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 basics of DESIGN
layout and typography for beginners
second edition

Lisa Graham

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 Basics of Design: Layout and Typography © 2005 Delmar, Cengage Learning
for Beginners, Second Edition
ALL RIGHTS RESERVED. No part of this work covered by the copyright
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 Preface . . . . . . . . . . . . . . . . . . . . . . . .VII
Contents Intended Audience . . . . . . . . . . . . . . . . . . . . . . . . .VII
Background of This Text . . . . . . . . . . . . . . . . . . . . .VIII
Textbook Organization . . . . . . . . . . . . . . . . . . . . . .IX
Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .X
New to This Edition . . . . . . . . . . . . . . . . . . . . . . . . .X
E.Resource . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .XI
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . .XI
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . .XII
Questions and Feedback . . . . . . . . . . . . . . . . . . . .XIII

Part One
Design & Layout Basics . . . . . . . . . . . . . .1
Chapter 1 Before You Begin to Design . . . .2
Decide What You Want to Say . . . . . . . . . . . . . . . . .3
Decide Who Your Audience Is . . . . . . . . . . . . . . . . . .4
Pick a Design Format . . . . . . . . . . . . . . . . . . . . . . . .6
Hints for Effective Copywriting . . . . . . . . . . . . . . . . .8
Quick Guide to Design Principles . . . . . . . . . . . . . .12
An Overview of the Design Process . . . . . . . . . . . .14
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Mini Quiz #1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Chapter 2 Emphasis . . . . . . . . . . . . . . .21

Why Use Emphasis? . . . . . . . . . . . . . . . . . . . . . . . .23
Decide What is Most Important . . . . . . . . . . . . . . .25
Emphasis Techniques . . . . . . . . . . . . . . . . . . . . . . . .27
Emphasis Examples . . . . . . . . . . . . . . . . . . . . . . . . .30
Too Much of a Good Thing . . . . . . . . . . . . . . . . . . .35
Advanced Page Analysis . . . . . . . . . . . . . . . . . . . . . .35
Advanced Page Analysis: Emphasis . . . . . . . . . . . . .36
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Mini Quiz #2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

III

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 IV CONTENTS

Chapter 3 Contrast . . . . . . . . . . . . . . . .41

Why Use Contrast? . . . . . . . . . . . . . . . . . . . . . . . . .42
Contrast Examples . . . . . . . . . . . . . . . . . . . . . . . . .44
Advanced Page Analysis: Contrast . . . . . . . . . . . . .54
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Mini Quiz #3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Chapter 4 Balance . . . . . . . . . . . . . . . .62

Why Use Balance? . . . . . . . . . . . . . . . . . . . . . . . . . .64
Symmetrical Versus Asymmetrical Balance . . . . . . .65
A Word About Proportion . . . . . . . . . . . . . . . . . . .66
Balance Examples . . . . . . . . . . . . . . . . . . . . . . . . . .67
Advanced Page Analysis: Balance . . . . . . . . . . . . . . .81
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Mini Quiz #4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

Chapter 5 Alignment . . . . . . . . . . . . . . .87

Use Alignment to Improve Your Designs . . . . . . . .90
Text Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Group Related Elements . . . . . . . . . . . . . . . . . . . .104
Alignment Examples . . . . . . . . . . . . . . . . . . . . . . .106
Advanced Page Analysis: Alignment . . . . . . . . . . . .116
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Mini Quiz #5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119

Chapter 6 Repetition . . . . . . . . . . . . .121

Unity and Gestalt . . . . . . . . . . . . . . . . . . . . . . . . .124
Repetition Examples . . . . . . . . . . . . . . . . . . . . . . .128
Too Much of a Good Thing . . . . . . . . . . . . . . . . . .139
Advanced Page Analysis: Repetition . . . . . . . . . . .142
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Mini Quiz #6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

Chapter 7 Flow . . . . . . . . . . . . . . . . . .146

What is Flow? . . . . . . . . . . . . . . . . . . . . . . . . . . . .146
Verbal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
Visual Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152

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 CONTENTS V

Flow Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . .154

Advanced Page Analysis: Flow . . . . . . . . . . . . . . . .160
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Mini Quiz #7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Exercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163

Chapter 8 Images . . . . . . . . . . . . . . . .164

Images Add Impact . . . . . . . . . . . . . . . . . . . . . . . .164
Photographs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
A Word About Clip Art . . . . . . . . . . . . . . . . . . . . .178
Type as Image . . . . . . . . . . . . . . . . . . . . . . . . . . . .180
Dingbats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Visual Rules of Image Use . . . . . . . . . . . . . . . . . . .184
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186
Mini Quiz #8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186

Chapter 9 Color . . . . . . . . . . . . . . . . .189

Getting Started With Color . . . . . . . . . . . . . . . . .189
The Secret Messages of Color . . . . . . . . . . . . . . .190
Color and Computers . . . . . . . . . . . . . . . . . . . . . .192
Color Examples . . . . . . . . . . . . . . . . . . . . . . . . . . .194
Tips for Using Color . . . . . . . . . . . . . . . . . . . . . . .196
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197
Mini Quiz #9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198

Part Two
Typography Basics . . . . . . . . . . . . . . . .201
Chapter 10 Overview of Technical Terms 202
Basic Type Terms . . . . . . . . . . . . . . . . . . . . . . . . . .203
Type Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . .204
Typefaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204
Type Styles and Type Families . . . . . . . . . . . . . . . .204
Type Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208
Letterspacing, Leading, and Word Spacing . . . . . . .210
Type Alignments . . . . . . . . . . . . . . . . . . . . . . . . . . .212
Line Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Categories of Type . . . . . . . . . . . . . . . . . . . . . . . . .214

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 VI CONTENTS

Font Software Formats . . . . . . . . . . . . . . . . . . . . .224

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226
Mini Quiz #10 . . . . . . . . . . . . . . . . . . . . . . . . . . . .226
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228

Chapter 11 A Few Simple Type Rules . . .229

Use Plenty of Contrast . . . . . . . . . . . . . . . . . . . . .232
Emphasis Again . . . . . . . . . . . . . . . . . . . . . . . . . . .238
Keep Your Typeface Choices Simple . . . . . . . . . . .238
Avoid Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . .241
Type Combinations That Work . . . . . . . . . . . . . . .242
Type Usage Guidelines . . . . . . . . . . . . . . . . . . . . .246
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Mini Quiz #11 . . . . . . . . . . . . . . . . . . . . . . . . . . . .250
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251

Part Three
Projects & Resources . . . . . . . . . . . . . .253
Chapter 12 Focus On… . . . . . . . . . . . .254
Stationery Sets . . . . . . . . . . . . . . . . . . . . . . . . . . .255
Logos and Logotypes . . . . . . . . . . . . . . . . . . . . . . .260
Flyers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263
Banners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268
Posters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271
Newsletters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273
Résumés . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277
Book Jackets . . . . . . . . . . . . . . . . . . . . . . . . . . . . .278
CD Covers and Labels . . . . . . . . . . . . . . . . . . . . .280
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282
Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282

Chapter 13 Tools and Resources . . . . . .288

Critique Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . .288
Typical Design Tools and Technology . . . . . . . . . . .289
Desktop Publishing Software . . . . . . . . . . . . . . . .291
Clip Art and Type Sources . . . . . . . . . . . . . . . . . . .294
Useful Books and Magazines . . . . . . . . . . . . . . . . .295

Glossary . . . . . . . . . . . . . . . . . . . . . . .298
Index . . . . . . . . . . . . . . . . . . . . . . . . .302

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 Preface INTENDED AUDIENCE
This book is for beginning designers from all walks of
life. I use the term “beginning designer” to refer to all
who are earnestly interested in improving their pages,
whether they are students studying design at commu-
nity colleges and universities or professionals from var-
ied fields trying to create their own pages. This book
takes the approach that anyone, regardless of innate
“artistic talent,” can be taught how to design better
pages. Fifteen years of teaching university level graph-
ic design courses have taught me that often the most
successful students are not the ones loaded with talent,
but instead, those individuals who closely study the
design principles and then actively apply them to their
own pages. An individual’s success in design depends
more upon hard work and motivation than exclusively
on innate talent.
I wrote this book from my unshakeable belief that
design should not be limited to those with elite talent,
but that anyone with motivation and a thorough
grounding in the design principles can learn how to
create great looking pages. Therefore, this book is for
anyone who,regardless of formal training or official job
titles, needs to create effectively designed and visually
well organized pages. These people may already under-

VII

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 VIII PREFACE

stand that their pages need improvement, but are not quite sure why.
This book, through down-to-earth explanations, examples, and exer-
cises covering the basic design and layout principles, will benefit any-
one who would like to improve page designs. Some of the people
who will gain the most from this book include (but are not limited to)
the following:
• Design students studying beginning typography and layout

• Teachers who need to create interesting displays, banners, and

handouts for their classes

• Small business owners wanting to design their own logo, busi-

ness card, and ads for their growing business

• Students who understand that a good paper is one that is both

well written and visually well organized

• The secretary who suddenly “inherits”the job of designing news-

paper ads for the company

• Professionals of all sorts who must present text,charts,diagrams,

sales figures, and other material in formal reports to their bosses
or their boss’s bosses

• The seasoned professional and the newly-graduated student who

want to create a well-laid-out resume

• Anyone else who, with little or no design training, must create

easy-to-read, attractive, and well-laid-out designs on paper

BACKGROUND OF THIS TEXT

This book has evolved out of my experiences as a university profes-
sor who has taught all levels of graphic design and graphic design
technologies. In my many years of teaching I have taught a broad
range of art and graphic design concepts and courses: two-dimen-
sional design, papermaking, drawing, color theory, creative design
methodologies, traditional and digital illustration, digital art, advertis-
ing design, typography, layout, packaging design, portfolio design,
print production, publication design, branding design, motion typog-
raphy, web design, and multimedia. In every course I have found that

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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 PREFACE IX

students produce the best work if they continually refer to the basic
design principles and actively apply them to their own work. Over
time I have learned how to present the design principles simply in a
way easily grasped by my students: this book is the result.
Basics of Design: Layout and Typography for Beginners, 2nd edi-
tion, introduces the basic design principles through textual explana-
tions, visual examples, and hands-on exercises. As a foundation text, it
is understood that the reader will have little or no formal background
training in design.

TEXTBOOK ORGANIZATION
This book is written with the assumption that you may have limited
time to study design in depth but would like to design better pages.
With this in mind, the design principles presented in this book are
intended to quickly help you improve the design and layout in your
pages.
Chapters 1 through 9 explain foundation design principles as well
as how to use images, color, and layout to add impact to your designs.
To enhance your understanding of the design principles, at the end of
each of the principles chapters is an advanced page analysis section.
In each one of these sections a “before” page design is analyzed, and
its design flaws are corrected in an “after” page design. Arrows with
descriptive text point directly to weaknesses and strengths in the
designs,allowing you to clearly see what works and what doesn’t.This
unique feature of the text clearly identifies why a portion of a design
is “bad” and why a portion is “good,” assisting you to develop a critical
eye. Many design texts will show purportedly good and excellent
design, but lack explanation of why something is considered bad and
how a designer can correct those flaws. Exercises at the end of each
chapter reinforce key concepts through hands-on exercises.
Chapters 10 and 11 concentrate on the centuries-old basics of
typography and how to identify,select,and apply typography with the
goal of enhancing your message. Chapter 12 focuses on a number of
common design projects (such as logos, newsletters, and business
cards) and contains a brief listing of some of the special considera-
tions involved with each type of design project. The exercises at the
end of these chapters provide opportunities for readers to learn

Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 X PREFACE

through doing: design is best learned through active participation.

The exercises at the end of Chapter 12, with higher-level execution,
may yield work that can be incorporated into a design portfolio,
including logos, stationery, posters, book jackets, and CD labels. Chap-
ter 13 includes a critique guide intended to help you analyze your
own and others’ work; a brief discussion of typical design tools and
technology; and a list of design books and other resources that you
may find useful.

FEATURES
The features in this book have been carefully compiled to provide a
comprehensive coverage of essential design principles. The informa-
tion presented here is intended to quickly boost the reader’s knowl-
edge of design.The following list provides some of the salient features
of the text:
• Coverage conveys practical,ready-to-use information about basic
design principles, without the technical jargon.

• The text is thoughtfully structured to provide an easy-to-under-

stand grounding in graphic design.

• Before and after illustrations show readers how to apply design

principles, color, images, and typography to improve their own
design works; they also show how they may increase the visual
impact of their page design while improving organization and
readability.

• Advanced Page Analysis section sharpens analytical skills, assist-

ing readers to identify good and bad applications of the basic
design principles.

• Skill building exercises and quizzes at the end of most chapters

reinforce crucial design concepts.

• Comprehensive overview of typography terms increases reader

awareness of this fundamental building block of the written and
electronic page.

• Compact format encourages quick scanning to inform the read-

er of crucial design information.

Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 PREFACE XI

NEW TO THIS EDITION

This edition functions as a reading resource for both the beginning
designer learning these concepts independently of a structured
course and those students enrolled in a focused study of design. New
to this edition:
• Expanded, more descriptive captions explain design concepts in
practical, down-to-earth terms.

• New exercises added to the end of each chapter allow readers to

practice what they just learned. Sprinkled throughout the text
are more advanced exercises which, with a little time and effort,
may yield a good start on a visual portfolio.

• More than 65 new images, 23 of them color, make this a highly

visual text.

• Advanced Page Analysis section visually compares bad versus

good design, including explanations that point exactly to the
weak visual elements and what corrective steps the designer
undertook to make the design stronger.

E.RESOURCE
This guide on CD was developed to assist instructors in planning and
implementing their instructional programs. It includes sample syllabi
for using this book in either an 11– or 15–week semester. Where avail-
able, student examples of project solutions are included. It also pro-
vides quizzes and test questions and answers, exercises, instructional
handouts, PowerPoint slides highlighting the main topics, and addi-
tional instructor resources.

ABOUT THE AUTHOR

Lisa Graham is an Associate Professor and the area head of Graphic
Communication in the Department of Art at the University of Texas at
Arlington. Her students have won numerous design awards (over 100
between 2001 and 2004) and are employed in advertising and graph-
ic design agencies in Texas and throughout the United States. Lisa has
taught electronic design and web design for over 15 years and has

Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 XII PREFACE

instilled that professional knowledge into her publications. Besides

this book, Lisa authored The Principles of Interactive Design (Thom-
son Delmar Learning, 1998). In 2002, the American Institute of Graph-
ic Arts selected her for one of its prestigious Illumina Teacher Awards.
Her illustrations have appeared in the MIT publications Computer
Music Journal, Leonardo, and Terra Nova. She has produced graph-
ic designs, illustrations, and informational graphics for clients in the
fashion, high-tech, energy, military, and geology industries. New and
upcoming research endeavors include articles in gestalt theory, expe-
rience design, and green design.

ACKNOWLEDGMENTS
Many thanks to my students who willingly served as guinea pigs by
trying out the exercises and projects in this book. Without their inter-
est in this project it would not have progressed as quickly as it did. I
am amazed and gratified at how genuinely interested my students
were in this project and how open they were to my asking them
“What do you think about this…?”
The support of the Thomson Delmar Learning team was critical in
the development of this second edition of this text. Thanks to Jim
Gish and Jaimie Wetzel for believing in this book and, through their
encouragement and support, helping me believe in it too. Also at
Thomson Delmar, Larry Main, Tom Stover, and Niamh Matthews all
helped with professional guidance at key moments.
Love and many kisses to my wonderfully supportive husband Curt,
who only whimpered a little when I told him that I was going to work
on a second edition of this book. His upbeat support was crucial as I
sat long hours into the night tapping away on my keyboard.
And, as always, thanks to my great parents Don and Mary, who
know when to praise and when to apply a swift kick to the pants.
Thomson Delmar Learning and the author would also like to thank
the following reviewers for their valuable suggestions and expertise:

Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
 PREFACE XIII

Frank Abnet
Graphic Communications Department
Baker College of Owosso
Owosso, Michigan
Rebecca Gallagher
Chair, Digital Media Communications
Katharine Gibbs School
New York, New York
Mary Griffith
Graphic Communications Department
Southeast Technical Institute
Sioux Falls, South Dakota
Therese LeMelle
Visual Communications Department
Katharine Gibbs School
New York, New York
Don Mangione
Chair, Graphics and Web Department
Baker College of Muskegon
Muskegon, Michigan
Phyllis Owens
Computer Graphics Department
Camden County College
Blackwood, New Jersey
Elaine Reeder
Computer Graphics Department
Camden County College
Blackwood, New Jersey
Terry Rydberg
Graphic Communications Department
Waukesha County Technical College
Pewaukee,Wisconsin
Carl Schumann
Visual Communications Department
Katharine Gibbs School
Norwalk, Connecticut
Lisa Graham
2005

Copyright 2011 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
known the F

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St as

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animal southern the

Speed in Niam

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must

life

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LIVING

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IN be

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fawn AND is

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31 proud hooded
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C ONNET

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creatures Were inadvertently

bulk

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29

OF Sea writer

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ROTHSCHILD corn

are by from

owners close passing

in 265

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Under longitudinal made

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Photo considered

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43 play throughout

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Length the

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HINCHILLAS and the

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CHNEUMONS

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CAUCASUS of

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PORCUPINE

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the colours BYSSINIAN

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ELEPHANTS

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entirely of portrait

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is COBEGO broken

from

has order

three fluid pointing

ORMICE wolf
42

is to Leopard

the servers

young little

turning

they small from

me marten there