Beginning Graphic Design: Fundamentals BALANCE – is equal distribution of visual weight (in other words, how much

any one thing attracts the viewrs eye)

FUNDAMENTALS OF DESIGN – are the basis of every visual medium, from fine • Can affected by, including color, size, number, and negative space.
art to modern web design, even small details, like the fonts that make up • Mastering balance can be tricky because it take some intuition
most compositions. • Full EXAMPLE that help understand its different iterations
• SYMMETRICAL DESIGN are the same on both side of an axis. It
The Fundamental of design are all about the bigger picture in other words,
balanced because each side is effectively same (if not identical)
learning to appreciate the many small details that make up every
• ASYMMETRICAL DESIGN are different, but the weight is still evenly
composition, This insight can applied to almost any type of project, whether
distributed. The composition is balanced because it calls attention
creating
to right things
5 BASIC ELEMENTS • Use the STRATEGY THE RULE OFTHIRDS, the image are divided into
• Line a 3x3 grid the focal point of image is placed on or near one of
• Shape these lines, creating visual balance with the rest of the space. We
find this type composition appealing because according to studies
• Form
the human eye naturally follows this path when scanning a design
• Texture
• Balance
They might not seem like much on their own, but together theyre part of BEGINNING GRAPHIC DESIGN: COLOR
almost everything we see and create
COLOR – it plays a vital role in design and everyday life, It can draw your eye
to an image, evoke a certain mood or emotion even communicate something
The fundamentals can be intimidating, especially if you don’t consider
important without using words (like stop light)
yourself an artist. However, theres a lot they can teach you about working
with different assets and creating simple visual from scratch.
HOW WE KNOW WHICH COLOR IS GOOD OR NOT?--COLOR THEORY
THE BASICS
LINE – is a shape that connects two or more points. It can be fat or thin, wavy
PRIMARY (Red, Blue, Yellow) the foundational colors that cannot be created
or jagged. Every possibility give the line a slightly different feel. Line appear
by mixing other colors.
frequently in design. When working with lines, pay attention to things like
weight, color, texture, and style. These subtle qualities can have a big impact
SECONDARY created by mixing equal parts of two primary colors
on the way your design is perceived.
Green (mixing blue and yellow)
Look for places where lines are hiding in plain sight, EXMAPLE IN TEXT (no
Orange (mixing red and yellow)
parking employes only)
Purple (mixing red and blue)
• EXAMPLE – Drawings and Illustrations, Graphic Elements like
Texture and patterns. Theyre also common in text compositions,
• Red+yellow=orange
where they can add emphasis divide or organize content or even
• Yellow+blue=green
guide the viewers eye
• Blue+red=purple
MIX
SHAPE – is any 2 dimensional area with a recognizable boundary, includes
Red+orage+yellow+green
circles, squres, tringles. Shapes are a vital part of communicating ideas
visually. They give images heft and make them recognizable. Street signs,
Hue, Saturation, Value
symbols and abstract art largely because of shapes. Shapes have a surprising
These terms might not encounter in daily life but there the key to
number of uses in everyday design. They can help organize or separate
understanding more nuanced colors like little paints chips at home
content, create simple illustrations, or add interest to your work Shape is
improvements store
important because it’s a foundation many things
TWO DISTINCT CATEGORIES: • HUE- is easiest one, its basically just another word for “color”
1. Geomtric (or regular)
• SATURATION – refers to intensity in other words whether the
2. Organic (where the shapes are more freeform)
color appears more subtle or more vibrant
• VALUE – has to do with how dark or light the color is, ranging from
FORM – shape becomes 3d its called form, Forms can 3-dimensional and exist
black to white, it gives many different shades from deep reddish
in the real world or can be implied using techniques like light, shadow, and
brown to light pastel pink
perspective to create the illusion of depth.
HOW WE PUT TOGETHER TO CREATE PROFESSIONAL LOOKING COLOR
• In 2-dimensional design form makes realism possible, Without it a
SCHEMES?
bouncing ball is just a circle
-There actually tried and true formulas based on something called color
• A 3D building is just a series of rectangles, Even flat design use
harmony that can help --- all you need COLOR WHEEL
subtle techniques to hint at form and depth. In evryday
compositions, the purpose of form is the same, but on a smaller
6 FORMULA
scale. For EXMPLE a simple shadow can create the illusion of layers
1. MONOCHROMATIC
or give an object a sense of place
The easiest formula for harmony is monochromatic because it only uses one
• Basic forms can bring a touch of realism to your work a powerful color or hue, that consists of one color or varying shades of a single hue.
tool when used in moderation EXAMPLE: light blue, dark blue, and grayish-blue, all derived from the same
• TEXTURE – is the physical quality of a surface, like form it can 3D base color.
something you can see and touch or can be implied, suggesting that
it would have texture if it existed in real life. 2. ANALOGOUS
• In design, texture adds depth and tactility to otherwise flat Uses color that are next to each other on the wheel, These colors usually
images. share a common hue and create a harmonious and pleasing visual effect
• Object can appear smooth, rough, hard or soft, depend the when used together. (3 COLOR)
elements at play. EXAMPLE: combination of blue, blue-green, and green would be considered
• You find texture in unexpected places, like distressed fonts, and analogous.
smooth, glossy icons
 3. COMPLEMENTARY COMMON TYPE OF FONTS
Colors are opposite each other on the wheel, (atbang) opposite each other SERIF – little strokes called serifs attached to the main part of the letter
on the color wheel. When paired together, complementary colors create a because of the classic look, thyre a good choice for more traditional projects,
strong contrast and can make each other appear more vibrant. (light+darker also common in print publications, like magazines and newspapers
or Saturn tone)
EXAMPLE: blue and orange or red and green are complementary color pairs. SANS SERIF – don’t have that extra strokes hence the name, whuch is French
for “without serif”. This style is considered more clean and modern than serif
4. SPLIT COMPLEMENTARY fonts, it tends to be easier to read on computer screens, including
smartphones and tablets
Uses the color on either side of the complement, a base color and the two
colors adjacent to its complementary color on the color wheel. This creates a DISPLAY – in many different stles, like script, blackletter, all caps, plain fancy.
balanced contrast without the intensity of direct complementary colors. Because of decorative nature, display fonts are best for small amounts of text,
(short TRINGLE) EXAMPLE titles and headers and more graphic heavy designs
EXAMPLE: If blue is the base color, its complementary color is orange. The FONTS have their own language, they all something to say beyond the words
split complementary scheme would then use blue along with the two colors on the page, they can across as casual or neutral, exotic or graphic
next to orange: red and yellow-orange.
3 FONT COME WITH EXTRA BAGGAGE
5. TRIADIC • COMIC SANS
Uses three colors that are evenly spaced, forming a perfect triangle, that uses • CURLZ
three colors that are evenly spaced around the color wheel. This arrangement • PAPYRUS
creates a balanced and vibrant palette, as the colors complement each other
while maintaining their individual intensity. (TRINGLE)
EXAMPLE: the primary colors: red, blue, and yellow.
example could be the secondary colors: green, orange, and purple.

6. TETRADIC
Color form a rectangle on the wheel, using not one but two complementary
color pairs, refers to a color scheme that uses four colors, consisting of two When deciding which fonts to use, less is more, its best to limit yourself to
complementary color pairs. This scheme forms a rectangle on the color wheel one or two per project, If you need more contrast, try repeating one of your
and provides a rich and diverse palette. fonts in a different size, weight, style, This trick is practically foolproof for
EXAMPLE: if you choose blue and orange as one complementary pair, you creating interesting combinations.
might pair them with red and green as the other.
OPPOSITES ATTRACT – the same is true for font
READABILITY - is an important factor in any design
LEGIBLE – easy on the eyes,
NEUTRAL COLORS – like black, white, and gray can help balance design DON’T AFRAID TO COMBINE FONT STYLES THAT ARE DIFFERENT BUT
DESATURED COLORS – often appear more business like, sometimes its COMPLEMENTARY, LIKE san serif with serif,, short with tall,, decorative with
depends on the context how it flexible color can be simple

Evey color sends a message, its important to consider the tone and a color BAD KERNING – making certain letters look improperly spaced, If font using
palatte that fits has bad kerning, its best to cut losses and choose something
EXAMPLE: bright colors tend to have a fun or modern vibe
KERNING – is the space between specific characters, unlike tracking it varies
over the course of word, because each letter fits together differently

LEADING – space between lines of text also known as line spacing, the goal is
to make text as comfortable to read as possible, Too much or too little
spacing can make it unpleasant for the reader

TRACKING – is the overall space between characters, sometimes called

character spacing, most programs let you condense or expand this depending
on your needs, In some designs might adjust tracking to create a certain
artistic effect, It also help fix fonts that are poorly spaced to begin with

HIERARCHY- is used to guide the readers eye to whatever is most important,

it shows where to begin and where go next using different levels of emphasis
Beginning Graphic Design: Typography
• Establising hierarchy is simple just decide which elemnts want the
• Is everywhere we look, in the books we read, on the websites we
reader to notice first, then make them stand out, High level items
visit even in evryday life, on street signs, bumper stickers, and
are usually larger, bolder, or different in some way, remember
product packangoig
keep simple and stick to just a few complementary styles
• It’s the style or appearance of text
• The art of working with text
• Can be an intimidating subject, but doest have to be, only need to Well crafted text can mean the difference between an ordinary project and
know a little to make big difference in the stuff do every day an extraordinary project even if youre just getting started with design. All it
• Is the art and technique of arranging type to make written takes is an interest in typography, and start notice more
language legible, readable, and visually appealing. It involves
selecting typefaces, font sizes, line lengths, spacing (kerning and
leading), and layout to effectively convey a message.
Beginning Graphic Design: Layout & Composition 6. REPETITION- is a reminder that every project should have a
consistent look and feel
• Its foundation of design, it give work structure and make easier to o That means finding ways to reinforce your design by
navigate from the margin on the sides, to the content in between . repeating or echoing certain elements
• Its not just about working with text, Composition matters in othe r o For instance, if a specific color palette, look for ways to
mediums too, like graphic design, web design, carry it through
• Without a well composed layout the work would basically fall o If youve chosen a special header style, use it evrey
apart time,
• The key to mastering layout and composition is to think like a o Its not just for aesthetic reasons being consistent an
also make your work easier to read
designer, its easier than it sounds
o When the viewer knows what to expect, they can relax
5 BASIC PRINSIPLES- can help transform the work and sharpen your eye for and focus on the content
deisgn
In many ways layout and composition are the unsung
1. PROXIMITY- is all about using visual space to show relationship in heroes of design, Its easy to overlook their role, but
the content, all you have to do is make sure related items are theyre part of everything you do
grouped together
EXAMPLE: blocks of text or elements in a graphic
o Groups that are not related to each other should be Beginning Graphic Design: Images
separated, to visually emphasize their lack of a
o No matter what the subject, were naturally drawn to
relationship, this makes work easier to understand at a
them, from beautiful, high definition photos, to
glance whether its purely text or more visual
carefully crafted illustrations even simple EXAMPLE:
like logos and icons.
2. WHITE SPACE- is important part of every compositions, doesn't
o Images are more than just decoration, In design, thryre
mean literal "white space" it just means negative space, like the
the hook that draws the viewer in compelling visuals
spaces between content,between lines, and even the outer
can help connect with the audience and make a strong
margins,
impression before they’ve even read a single word
o Theres no "one way' to use white space correctly, but
o You don’t have to be an artist to use images in work, All
its good to understand its purpose.
it takes is a little creativity and a willingness to think
o White space helps define and separate different
outside the box
sections, its give the content room to breath, If the
o With the right resources, can learn to set design apart
work ever strat to feel cluttered or uncomfortable a
FINDING HIGH QUALITY IMAGES- for any type of project/ sharp, clear and
little white space might be just what the doctor
free of distortion, memorable
ordered.
Most people rely on free or low coist images called STOCK- is perfect when
3. ALIGNMENT- something deal with all the time, even you don’t
need something specific EXAMPLE: a photo of a tiny dog in a teacup
realize
o Whenever type an email or create a document, the
Some stock images are just too GENERIC to be effective
text aligned automatically When aligning objects by
yourself (for instance, images or separate text boxes)
People naturally drawn to images that feel AUTHENTIC- EXAMPLE: distinct
getting it right can be tricky
but believable photos and graphic that tell a story. The best images are
o The most important thing isb to be consistent
somewhat open ended they set the tone of project but leave room for
o It might help to imagine your content arranged inside
interpretation
of a grid, Notice how theres an invisible line centering
- In general bigger is better because it gives more work with
each image to text? Each grouping is also evenly
spaced and aligned, with equal sized margins, Its that
If you enlarge a smaller image it immediately loses quality, That because most
attention to detail that makes the composition easier
images are in something called RASTER FORMAT- made up of thousands,
to navigate, Without consistent alignment the work
sometimes even millions of tine little pixels, When viwing a raster image at its
could start feel disorganized
original size or smaller, the pixels are invisible thyre just too small to see, But
if zoom in or enlarge it the results aren’t pretty
4. CONTRAST- means that one item is different from another. In
layout and composition, contrast can help do many things,
VECTOR GRAPHIC- are different from raster, can make them any size, big or
o EXAMPLE: catch the readers eye, create emphasis, or
small, without losing any quality, that because theyre made something more
call attention to something important Theres are lots of
complex than pixels theyre rendered using a special form of geometry, You’ve
strategies or creating contrast You can use color, adjust
not likely to find vector graphics outside of professional design settings,
the size, shape, or visual weight of an object, or use
contrasting styles of text
MAYBE THE IMAGE IS WRONG SIZE OR THE COLORS
o Contrast is also closely tied to Hierarchy
3 FIX OR ENHANCE AN IMAGE
- CROPPING- change size, shape, focus image/ cut
5. HIERARCHY- is a visual technique that can help the viewer
- RESIZING- ensure the perfect fit of project
navigate your work, In other words, it shows them where to begin
- OTHER ADJUSTMENT
and where to go next, using different levels of emphasis
COSMETIC ADJUSTMENT- let enhace certain image qualities like brightness,
o Establising hierarchy is simple just decide which
contrast, saturation and color
elements you want the reader to notice first, then
make them stand out
o High level or important items are usually larger, bolder,
or more eye cathing in some
Beginning Graphic Design: Branding & Identity
BRANDING - Are all around us on website and product packaging on different
types of advertising even on personal items, like documents and business
card. Is what other people think about you, your company, you product or
service

VISUAL IDENTITY- logo/color/images/types. is what that brand looks like,

from your logo to your color choices. Strong visual can be very persuasive,
think of your own experiences as a consumer,
• Have you ever chosen a product simply because you liked the way
it looked?
• Understanding visual identy can help you make more thoughtful
design decisions regardless of role, medium, or skill level
• Is kind of like a preview of brand, each part of design is a clue that
tells the viewer what they can expect
• Tone can be classic and refined
• Every element works togrther to show exactly what brand about
• Its just all about business its also, updating resume or looking for
ways to enhance website
• Some companies use an actual style guide to keep brand looking
consistent

4 MAIN COMPONENT OF VISUAL IDENTITY:

LOGO- identifies brand using particular mark, type design, the most effective
logo tend to be fairly simple something viewers will recognize and remember.
• Every element of logo contributes to brand identity, include font
choice, colors, and other imagery
• A logo pixelated, distorted or too small to read could give viewrs
the wrong impression
• Keep a master copy that’s sharp, high quality, and big enough any
project

COLOR- is powerful way, not only does make a strong impression on the
viewer, it also create a sense of unity when used across multiple projects or
platforms, most brands derive their main colors directly from the company
logo, additional color can help expand the main palette and further define
brand personality and style
• Make sure to include neutrals in color palette like black, grey,
white, or off white
• Don’t overborad or ignore basic design standards, avoid common
pitfalls like colors that vibrate or threaten to overwhelm in design

TYPOGRAPHY/ TEXT- is one simplet aspects of identity, but can be

surprisingly expressive. All takes a different font and can subtly (or not so
subtly) change the entire lookmof brand
• Most brands choose 2 to 3 fonts often inspired by the logo for
basic everyday use, Creative fonts should also be chosen with care
and should be a reflection of unique visual identity
• There are certain font that know to avoid, fonts that were once
popular but are now considered outdated and overused
• When in doubt a more timeless understated font is less likely
detract from message
• Font choice should complement brand, but still be current and
professional

IMAGES- a huge part of building a unique identity, every photo, graphic, icon,
and button is a chance to showcase brand and shape
• Image usually created specifically for brand, Pictures in a catalog ,
or graphics in an app
• Signature color, a shared subject, or a consistent graphic style
• Choose images that seems genuine and feature people, places and
things
• With the clear vision of brand, know exactly what colors, fonts,
and images, Create a consistent work that viewers will remembe