
static, dynamic, and random use of lines.
Upper Left: Uniform vertical black and white lines alternate at even
intervals. Static. Orderly. Conservative.
Upper Right: Uniform horizontal black lines are widely, but evenly
spaced. Static. Stable. Orderly.
Middle Left: Uneven spacing of otherwise uniform lines creates the
impression of movement. Dynamic. Orderly progression.
Middle Right: In this example the progression moves in from either
side giving the illusion of roundness. Dynamic. Orderly progression.
Dimension.
Lower Left: Varying line widths and distances create a random
pattern. Dynamic. Chaotic. Disorderly.
Lower Right: While the uniform size and spacing of the lines in the
upper examples are static, make the lines into curves and you get
movement although it is a controlled movement. Dynamic. Orderly
flow.
Exercise
Go through your Class Samples and look for patterns created with two
or more lines. To find examples similiar to those above, look beyond
the obvious and find the lines within illustrations or used within logos.
Draw your own sets of patterns using only black or white lines that
illustrate static, dynamic, or random line patterns. Experiment with line
width, spacing, and using horizontal, vertical, curved, and even
diagonal lines.
Lesson 3 - Practical Applications
Some ways that you might use lines in your design are to:
Organize, connect, separate
Create movement
Provide texture
Convey a mood or emotion
Define shapes
Provide emphasis
Provide a framework
The examples below demonstrate a few of the ways lines might be
used in page layout or illustration. You can probably find examples all
around you as well.
Above, a solid line separates columns of text, a pair of lines set apart a
phrase, and a short dotted line separates a section of text from other
parts of the page.
A few simple lines added to a piece of clip art gives a sense of

movement to the airplane. Short, choppy, vertical lines create a
grooved texture along the edge of the timepiece sketch.
Dashed lines suggest a coupon, whether there is one or

not. It causes many of us to take a second look at this ad
because the familiar dashed line makes us think "I can
save money!"
Student Examples
In our last class assignment, some of you provided
descriptions of lines and some of the ways they appear in
designs. Here are a few examples:
Organize. A catalog uses lots of lines "to divide the items
and descriptions on the pages." Student ID M010814
Connect. In a brochure "Thin diagonal lines and arrows are used to

connect call-outs to illustrations below. Thin vertical lines are also used
to show connection between various horizontal layers in the mapping
programs many layers of mapping data." Student ID C011409
Texture. In a magazine, the "lines are hand-drawn and appear 'nubbly'
as they might appear if they were printed on parchment." Student ID
P011631
Movement. On an image of a dancer "layered on top of the photograph
are several very fine lines... that swirl around the dancer..." Student
ID T010924
Auxillary Lessons
This course isn't the first time I've addressed the use of lines in
desktop publishing. Read each of the following pages (some are parts
of longer articles but you only need to read the one page dealing with
lines). Use your back button to return to this page after reading each
auxillary page.
In Lines Rule! you'll find examples of how rules (typically solid or

dashed horizontal or vertical lines) are used in desktop publishing
along with additional design tips.
Lines in Logos is part of a longer feature on logo design. This page
shows examples of how changing the appearance of lines can convey
different messages in a logo.
Finally, Lines with Photos is part of a feature on creative use of mug
shots in newsletters. On this page you'll see some examples of using
lines to provide a framework, to connect information (photos), and
organize images.
Design Tip: When using clip art in your page layout, pay
attention to the lines within the image. The lines of the clip
art shouldn't interfere with or conflict with the tone of the
design or other line elements used in the piece.
Printing Tip: Don't use the 'hairline' rule setting in your
page layout or graphics program because not all program
define hairline rules in the same way. Hairline rules that are
too thin may disappear when printing to a high resolution
imagesetter. Specify a specific size such as .25 points.
Exercise
Go through your Class Samples. Find examples for each of the ways
you might use lines described in this lesson. For even more on lines,
you may want to quickly browse this feature on leaders. Leaders are a
special type of line often used in an index or a table of contents.
Assignment
The assignment for this class is a 5-question test with multiple choice
or simple essay questions. While no one but you may see these
assignments, take the time to do them just as if you were turning them
in for a grade. It will help reinforce what you have learned.
Class 2 Assignment
1. A is... B is... essay
2. I chose A/B/C because...essay.
3. a/b/c/d (only one)
4. a/b/c/d (only one)
5. I now know... essay.
How Well Do You Know Lines?
1. Describe the differences between these two lines (length, width,

general appearance, etc.):
2. Compare these groups of lines designed to suggest a column. If

your hometown bank or savings & loan were trying to choose from
among these (rough draft) patterns for a new logo, which do you think
best suggests both stability and 'down home friendliness'? Explain why
you chose A, B, or C -- especially how the appearance and patterns
created by these lines convey that feeling. There is no absolutely right
or wrong answer as long as you can explain your reasoning.
3. Sharp edges or line endings would typically convey:

a. formality
b. movement
c. friendliness
d. softness
4. A hairline rule is usually:
a. dashed lines
b. 1/4 of a point in width
c. 24 points long
d. made to be broken
5. In only one or two sentences, describe the main points you've
learned from this class on LINES.
Bonus. Using pen or pencil and plain paper, spend at least 10 mintues
sketching a variety of lines. Using your favorite page layout or graphics
program spend a minimum of 20 minutes getting to know the line
drawing capabilities of the program. Draw solid and dashed lines. Draw
freeform lines. Explore whatever options your program has for

changing line width, length, line endings.
OPTIONAL: File attach a scan of your line sketching or a screenshot of
your software line doodling to a message in the DTP Classroom Forum
(you must be in Advanced View to attach files).
Class 3: Shapes
Shape is one of the basic elements of design. Alone or in combination
with other shapes or lines they can convey universal meanings as well
as guide the eye or organize information. The three basic types of
shapes are geometric, natural, and abstract. Geometric shapes are
structured, often symmetrical shapes. These include squares, circles,
and triangles but also octagons, hexagons, and cones.
Natural shapes are found in nature or they can be manmade shapes.
Leaves are an example of a natural shape. An ink blob is a natural
shape. Natural shapes are often irregular and fluid.
Abstract shapes are stylized or simplified versions of natural shapes.
Symbols found on signs, such as the stylized wheelchair shape for
handicapped access, is one example.
For the purposes of this class we'll focus on the three basic geometric
shapes of squares (and rectangles), circles, and triangles but lesson 4
will also briefly address natural and abstract shapes.
Shapes
Continue adding to the folder. If you don't already have numerous
examples of shapes, look for materials around you that include shapes
of all kinds. You'll refer to these Class Samples in some of the lessons
in this class. Look for both items with physical shapes outside the norm
(circles and triangles, especially) as well as shapes within the design
used within logos or as graphic elements in the piece.
In Lesson 1 we'll look at the appearance of squares and recentanges. In
Lesson 2 we'll see what a circle can do in design. Then in Lesson 3 we'll
look at the use and meaning of triangles. For Lesson 4 we'll look at the
practical application of squares, circles, and triangles and other natural
and abstract shapes in various desktop publishing projects.
Now, on to the lessons.
Lesson 1 Squares
The square denotes honesty and stability. Squares are familiar, trusted
shapes. Because the vast majority of the text we read is set in squares
and rectangles, it has become familiar, safe, and comfortable.
Squares and rectangles are probably the most common geometric

shapes we encounter. A few books, especially those for kids, may be
cut in irregular shapes but adult (i.e. 'serious') correspondence comes
in squares -- both the physical shape of the books, magazines,
newspapers, and the rectangular columns of set text.
Some designers might equate square with boring. It's true that other,
unexpected shapes, can grab attention better than the simple square
but don't forget the importance of comfort and familiarity. Imagine how
difficult it becomes to file everyday correspondence if letterhead came
in a variety of triangles or freeform shapes. Try reading an entire book
with all the text set in circles. Squares and rectangles definitely have a
place in design.
Some ways you can use squares and rectangles:
To symbolize honesty, stability, equality, comfort, or familiarity. It

could also symbolize rigidity or uniformity.
Related to the first bullet item, use repeating squares to suggest
familiar themes (checkerboard pattern to represent a game
board, the checkered flag at the end of a race, a tablecloth).
To highlight, organize, or set apart information using a solid or
outlined box.
Use a square unexpectedly. Set a block of text in a solid or
outlined but tilted box with or without also tilting the text.
Exercise
Go through your Class Samples and try to find as many different
examples of square and rectangular shapes. It won't be difficult. Now,
look for especially creative use of square shapes. Rectangles are more
common than perfect squares. Study logo designs. Look for examples
of square shapes that convey the attributes of honesty, stability,
equality, comfort, or familiarity. Look for examples of 3-dimensional
square shapes too such as software boxes
Lesson 2 Circles
Circles suggest infinity. They are also protective (think of protective
encircling arms). They can also denote free movement such as a rolling
ball or a more controlled movement such as a spinning globe. The
sense of movement is often enhanced through shading or the use of
lines (as suggested in Class 2).
Outside of logo designs, circles are less common elements of design
which makes them good for grabbing attention, providing emphasis,
and breaking up familiar rectangular blocks of text. You could set text
in circles or simply use a circle as the background for more traditional

blocks of text.
Some ways you can use circles:
To symbolize infinity and protectiveness. Circles could also

suggest something well-rounded or complete. Similar to
protectiveness, circles could also imply security.
Related to the first bullet item, use circles to suggest familiar
themes (bullet holes, a stack of cannonballs, a bunch of grapes -or just about any round fruit or vegetable, a target, the earth).
outlined circle. Try a freeform circle that looks like it was drawn
with a marker or pen to highlight important text.
Replace the letter O or other 'round' letters in text with a circular
shape that suggests that letter. Try an orange in the word Orange
or a basketball, baseball, or soccer ball to replace an O or other
letter in the nameplate of a sports newsletter.
Exercise
Go through your Class Samples and try to find as many different
examples of circles as you can. Look for especially creative use of
circles. Study logo designs. Look for examples of circles that convey
the attributes of infinity or protectiveness or circles that are suggestive
of other circular objects such as the earth or a piece of fruit. Find
examples of text set in a circular shape and for pieces that have been
cut into circular or near circular shapes or that include circular diecuts
(cut out shapes).
Lesson 3 Triangles
Triangles suggest action. They are dynamic. Triangles may convey
either conflict or strength. Triangles can direct movement (up, down,
left, right depending on which way they 'point') but rather than
moving themselves, they point the way for the reader.
Triangles are suggestive of many different shapes and ideas. They can
represent a religious Trinity, a pyramid, a flag or pennant, an arrow, a
beacon.
Some ways you can use triangles:
To symbolize action or conflict. In a logo, a triangle might be

better suited to a growing, dynamic high tech company than the
more stable, familiar square, for example.
Related to the first bullet item, use triangles to suggest familiar

themes (flag, pyramid, arrow or pointer). A single or a series of
triangles can point the eye to important information or act as an
arrow to get readers to turn the page.
outlined triangle. Use a triangle to suggest progression. Place it
behind a 'Top 10' list or the steps to accomplish a specific task.
Replace the letter A or V in text with a trianglur shape that
suggests that letter. Try a wedge of pie for the letter A in the
phrase Amy's Desserts.
Exercise
Go through your Class Samples. Find examples of the use of triangles
either in logo designs, as a shape to break up text or provide emphasis
or interest, or as the physical shape of the piece. Look for creative use
of triangles such as to replace letters in a nameplate or to represent
familiar ideas.
Lesson 4 - Practical Applications
Some ways that you might use shapes in your design are to:
Organize, connect, separate
Symbolize an idea
Create movement
Provide texture or depth
Convey a mood or emotion
Provide emphasis
Provide a framework
Geometric Shapes
In addition to the basic square, circle, and triangle discussed so far,
other geometric shapes have specific meanings, some culturallybased. An octagon, especially a red one, usually means stop. A
starburst is commonly used to grab attention and identify something
that is new, improved, or 'on sale.'
Natural Shapes
Natural shapes can add interest and reinforce a theme. Rather than a
plain box, frame text with a coiling rope or a spray of leaves or flowers.
Use a freeform, non-symmetrical shape to convey a feeling of
spontaneity.
Abstract Shapes
Some abstract shapes are almost universally recognized and easily
'read' even when the text is in an unfamiliar language. The stylized
wheelchair, the male and female symbols for restrooms, and the
jagged steps for stairs or an escalator are some examples. Icons are
often abstract or stylized shapes. For example, a rectangle with a
'folded corner' often indicates a page in a document or a word
processing program. A hollow circle or oval with smaller circles on the
'path' may be a literal representation of a planetary system or symbolic
of a network, such as a computer network.
Auxillary Lessons
This course isn't the first time I've addressed the use of shapes in
desktop publishing. Read each of the following pages (some are parts
of longer articles but you only need to read the one page dealing with
lines). Use your back button to return to this page after reading each
auxillary page.
Shapes in Logos is part of a longer feature on logo design. This page
shows examples of how you can use shapes to convey ideas plus more
ideas on using shapes to replace letters.
In the same logo feature, Building Logos is about using the basic
geometric shapes and lines to construct more complex images or to
suggest familiar themes.
Exercise
Go through your Class Samples. Find examples of basic geometric
shapes used to construct more complex designs (see the Building
Logos auxillary lesson to see what I mean). Look for examples of
natural and abstract shapes. Find as many examples as you can of
pieces that are use physical shapes other than squares/rectangles (if
necessary, look through some of your design books and find pictures of
pieces that use unusual shapes). Separate your samples into pieces
that primarily use geometric, natural, and abstract shapes. (you'll need
these for the assignment)
Assignment
The assignment for this class is three essay-type submissions.
In the last lesson I asked you to separate your Class Samples into
examples of geometric, natural, and abstract shapes.
1. Select an example other than a square/rectangle of a geometric
shape used in a piece or a logo and write a brief paragraph (2-5
sentences) describing that shape, how it is used, and what
emotions, feelings, or ideas it conveys.
2. Select an example of a natural shape used in a piece or a logo
(remember these can be shapes from nature or manmade
creations). Write a brief paragraph (2-5 sentences) describing

that shape, how it is used, and how it relates to the theme or
subject matter of the piece.
3. Select an example of an abstract shape used in a piece (symbols,
icons, etc.) and briefly describe it in 2-5 sentences. What idea
does the abstract shape convey?
Class 4: Mass and Size

Mass is one of the basic elements of design. Mass equals size. Each
piece you create has a physical mass. Additionally, each element
within the design (graphics, photos, lines, text blocks) have their own
mass relative to the whole piece. Part of working with mass in desktop
publishing is understanding how we measure the various parts of a
design such as paper, type, and images.
Mass & Size
Continue adding to the folder with samples of unusally large or small
pieces and different weights of paper.
In Lesson 1 we'll look at the definition of mass and a few ways mass is
incorporated into designs. In Lesson 2 we'll delve more into the nuts
and bolts of size such as how we specify and measure the size of type
and images and how paper sizes are specified in desktop publishing.
This lesson incorporates a great deal of supporting material and
although it is only one lesson, it will take much longer to complete than
any lessons thus far in this course.
Lesson 1 - Defining Mass
As stated in the introduction, mass equals size. Each piece you create
has a physical mass. The physical mass or size is the actual
dimensions of the piece height, width, thickness/weight (of paper),
and depth (3D objects).
Additionally, each element within the design (graphics, photos, lines,
text blocks) have their own mass relative to the whole piece. For
example, a photo that is physically 3 inches by 5 inches can appear
smaller or larger depending on the physical size of the paper it is
printed on and the size and proximity (closeness) of other items on the
page.
Some ways to use mass within your designs:
to accommodate information, content

Example: To present all the desired or needed information
comfortably a designer may create a bi-fold rather than the usual
single business card
to accommodate normal size restraints or expectations

Example: The postal service has limitations on the height and
width of different types of envelopes. If a designer ignores those
requirements it could incur additional mailing costs for the client.
to convey a mood or provide emphasis
Example: A place that is physically large (such as an amusement
park) or a business that offers a huge assortment of products
may use brochures or other marketing pieces that are larger
(physical dimensions) or heavier (weight) than normal to carry
out the 'bigger' or 'more' theme.
to create contrast
Example: A designer might design a full-page magazine ad using
a single small image in the middle of the page with lots of white
space. The contrast between the size of the page and the size of
the content (image) draws attention to the image and can create
a specific mood (depending on other elements) such as
conservative, elegant, lonely, or open.
Sometimes bigger isn't always better. Take this brochure for example
(from a student submission for Class 1):
23 1/4 x 16 1/2 inch full color two-sided brochure (folded twice to 8 3/4
x 11 3/4 inch). This brochures opens twice and is visually packed and
appears massive due to the following elements:
It has a large physical size when opened
It is folded down numerous times, and although the paper is thin,
glossy card stock, it appears massive due to the number of layers
created by the folds.
It is densely packed (in my opinion, overwhelmingly over-packed)
with bold, multicolored backgrounds and graphic elements,
multicolored and shadowed text, and photographs - making it visually
massive and heavy. The brochure is packed with information about the
software and its applications.
I didnt bother to look at it in any detail because the mass of it made it
seem like too much work to get through. Student ID C011409
Go through your Class Samples with an eye on mass. Ask yourself why
each item is as large or small as it is.
Exercise
Look for four types of material in your Class Samples:
physically large pieces (larger than 'letter size')

physically small pieces (business cards, small space ads, tags)
physically large pieces that incorporate small or visually small

elements and lots of white space
physically average or small pieces that incorporate large or
visually large elements (such as a single dominate photo or huge
headlines compared to other items on the page)
Lesson 2 - Measuring the Size of Your Design

What is large? What is small? In graphic design and desktop publishing
there are many ways to specify size. This part of the class on mass
focuses on the mechanics of size and common measurement systems
used in desktop publishing. Expect to spend a great deal of time on
this portion of the course. What you learn here is critical to DTP.
To keep from getting lost, bookmark this page now. The information for
this lesson is found in a whole series of previous features on this site.
You can come back to this page if you get 'lost' in the many pages and
supplemental materials covering size and measurements.
Auxillary Materials: Size Matters
This multiple page complex covers the following topics: Type Sizes (1
page), Using Picas in Page Layout (1 page), Paper Sizes (1 page),
Image Sizes (5 pages), Conversion Tools (1 page). In addition to the
main coverage of each topic you'll find that many pages have a
Glossary section with related terms, or How-to pages related to that
topic. These pages are not included in the 'page count' for those topics
but are important supplemental information. Review them. There are
also offsite links to information elsewhere on the Web that will give you
more in-depth information on some topics.
It may take several days or even longer to absorb all this information.
Remember, you can complete all courses at your own pace. If you get
lost, come back to this page or the Size Matters page.
After you've studied the auxillary materials, do the following exercises.
Take your time. These exercises are important to your future in graphic
design and desktop publishing.
Exercises
Using pieces from your Class Samples, assemble a wide variety of
the various ISO Standard, Metricated Traditional, or Nonmetric
Traditional (North American) size items as you can - including
envelopes and postcards. Arrange them in order by size. [Chart of sizes
- an offsite link]
Using pieces from your Class Samples, assemble a collection of

pieces with a finished size that does not conform to the standard or
traditional paper sizes. [Chart of sizes - an offsite link]
Using pieces from your Class Samples, find examples of different
paper weights from the thickest, heaviest cardstock to the thinnest,
most lightweight papers. See how many different paper thicknesses
you can find for similar items such as a variety of business cards on
thick and thin stock.
Open your favorite page layout, graphics, and word processing
programs and familiarize yourself with the different measurement
systems available and the standard or default page sizes provided in
the document or page setup or image size areas of each program. How
many familiar and unfamiliar measurement systems does each
program include? What are the largest and smallest page (or image)
dimensions that you can create with each program?
If you haven't tried it already, do both of the Picas & Points exercises
found at the bottom of the Plunge into Picas article within the auxilliary
material.
Using your own software or the online conversion tools links found in
the Conversion Tools feature, input the measurements for the standard
'letter' size of paper used in your country and convert the width and
the height to inches or millimeters and to picas and points.
Open your favorite page layout, graphics, and word processing
programs and familiarize yourself with the different ways that each
program specifies type size. What is the largest and smallest type size
and the incremental sizes that are defaults for the program. See if your
software allows you to specify larger or smaller sizes or other
incremental sizes (such as 4.5 or 12.2 or 215).
Using the Setting Leading in Your Software feature as a guide, open
your favorite page layout, graphics, and word processing programs and
experiment with the different methods they each use to specify leading
(line spacing - size of the space between lines of type). How does each
program differ? What is the default? Is there more than one way to set
leading (such as by pulldown menus, control palettes, and keyboard
shortcuts).
Assignment
This assignment consists of 10 fill-in-the-blank questions on mass and
size measurements (including image resolution). Even though it looks
simple, this is one of the more involved Assignments to date and you
may have to refer back to already reviewed material or do a little
research to come up with some of the answers.
1. Mass includes the physical dimensions of __________, __________,
__________, and, __________.
2. A standard letter size A4 piece of paper is _____ by _____ inches.
3. The same picture displayed on a low resolution monitor looks
__________ than it does on a higher resolution monitor.
4. Type is typically measured in __________.
5. Of SPI, PPI, DPI, and LPI, the measure of resolution that properly
refers to display resolution and the size at which an image
displays on-screen is __________.
6. In addition to inches, millimeters, picas, and pixels, two
measurement systems found in many desktop publishing
programs are __________ and __________. (Do the 4th exercise
listed in Lesson 2 to find some of these methods of measuring
size. If the programs you have do not have at least two more
measurement systems then answer this question by telling me
the name of the program and listing all the measurement
methods it does have.)
7. The use of __________ and __________, two Principles of Design, are
ways of using or altering the visual or perceived mass of a piece.
(Not explicitly spelled out, these answers can be found in or
inferred from material in Lesson 1.)
8. Basic or basis size is used to determine the _____ _____ for a ream
of paper. (Remember the Glossary entries from the Paper Sizes
material? That's where you'll find this information.)
To answer 9 & 10: Go back to the Class Sample that you
originally used in the assignment for Class 1. Reread what you
wrote (or didn't write) about the use of the element of MASS in
that piece. Based on what you've learned in Lesson 1 and 2 of
Class 4 complete the last two questions.
9. The physical dimensions* of this piece are: _____________
(unfolded) and ___________ (folded, if applicable).
*In the case of multi-page items like booklets, give the
dimensions of a single page and the approximate thickness
(depth) of the piece.
Use inches or millimeters to express size.
10.
Of the four ways to use mass found in Lesson 1
(accommodate information, content; accommodate normal size
restraints or expectations; convey a mood or provide emphasis;
and, create contrast) the one that most applies to the use of
mass in this piece is ____________________.
Class 5: Texture
Texture is always a part of our designs whether intentional or not. It is
the visual or tactile surface characteristics of a piece. In desktop
publishing, texture comes from the paper we use. We may also add
visual textures through the arrangement of lines and shapes or the use
of photographic images of specific surfaces.
Texture
Continue adding to the folder with samples of interesting textures.
In Lesson 1 we'll look at the paper on which most of our desktop
publishing projects is printed with an eye on texture. In Lesson 2 we'll
discuss the use of added visual texture as an overall background and
as a fill for shapes. Lesson 3 covers the addition of texture through
specific printing and finishing techniques such as thermography. Each
lesson contains tips on using texture effectively.
Lesson 1 - Paper Textures & Finishes
Paper is often something we take for granted. It's just 'there.'
Sometimes we have no choice about the type of paper on which our
designs are printed. Normally we can't dictate the paper used for ads
in newspapers or magazines. Even when we do have a choice, we're
limited by budget, printing requirements, or other factors. However,
paper can be an important textural element in our desktop published
documents.
Some papers just 'feel' better than others. Grab up some paper from
around you. Get a newspaper, a magazine, some paper from your
printer, and a few different samples from your Class Samples. Close
your eyes and touch the different surfaces. Can you identify the
general type of paper (newsprint, etc.) simply by touch? Probably so.
But also consider how they feel to your touch smooth, rough, slightly
patterned, fuzzy, bumpy, slick, shiny, dull, warm or cold.
Familiarize yourself with some of the various surfaces and finishes used
in paper. Explore each of these paper terms related to the surface
charateristics and appearance of paper. Some may be familiar to you
already. Others will be new.
Antique Finish
Definition: An antique finish is the roughest texture offered in offset
paper, it has a natural rough feel. An antique finish has a good printing
surface and is common in book and cover papers.
Common Misspellings: anitque, anteke
Cast-Coated Paper
Definition: A coated paper with a high-gloss finish is called castcoated paper. While the coating is still wet the paper is pressed or
cast against a polished, hot, metal drum.
Alternate Spellings: cast coated
Cockle Finish
Definition: An uneven, puckered surface created by air drying paper
with a controlled amount of tension is a cockle finish, often found in
bond papers.
Dull Finish
Definition: Smooth paper with a low gloss finish is said to have a dull
finish. More luster than matte but not high gloss. Dull finish papers
can be utilitarian, such as some tissue papers used to stuff shoeboxes
or wrap clothing. Dull finish papers can also be elegant choices for
invitations and greeting cards.
Also Known As: satin, suede, velvet
Eggshell Finish
Definition: An eggshell finish is found on uncoated, uncalendered
paper with a fairly rough texture. It resembles the surface of an
eggshell.
Embossed Finish
Definition: A design or pattern pressed into paper during the
manufacturing process is an embossed finish. After drying, paper
passes between engraved metal rolls to create raised, textured finishes
such as a linen finish.
English Finish
Definition: A smooth, uniform, uncoated book paper that is smoother
than paper with a machine finish is an English finish.
Felt Finish
Definition: An uncoated, uncalendered paper that has a surface

texture created by pressing the paper with patterned woven wool or
synthetic felt belts during manufacture is paper with a felt finish.
Glazed Finish
Definition: Paper with a polished or high gloss, shiny surface may
have a glazed finish.
Also Known As: glossy
Alternate Spellings: glased, glaced
Granite Finish
Definition: Paper to which multi-colors of fibers has been added to
create a mottled surface that somewhat resembles the texture of
granite is said to be granite finish.
Laid Finish
Definition: Machinemade text or bond paper that simulates the look
and feel of handmade paper is said to have a laid finish. The laid
finish has grids of parallel lines.
Linen Finish
Definition: Bond paper with a fairly smooth, slightly patterned finish is
known as wove finish.
Also Known As: woven paper
Machine Finish
Definition: Smooth finish paper that gets its surface texture during
the papermaking process rather than as a separate manufacturing
operation has a machine finish. Machine finish papers may be coated
by machine on one or two sides.
Also Known As: mf, machine coated, machinemade
Machine Glazed
Definition: Machine finished paper - paper made by machine with no

texturing or finishing applied after the paper is made - that has a highgloss finish on only one side is machine glazed.
Also Known As: mg, machine coated
Alternate Spellings: machine glased
Matte Finish
Definition: Coated paper with a dull, no-gloss finish without luster is
known as matte finish. Colors often appear softer on a matte finish.
Text can be easier to read on matte finish papers than on glossier
finishes.
Common Misspellings: matt finish
Mottled Finish
Definition: An uneven finish characterized by both dull and glossy
areas on the same sheet of paper is a mottled finish.
Natural Finish
Definition: Paper manufactured with a soft, slightly fuzzy surface is
natural finish.
Onionskin Paper
Definition: Onionskin Paper is a lightweight, durable rag paper
normally with a cockle finish although other glazed and unglazed
finishes are available. Onionskin has a basic size of 17" x 22"
Examples: Normally used in carbon sets, interleaved between pieces
of carbon paper for typing duplicates.
Parchment Paper
Definition: Once made from animal skins, the parchment paper look
is now achieved by treating paper from cellulose fibers with sulfuric
acid. Parchment paper is characterized by a hard surface, high wetstrength, resistance to grease and dirt. Some imitation parchment
paper has the mottled parchment look printed onto the paper.
Examples: May be used for certificates and diplomas or anytime an
"old-fashioned" look is desired.
Supercalendered Paper
Definition: Calendered groundwood paper made using alternating
chrome and fiber rollers that makes a very smooth, thin sheet of paper
is known as supercalendered paper.
Examples: Supercalendered paper is typically used for magazines,
catalogs, and directories.
Also Known As: SC Paper
Common Misspellings: supercalendared
Vellum Finish
Wove Finish
Design Concept & Texture

Varying paper surfaces can dramatically or subtly alter the mood you
want your designs to convey. An exercise from Using Design Basics To
Get Creative Results by Bryan L. Peterson uses the example of a piece
of jewelry placed against two totally different surfaces a shiny tile of
black Formica vs. a piece of cement.
Translate this same concept to paper and imagine a photograph of a
well-preserved vintage automobile printed on extremely smooth,
glossy paper or printed on a rough, pepply surface. Neither one is
necessarily better or worse. It depends on the mood you want to
convey. Increased contrast between the image (and it's visual texture)
and the actual surface of the paper can create interest in your design.
When selecting paper, choose a texture that is related to the concept
of your design and doesn't overwhelm or get in the way of the
message. While you can make a bold statement with texture,
sometimes a subtle texture that stays 'in the background' is most
appropriate. Make sure that your texture works with your choice of
type and images so that text does not become unreadable or images
unrecognizable. It may be necessary to use a bolder typeface if your
paper is rough or strongly patterned.
Here is an example of paper texture from an assignment turned in for
Class 1:
Unexpected contrast: In a brochure promoting a computer-related
service: "The gray color also evokes a high-tech, sterile mood,
although I might expect a glossier surface to go along with that, rather
than the sensual feel of the textured stock." Student ID S011203
My comments: "...the softer texture may indeed have been meant to
soften and humanize the high-tech image."
Go through your Class Samples with an eye on paper textures.
Exercise
Go through your class samples and find five paper samples that range
from the very smooth to the very rough. For each sample, look at the
purpose and focus of the piece and decide if, in your opinion, the paper
texture
1) is insignicant/incidental to the piece;
2) is appropriate for the mood and purpose of the piece; or,
3) is inappropriate for the mood and purpose of the piece.
If possible, find a paper store or warehouse near you. Stroll the aisles
and discover the variety of papers there, especially with an eye on
textures and finishes. Don't just look at the paper. Pick it up, touch it.
Some paper stores will provide you with paper sample books ask for
them. These sample books are provided by various paper
manufacturers to showcase the variety of papers they
carry.
Some sample books
are
beautifully designed as
well and
would make good
samples
for your Class Samples
collection.
Lesson 2 - Visual Textures

Everything around us has a texture.
Sometimes we
can simulate those textures with paper,
but more often
the textures we create in our designs are visual rather than tactile.
However, those visual textures can be just as provocative or full of
meaning as actual textures we can touch.
It's extremely easy to find or create visual textures for your designs.
There are four basic ways to incorporate visual texture.
1. Objects within a photograph
Textures: fairly smooth surface of the chalk; rough surface of the
cement
Textures: smooth glass bottles; fabric of the potholders
Textures: worn wooden mallet; grass
2. Images created with
software
these
actual
imagined
Texture:
photo-editing
textures may mimic
textures or be
textures
mimics drapes or folds in a satiny fabric
Texture: simulates a rough, rocky surface
Texture: random soft circles create an imaginary texture

3. Digitized
(from scans,
images of actual textures

digital photos)
Texture: a
straw
mat
Texture:
door mat
old tires
piece
made
of
from
Texture:
4. Symbolic textures
with lines or shapes
these patterns suggest
textures and are similar
of symbols or icons to
ideas or objects
tree bark
created
various
to the use
represent
Texture: wavy lines could symbolize water, waves, rolling terrain

Texture: overlapping circles give the look of fish scales
Texture: a grid of lines could simulate plaid or linen fabrics, wire
mesh, or other textures
You can enhance or alter the appearance of visual textures depending

on the actual texture of the paper used. Keep this interaction in mind
when using texture. While you can easily simulate a rough texture on
smooth paper, using a 'slick' visual texture on some rough papers
changes the visual appearance.
As with paper textures, choose textures that relate to the concept of
the piece and are appropriate to the design. Just as some paper
textures can interfere with the readability of text, so can visual
textures used as backgrounds. Use caution when placing text over
heavy or busy visual textures.
Go through your Class Samples with an eye on visual texture.
Exercise
Go through your class samples and find three examples of visual
texture as follows:
Objects in photographs that create interesting textures, especially
textures that relate to the purpose and concept of the whole piece
Backgrounds or filled objects that appear to use simulated textures
or scans of actual textures
Symbolic textures and patterns created with lines or shapes
If you have access to photo-editing software (such as Adobe
Photoshop) explore the options within the software for using existing
textures or creating new textures. Many programs come with preset
fills that mimic recycled paper, rippling fabric, cement, or other 'real'
textures. Look for options to alter the colors to create a greater variety
of visual textures.
Lesson 2 - Printed Textures
Some textures are added after the design process is complete and the
project has gone to the printer. Embossing, debossing, foil stamping,
engraving, thermography, and varnish are examples of texture added
during or after printing.
Go to the Glossary to learn more about each of these related texture
terms:
Blind Embossing
Debossing
Embossing
Foil Embossing
Foil Stamping
Ink Embossing
Varnish
Embossing and foil stamping can add both visual interest and can alter
the overall texture of a piece. Here is an example of using varnish to
create texture from an assignment turned in for Class 1:
Sticky Design: This business folder makes sure you won't want to put
it down unread: "The most cleverly used part of the design, in my
opinion, is the subtle spot varnishing. The folder is made from heavy
grade card, with a rather dull matte finish, which feels smooth but has
a finely mottled texture, and in contrast, the spot varnishing that has
been applied to various elements of the folder feels slightly 'sticky' to

the touch." R011020
Often confused, engraving and thermography are two different printing
processes. Engraving is not widely used today but can be found in
some fine letterhead and wedding invitations. Both create raised
printing that gives text and even images a 3D effect.
Explore the links on these two pages to learn more about these two
raised printing techniques how each effect is achieved and typical
uses: Engraving and Thermography.
Go through your Class Samples with an eye on texture added in the
printing and finishing stages.
Exercise
Go through your class samples and try to find several examples of
texture as follows:
Embossing, debossing, or foil stamping
Engraving or thermography
Varnish
Examine these pieces and mentally answer these questions: Is this the
primary use of texture or are there other significant textures (actual or
visual) in the piece as well? Is the use of this texture appropriate to the
purpose or theme of the piece? Does the texture interfere with the
readability of the text?
Graded Assignment
This assignment consists of 3 multiple choice questions and two brief
essay questions on texture.
If you are taking this class under Option 1 - self-paced, no graded
assignments, you can do this on your own.
Option 2 Students (Graded Assignments)
As of July 23, 2001, no more Option 2 registrations are being accepted.
If you have previously registered, continue to submit assignments.
1. The following image is an example of which type of texture:
a. Blind Embossing b. Scan of Object c. Paper d. Symbolic
Texture
2. Which is the smoother paper?

a. Cockle Finish b. Onionskin c. Supercalendered d. Embossed
Finish
3. In 2-3 sentences describe the differences between engraving and
thermography.
4. (In regards to paper) Satin Finish is another name for:
a. Matte Finish b. English Finish c. Antique Finish d. Felt Finish
5. This question has three steps:
1. Get a spoon, a rock (any kind), and a piece of fabric (any
kind).
2. Describe in 1-2 words (words, not sentences) the texture of
each item in Step 1.
3. Describe one way (a different method for each) that you
might incorporate the texture of that object into a printed
design.
Class 6: Color
Color is not essential to a good design. Black and white and shades of
gray can create 'color' that is just as effective as reds, blues, and
greens. However, color is an added dimension that can evoke moods
and make powerful statements when used wisely.
Color
Continue adding to the folder with samples of the use of color.
In Lesson 1 we'll look at value - an element found in all designs. In
Lesson 2 we'll briefly discuss the technical aspects specifying and
printing of color. Lesson 3 covers the selection of color and color
schemes. Each lesson contains tips on using color effectively. This is a
basic course on color as an element of design.
Now, on to the lessons
Lesson 1 Value
Value is present in all design. It is the lightness or darkness of an
object, regardless of color. Value is relative to the background color and
other items on the page.
Use value to:
Increase/Decrease Contrast
The greater the difference in value between an object and its
background, the greater the contrast
Choose the value that creates the amount of contrast and

effect that you want for your design. In the above examples,
the lighter value recedes into the light background. The design
with the greatest contrast makes the darker object more
dominant.
Create Movement
Objects of the same value create a static design with all objects equal
in visual importance. Introducing varying values gives the page a more
dynamic appearance and creates a 'pecking order' among the objects.
Some stand out while others recede.
Mix elements of different values to add visual movement to

your design or to create a hierarchy of importance.
Lead the Eye
By creating a pattern of dark to light values, even when the objects are
equal in shape and size, it leads the eye in the direction of dark to
light.
In the above example, the first set of all dark lines are static.
The middle example leads the eye in a downward direction
(dark to light). Reversing the values of the lines leads the eye
upward.
Use color to change the effect of value:
Color has the power to override the effects of value. In a high contrast
black & white design, introducing a single, small bit of color will change
the focus and balance of the design.
The eye is drawn to that spot of color even if other elements

are designed to draw the eye in some other direction or the
objects are otherwise equal. That's the power of color.
Go through your Class Samples with an eye on values (whether in
black or white or in color).
Exercise
Go through your class samples and find two to three samples that
illustrate the use of value to create contrast (either high contrast or
low contrast) and to create random or directed (leading) movement.
For each sample, look at the purpose and focus of the piece and decide
if, in your opinion, the use of value
1) causes elements of the design to stand out or recede;
2) directs the eye to specific information; or,
3) creates a mood (Describe that mood. Is it quiet elegance, high tech,
or playful? Is it high energy or calm and soothing?)
With paper and pencil or in your favorite graphics program, experiment
with using value. Draw simple shapes such as circles and squares.
Place objects of light to dark on light and dark backgrounds. Mix
objects of different values and create static and dynamic groupings.
Experiment with using light type on dark backgrounds. Which
combinations of light and dark values are easiest to read?
Draw a pattern of uniform black squares or circles on a piece of white
paper. Now draw that same pattern but make one of the circles or
squares red just one. How does it change the overall effect?
Lesson 2 - Technical Aspects of Color
Before you can go choosing red over blue or mixing light and dark
colors, you need to know how color works in print and on the Web.
In the five pages of supplemental material for this lesson you'll explore
color wheels, tints and shades, complementary colors, CMYK,
hexidecimal numbers, and other terminology and concepts that are
important both in selecting appropriate colors for your designs and for
specifying those colors whether you are printing to your desktop, a
commercial printer, or putting pages on the Web.
While there is a lot of material covered, color is an extremely complex
topic and this lesson is only meant to get you acquainted with some
basic color concepts.
1:
2:
3:
4:
5:
Color Wheels
RGB & CMYK
Hues, tints, shades, saturation
Perception
Specifying Color
Exercise
With paper and pencil or in your favorite graphics program recreate the
color wheels discussed in part 1, above. For each color, write down the
adjacent and the complementary or contrasting colors for each. Draw
your own color swatches (or tear bits of color from magazines) and
place together 'clashing' colors to see if they really do clash.
If you have access to multiple browsers and/or more than one
computer, visit the same Web site with each browser and each
computer and look at the way pages, especially colors, display
differently on each.
Lesson 3 - Color Selection & Use
Perhaps the most fun and most challenging aspect of design is
choosing the right colors. The right colors can bring a design to life, or
destroy an otherwise excellent piece. However, color can't rescue a
piece that isn't well-designed in the first place. It's not a cure-all.
Colors fall into three general categories: warm, cool, and neutral. The
way we mix those colors along with attention to value, can add
interest, enhance the design concept, or convey specific messages.
This lesson is not intended as an in-depth study of color symbolism and
color schemes but it will help to acquaint you with some of the basics
of mixing and matching colors.
The first page of the supplemental material is a general overview but it
also covers warm, cool, and neutral colors briefly and recaps some
previous discussion of harmonizing, contrasting, and clashing color
combinations. Then each subsequent page covers a single color or
related colors. Learn about the emotions of each color and ways in
which that color is typically used.
(Note: If you've read this material before - it was first added to
the site in October 2000 - read it again. There has been some
new material added, including additional colors.)
Warm, Cool, Neutral Colors
Red, Pink
Yellow, Gold
Orange
Blue
Green, Teal
Purple, Lavender
Brown, Tan, Beige
Gray, Silver
Black, White
Exercise
Go through your class samples and find examples of warm, cool, and
neutral color palettes. Find 2-3 examples that you consider excellent
use of color. Find 2-3 examples that you consider poor use of color.
What makes each example work or not work? Look for overuse of color,
color pairings that clash horribly, and unusual color combinations that
'work.' Compare the colors used and purpose of the piece to the
general color symbolism described in the supplemental material. Is
there a connection or did that piece 'fly in the face of convention' and
use those colors in an unexpected way?
Assignment
This assignment consists of 4 multiple choice and/or fill-in-the-blank
and/or True/False questions and two brief essay question on color plus
a bonus question.
1. Generally the eye is lead from:
a. lighter to darker b. darker to lighter c. bottom to top
2. The additive primaries minus green leaves:
a. CYAN b. YELLOW c. MAGENTA d. BLUE
3. Another name for hexidecimal colors, used to specify Web colors
is ______________.
4. Adding white to red produces a shade of red. True or False
5. Describe the relationship between Yellow and Purple.
6. Choose any two or three colors that you like as a potential color
palette for some imaginary piece you might design. Describe
those colors (you can use descriptive terms such as burgundy
red or use the hexidecimal or CMYK values (or other color
systems you may be familiar with such as Pantone colors, not
covered in this lesson). Describe how those colors work together.
Describe whether you would be likely to use equal or varying
amounts of each. Describe the mood or emotions that this color
combination evokes. Describe how you might use value, tints,
and shades with these base colors. Use your imagination and
describe the colors in as much detail as you can along with why
you chose that combination.
7. Bonus: In CMYK, the K represents Black. Why K? (The answer is
in the Glossary)
Introduction to the Principles of Design

Class 1: The Big Picture
All designs have certain basic elements or building blocks chosen to
convey the message beyond the actual words or photos used. How
we place those items on the page determines the structure of our
designs and affects the overall readability and determines how well our
design communicates the desired message.
The principles of design govern that placement and structure.
Graphic design encompasses the creation of a great many types of
projects but for the purposes of these lessons we're focusing on the
elements and principles of design as they apply to typical desktop
publishing projects including logos, ads, brochures, business cards,
newsletters, books, and to some extent, Web pages.
Different instructors or designers have their own idea about the basic
principles of design but most are encompassed in the 6 principles of:
balance
proximity
alignment
repetition or consistency
contrast
white space
Through words and pictures, the next two lessons introduce each of
these principles.
Even though no one will know whether you actually do the exercises
and assignments included with each lesson and class, I strongly
encourage you to do so. It will help to reinforce your understanding of
each of the concepts covered throughout this Graphic Design Basics
course.
Lesson 1: Defining Principles of Design
Generally, all the principles of design apply to any piece you may
create. How you apply those principles determines how effective your
design is in conveying the desired message and how attractive it
appears. There is seldom only one correct way to apply each principle.
Balance
Try walking a long distance with a 2 pound bag of rocks in one hand
and a 10 pound bag of marbles in the other. After awhile you'll be
wanting to shift your load around, putting a few marbles in the rock
bag to balance your load, make it easier to walk. This is how balance
works in design. Visual balance comes from arranging elements on the

page so that no one section is heavier than the other. Or, a designer
may intentionally throw elements out of balance to create tension or a
certain mood.
Proximity/Unity
Observe a group of people in a room. You can often learn a lot about
who is listening intently to another person, which are strangers, or who
is ignoring who by how close together they sit or stand. In design,
proximity or closeness creates a bond between people and between
elements on a page. How close together or far apart elements are
placed suggests a relationship (or lack of) between otherwise disparate
parts. Unity is also achieved by using a third element to connect
distant parts.
Alignment
Can you imagine how difficult it would be to find your car in a crowded
parking lot if everyone ignored the parking lot stripes and parked in
every which direction and angle? Imagine trying to get out of there!
Alignment brings order to chaos, in a parking lot and on a piece of
paper. How you align type and graphics on a page and in relation to
each other can make your layout easier or more difficult to read, foster
familiarity, or bring excitement to a stale design.
Repetition/Consistency
What if Stop signs came in pink squares, yellow circles, or green
triangles, depending on the changing whims of a town and a few of its
residents? Imagine the ensuing traffic jams and accidents. Repeating
design elements and consistent use of type and graphics styles within
a document shows a reader where to go and helps them navigate your
designs and layouts safely.
Contrast
On the basketball court, one pro team looks much like another. But
send a few of those players for a stroll down most any major city street
and something becomes apparent those players are much taller
than your average guy on the street. That's contrast. In design, big and
small elements, black and white text, squares and circles, can all
create contrast in design.
White Space
Did you ever participate in that crazy college pasttime of VW Beetle
stuffing? Were you ever the guy on the bottom struggling for a breath
of fresh air or the last one in trying to find a place to stick your left
elbow so the door will close? It wasn't comfortable, was it? Imagine
trying to drive the car under those conditions. Designs that try to cram
too much text and graphics onto the page are uncomfortable and may
be impossible to read. White space gives your design breathing room.
Lesson 2: Illustrating Principles of Design

The examples you'll find here demonstrate varying degrees of each of
the six principles of design in a before and after format. View them
individually and as a whole to see how different principles are applied.
How might you do any of these differently?
Note: The text, not always readable in the examples, is the same as
the definitions in Lesson 1.
You can create balance with the three
elements (text block, graphic, vertical
text) here but in the first example they
appear to be just random elements with
no unity or balance. In the second
"Balance" example the text block and
graphic are resized to bring them closer
together and better balance each other.
(resizing helps accomplish

Notice that the graphic (one of
marbles) slightly overlaps the
enclosing the vertical text,
the two elements. Reversing
"balance" out of the blue box
more contrast to the
composition. The increased
in the text block redistributes
space in a more balanced
To tie the
elements
together,
move
them
closer
together
this).
the
box
unifying
the word
also adds
leading
the white
manner.
The graphic anchors the bottom of the page, but the four text
elements all float on the page with no apparent connection to each
other (proximity/unity). The change in the headline (font change,
reversed out of blue box) along with the subheading pulled in closer
provides balance with the graphic on the bottom. The spacing between
the two paragraphs of text is reduced slightly as well.
There is nothing inherently wrong with

centered headlines, text, and graphics.
They lend a formal tone to a layout. But,
for this series of layouts something a bit
more informal is called for. Also, large
blocks of centered text are usually harder
to read.
In the second "Alignment" example, text

alignment is left-aligned, ragged right,
wrapped around the bottom graphic
which is aligned more to the right,
opposite an added graphic that is
aligned to the right to help balance the
overall design.
Within the second "Repetition" example, the headline is repeated three

times using graphics that tie in with the copy in the text blocks. The
repetition of the colors in the shapes and headline text that are in the
copy help to reinforce the theme. Overlapping the graphic and text
elements unifies the elements of the design.
Another aspect of consistency that can be seen when viewing all 6 of

the "after" examples is the blue borders, blue reversed boxes, and the
typeface (Britannic Bold) used for the names of all the principles of
design. The drop cap used in three examples (Bermuda LP Squiggle) is
another element of consistency.
There's isn't enough contrast between the
headline and text due in part to size but
also because the two different serif faces
used or too similiar (not obvious from the
small graphic, trust me, they are different
typefaces).
That oversized graphic provides real

contrast and reinforces the copy (tall
basketball players). Dropping the text
down to the bottom portion of the
page also reinforces the 'towering'
aspect of the graphic. The reversed
text in the blue box,the blue border,
and the drop cap carries through the
overall
unifying
elements
found
throughout the series. Additionally,
the round shape of the drop cap and
its color echo the shape and color of
the basketball in the graphic. The drop
cap and the reversed text on the left
side plus the left-aligned text help to
balance the large graphic element.
White space doesn't have to be white. The large block of black created
by the graphic of people adds a large block of black white space.
Multiplying the number of people and reducing the size of the car in
the second "White Space" example provides additional contrast and
reinforces the theme of the copy. Additional leading, larger margins,
deeper paragraph indents all add white space or breathing room to the
design.
The oversized drop cap is another element of contrast and also helps
to balance the page with the large, dark elements at the bottom of the
page. The drop cap style, reversed title, and blue box are consistent
with the rest of the series.
In the next six lessons in this section we will look at each principle of
design in more detail and explore ways to incorporate each into your
designs. We'll also touch on the ways that your software can simplify
some related tasks, such as using style sheets to aid repetition and
consistency or using leading and other spacing features to improve
proximity, unity, and distribution of white space.
Class 1: The Big Picture

Assignment
Principles Assignment
Your assignment for this class involves this fictional yellow pages ad.
Describe the changes you might make to this ad using the six
principles of design outlined in this class: balance, proximity/unity,
alignment, repetition/consistency, contrast, and white space. Tell me
what's wrong or less than optimal about the layout and what you would
change and why? If you would make color or graphics changes, explain
those with an eye on how they relate to one or more of the 6
principles.
Remember to look at all six principles of design, no matter how little
one of them might figure in this design makeover.
Not sure where to start? Here's one possible way to makeover this ad
and explanations for each of the six principles of design
Section 2: Principles of Design

Class 2: A Balancing Act
Our bodies need a balance of nutrients to keep us healthy but every
now and then it's OK to feast on chocolate, ice cream, and an entire
supersize bag of potato chips. Balance in design is much the same. For
most of our reading our eyes and minds are most comfortable with
evenly balanced layouts where the graphics don't overpower the text
and the page doesn't seem to tilt to one side or the other. Other times
we crave the teetering and tottering of a page that's just a little of out
of kilter or totally lopsided. But before we indulge our tastebuds, we
need a good foundation in the basics of balance what it is and how
to achieve it.
The Principle of Balance
Primarily there are three types of balance in page design: symmetrical,
asymmetrical, and radial. Additionally, we'll discuss the rule of thirds,
the visual center of a page, and the use of grids as we examine each
type of balance and how to achieve it.
Class 2: Balance
Lesson 1: Symmetrical
Symmetrical balance is easiest to see in perfectly centered
compositions or those with mirror images. In a design with only two
elements they would be almost identical or have nearly the same
visual mass. If one element was replaced by a smaller one, it could
throw the page out of symmetry. To reclaim perfect symmetrical
balance you might need to add or subtract or rearrange the elements
so that they evenly divide the page such as a centered alignment or
one that divides the page in even segments (halves, quarters, etc.).
When a design can be centered or evenly divided both vertically and

horizontally it has the most complete symmetry possible. Symmetrical
balance generally lends itself to more formal, orderly layouts. They
often convey a sense of tranquility or familiarity or elegance or serious
contemplation.
See the descriptions below each of these examples that describes how
symmetrical balance is achieved in each case.
Vertical Symmetry Each vertical half (excluding text) of the

brochure is a near mirror image of the other, emphasized with the
reverse in colors. Even the perfectly centered text picks up the color
reversal here. This symmetrically balanced layout is very formal in
appearance.
Vertical
&
Horizontal
Symmetry This
poster
design
divides the page into
four equal sections.
Although not mirror
images the overall
look
is
very
symmetrical
and
balanced. Each of
the line drawings are
more
or
less
centered within their
section. The graphic
(text and image) in
the upper center of
the page is the focal
point tying all the
parts together.
Exercise
Look for examples of balanced symmetry, do these exercises and
answer these questions (to yourself).
How many examples of perfect or near perfect symmetry can

you find?
Fold a few pieces in half vertically and horizontally to look for
symmetrical balance.
Look for sections of symmetrical design within larger layouts
such as a graphic, a logo.
How is the symmetry achieved is it through mirror images,
identical placement, or with pieces that are very similar in look
and feel?
Lesson 2: Asymmetrical
Asymmetrical design is typically off-center or created with an odd or
mismatched number of disparate elements. However, you can still
have an interesting design without perfect symmetry. With
asymmetrical balance you are evenly distributing the elements within
the format which may mean balancing a large photo with several small
graphics. Or, you can create tension by intentionally avoiding balance.
Uneven elements present us with more possibilities for arranging the

page and creating interesting designs than perfectly symmetrical
objects. Asymmetrical layouts are generally more dynamic and by
intentionally ignoring balance the designer can create tension, express
movement, or convey a mood such as anger, excitement, joy, or casual
amusement.
asymmetrical balance or tension is achieved in each case.
Asymmetrical
Balance
This
page
uses
a
3
column format to
create
a
neatly
organized
asymmetrical layout.
The two columns of
text are balanced by
the blocks of color in
the lower left topped
by a large block of
white space. In this
case, because the
white space is in a
block shaped much
like
the
text
columns, it becomes
an element of the
design in its own
right
Asymmetrical/All
Over
Balance It can't be neatly
sliced
in
half
like
a
symmetrical design but most
of the elements have only
small differences in shape
and
mass.
This
page
achieves an overall balance
by use of an underlying grid
that spreads the many
pieces out over the entire
page, more or less evenly.
Asymmetrical Tension Like

a wild, unruly garden, the
elements of this brochure cover
are barely contained on the
page. The plants spring up
primarily along the left side but
with a few stems escaping and
arching across the page. The
text,
although
randomly
placed, follows the lines of the
plants keeping them anchored
to the overall design. The offbalance design creates a sense
of freedom and movement.
Exercise
Look for examples of asymmetrical balance, do these exercises and
answer these questions (to yourself).
How many examples of asymmetrical balance can you find?

Examine the elements within the piece to see how the designer
arranged them to achieve a balanced design without symmetry.
Look for pieces that appear to be intentionally out of balance?
How does the balance contribute to the mood of each piece? Is it
dynamic? Does it appear to move in a certain direction or vibrate
on the page?
Lesson 3: Radial
On square and rectangular pages we generally place elements in
orderly rows and columns. With radial designs the elements radiate
from or swirl around in a circular or spiral path. Parts of the design
must still be arranged so that they are balanced across the width and
length of the page unless you're intentionally aiming for a lack of
balance.
radial balance is achieved in each case.
Radial Here we have an example of radial balance in a rectangular

space. The year represents the center of the design with the subtle
color sections radiating from that center. The calendar month grids and
their corresponding astrological symbols are arrayed around the year
in a circular fashion.
Radial Colors and text radiate out from the apple in the middle of
this CD cover design. The effect is almost one of spiralling down into
the center of the apple. The apple itself looks nearly symmetrical but
the curving text and the outlines edging off the page to the top and
right throws it all slightly off-balance.
Exercise
Look for examples of radial balance, do these exercises and answer
these questions (to yourself).
How many examples of radial balance can you find? It may be

harder to find examples. Look to elements within other layouts
such as graphic illustrations and logos that use a radial balance.
Does the piece radiate from a central point or does it have a
spiral effect?
Does the design pull you in or send you out to the edges of the
piece?
Lesson 4: Rule of Thirds, Visual Center, Grids

Uderlying most of the layouts on the previous pages are three related
aspects of page layout.
Thirds
The rule of thirds says that most designs can be made more interesting
by visually dividing the page into thirds vertically or horizontally and
placing our most important elements within those thirds.
Look at these previous balance examples and see how the rule of
thirds is utilized. Below: In this vertically symmetrical layout the
headline appears in the upper third of the page, the logo in the middle
third, and the supporting descriptive text in the lower third.
Below: Even this unbalanced asymetrical design uses the rule of thirds
with most of the 'action' in the upper 2/3rd of the layout.
Visual Center
Placing important elements or the focal point of the design within the
visual center of a piece is another design trick. The visual center is
slightly to the right of and above the actual center of a page.
See how the focal or center point of each of

these designs actually falls in the visual
center of the page. Below: It's easy to see
the actual center, it's where the four box
corners meet. But the focus is on the earth.
Below: In this calendar, the months emanate from the year located
front and (visual) center.
Grids
Roughly dividing a page into thirds or finding the visual center are
relatively easy and you don't usually have to be exact to achieve your
goals. However, constructing the underlying structure of a piece is a bit
more complicated but essential for most designs. Most balanced
designs (and even unbalanced ones) rely on a grid. This invisible
structure (visible while working in your page layout program) helps
ensure that you place all the elements in the right location to achieve
balance as well as to help with continuity and consistency of design.
Grids can be simple or complex depending on the needs of the design
and the designer.
Sometimes the use of a grid is obvious. Below: This asymmetrically

balanced design uses a simple three column grid to ensure that each
text column is the same width and that it is balanced by the nearly
empty column on the left. The grid also dictates the margins and
ensures that the page number and header appear in the same place on
each page.
Below: A 5x5 grid keeps this design in line. The grid is obvious along
the bottom (each square equals one grid square in this layout) but it is
invisibly keeping all those random letters in order in the middle.
Grids are an important tool in page layout and desktop publishing. This
three-part supplemental material fully describes and illustrates the use
of grids.
Grids: Order Out of Chaos
Design grids and their components.
Grids: Consistency & Unity
Use grids to unify design elements.
Grids: Flexible Options
Selecting the right grid; avoid that 'boxed in' look.
Exercise
Look for examples of the use of the rule of thirds, visual center, and
grids.
Roughly divide several pieces in thirds vertically and horizontally

looking for designs that seem to fall neatly into these sections.
Does the main headline, focal graphic, or other key elements fall
squarely within one of these thirds?
Locate the visual center of several different pieces. How many

designs put a key piece of information or focal point in this area?
Can you 'see' the underlying grid in your samples? Find an
example that appears to use a very simple grid. Find one that
appears to use a more complex grid. In each case, how does the
use of grid help the designer achieve a balanced design?
Assignment
Balance Assignment
Your assignment for this class requires you to create one simple
graphic image.
Create a rough sketch or thumbnail type layout showing any one type
of balance: symmetrical, asymmetrical, or radial or a combination
within a single layout. You don't have to create an actual page with
content. Use boxes, lines, circles, or other shapes to represent text and
graphics. Black & White is fine. Scanned drawings are fine.
Analyze Your Image:
Describe the type of balance your sketch represents.

Describe the mood or feeling this layout is intended to evoke.
Describe any type of grid or related structural elements you
would use.
At present the rest of the classes are not online. However, you can use
the resources listed in the main Principles of Design Course index
to continue your studies of the principles of Proximity, Alignment,
Repetition, Contrast, and White Space.

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Elements of Design

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Elements of Design

All designs have certain basics elements or building blocks chosen to

Elements of Design : Colour

The traditional primary colors are RED, YELLOW, and BLUE.

Your computer monitor emits light so it stands to reason that the

wheel as shown above with blocks of solid color. It is really millions

Each of those individual colors is a hue. Red is a hue. Blue is a hue.

Adjacent colors (next to each other) harmonize with one another.

While these terms can be useful, they can also be deceiving.

The term harmonize sounds nice, pleasant. But some

Some of the ambiguities of these color combinations can be alleviated

In using adjacent or harmonizing colors, you can achieve a greater

The amount of light we perceive in a color is also affected by the

You can achieve a large variety of effects using a single color

Combine solids and screened tints of two or more colors (2/C,

Obviously this is only a quick overview. Hundreds of books and articles

Color Symbolism and Choosing Colors

This red, white, and blue belongs to Iceland.

Here is the red, white, and blue of Luxembourg.

This is the red, white, and blue used by Norway.

Use this red for the flag of Denmark.

This is the blue and white of Greece.

Here are the colors of Estonia.

Color Symbolism and Color Palettes

Adjacent or harmonizing colors appear next to each other on the

Guide Review of ColorMap

cyan, magenta, yellow, and black in varying amounts on the printed

Element of Design: Lines

A few simple lines added to a piece of clip art gives a sense of

Dashed lines suggest a coupon, whether there is one or

Connect. In a brochure "Thin diagonal lines and arrows are used to

In Lines Rule! you'll find examples of how rules (typically solid or

1. Describe the differences between these two lines (length, width,

2. Compare these groups of lines designed to suggest a column. If

3. Sharp edges or line endings would typically convey:

freeform lines. Explore whatever options your program has for

Squares and rectangles are probably the most common geometric

To symbolize honesty, stability, equality, comfort, or familiarity. It

in circles or simply use a circle as the background for more traditional

To symbolize infinity and protectiveness. Circles could also

To symbolize action or conflict. In a logo, a triangle might be

Related to the first bullet item, use triangles to suggest familiar

creations). Write a brief paragraph (2-5 sentences) describing

Class 4: Mass and Size

to accommodate information, content

to accommodate normal size restraints or expectations

physically large pieces (larger than 'letter size')

physically large pieces that incorporate small or visually small

Lesson 2 - Measuring the Size of Your Design

Using pieces from your Class Samples, assemble a collection of

Definition: An uncoated, uncalendered paper that has a surface

Definition: Machine finished paper - paper made by machine with no

Design Concept & Texture

Lesson 2 - Visual Textures

Texture: simulates a rough, rocky surface

Texture: random soft circles create an imaginary texture

images of actual textures

Texture: wavy lines could symbolize water, waves, rolling terrain

You can enhance or alter the appearance of visual textures depending

been applied to various elements of the folder feels slightly 'sticky' to

2. Which is the smoother paper?

Choose the value that creates the amount of contrast and

Mix elements of different values to add visual movement to

The eye is drawn to that spot of color even if other elements