6/6/2017

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LECTURE 12:
INTRODUCTION TO
GRAPHIC DESIGN

LECTURE OUTCOME
After the completion of this lecture and mastering
the lecture materials, students should be able
1. to explain what Graphic Design is
2. to describe some examples of Graphic Design
3. to explain the principle of Graphic Design
including Typography, Color, Layout & Composition,
and Images.

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LECTURE FLOW
1. INTRODUCTION
 Definition
 Purposes
 Use of Graphic Design
2. GD EXAMPLES
3. PRINCIPLES
4. FREE SOFTWARE

1. INTRODUCTION
1. Definition
 Graphic design, also known as communication design,
is the art and practice of planning and projecting ideas
and experiences with visual and textual content.
 The form of the communication can be physical or
virtual, and may include images, words, or graphic
forms.
 The experience can take place in an instant or over a
long period of time.
 The work can happen at any scale, from the design of a
single postage stamp to a national postal signage system, or
from a company’s digital avatar to the sprawling and
interlinked digital and physical content of an international
newspaper.

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2. Purposes
 It can also be for any purpose, whether commercial,
educational, cultural, or political. Design that’s meant
to be experienced in an instant is the easiest to
recognize and has been around the longest.
 For over a hundred years, designers have arranged
type, form, and image on posters, advertisements,
packages, and other printed matter, as well as
information visualizations and graphics for
newspapers and magazines.
 Motion graphics are equally predetermined and
crafted, but are meant to be experienced over a fixed
time span, such as for the opening credits of a movie
or an online video meant to accompany a newspaper
article.

3. Use of Graphic Design

 Items ranging from complex advertising campaigns to
simple stationery templates start with a designer
applying the art and the science of their craft.
 Professional design even inserts itself in the most
humdrum of places.
- For example, the Federal Highway Administration maintains
detailed technical design specifications for federal highway
signs, specifying with great precision such rules as spacing,
layout, typeface and even the angle and placement of arrows.
 Graphic design occupies the intersection of the
science of communication and the art of aesthetics.
 In its most abstract sense, graphic design
emphasizes visual communication using a range of
elements and different media to promote a specific
message.

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2. GD EXAMPLES
1. Heather Shaw
 With 20 years' experience in design, Heather Small
designs brochures, menus, business cards, books,
annual reports, Powerpoint and Keynote
presentations, responsive websites, applications…
anything her clients need, in short.

Heather Shaw
marshalls her work
with simplicity and
elegance.

2. Stefanie Bruckler
 Stefanie Bruckler is an Austrian designer and
illustrator with a particular interest in branding and
editorial design.
 Passionate about building cohesive and strong
brands as well as typography and packaging, she’s
applied a touch of old-fashioned elegance to her
website.

There’s a touch of old-fashioned elegance to Stefanie Bruckler’s portfolio

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3. Peter Komierowsk
 Peter Komierowski is a visual designer working in
Vancouver, British Columbia who specialises in
illustration, branding and identity design, and interface
design. With many high-profile clients, including The
Huffington Post, NBA, Telus, and YouTube, there’s a
lot to fit in here.

There are acres of white space in this restrained layout

4. Tobias van Schneider

 Tobias van Schneider is a multidisciplinary designer
and creative director born in Germany, raised in
Austria and currently living and working in New York.
Focused on branding and interactive design, he’s had
some big-name clients including Red Bull, BMW,
Google, Wacom, Sony, Toyota and Ralph Lauren.

This creative director’s portfolio is strongly image-focussed

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5. Grant Burke
 Grant Burke is a Toronto-based freelance graphic
designer and illustrator specialising in logo design,
brand identity and illustration. In the past he’s worked
both as an in-house designer for large corporations
and at an agency.

The case studies on this portfolio site reveal just enough information about
each project

6. Alessandro Scarpellini
 Italian designer Alessandro Scarpellini has worked for
a wide range of clients around the world in the fields
of art direction, branding and visual identity,
magazines and packaging design.

There’s a real air of sophistication to this portfolio design

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7. Nicolas Paries
 Nicolas Paries is 28-year old French art director
who’s been working since 2008 with premium brands
such as Chanel, Lancôme, Dior and Nespresso. The
layout of his portfolio site is quite original, and the
graphic effects as you scroll down are visually
spectacular and hugely impressive.

This portfolio boasts an original layout and some quite spectacular effects

8. Jascha Goltermann
 Jascha Goltermann is a Berlin-based graphic desi-
gner who creates infographics, posters, logos, icons
and websites. There are some pretty flashy effects
and animations on his portfolio site (try mousing over
his headshot, for starters). But at its heart this is a
conventional – albeit beautifully realised – picture-grid
layout of work.

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3. PRINCIPLES
 The various techniques that designers employ to
elicit predictable emotional responses include:
1. Typography
2. Color
3. Layout & Composition
4. Images

1. Typography
 Typography is the style or appearance of text, and
can also refer to the art of working with text—
something you probably do all the time if you create
documents or other projects.

Typography is everywhere
we look. It's in the books we
read, on the websites we
visit, even in everyday life—
on street signs, bumper
stickers, and product
packaging.

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 Choosing a Font. In a way, fonts have their own

language, and have something to say beyond the
words on the page. They can come across as casual
or neutral, exotic or graphic. That's why it's important
to think about your message, then choose a font
that fits.

 Combining Fonts.

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 Other important terms: kerning, leading, tracking,

and hierarchy. These concepts are essential for
creating professional-looking designs. As a beginner,
you don't need to know everything about these
terms—just enough to inform your work and help you
talk about design with more confidence.
 Hierarchy is used to guide the reader's eye to
whatever is most important. In other words, it shows
them where to
begin and
where to go
next using
different levels
of emphasis.

 Establishing hierarchy is simple: Just decide which

elements you want the reader to notice first, then
make them stand out. High-level items are usually
larger, bolder, or different in some way. Remember to
keep it simple and stick to just a few complementary
styles.

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 Leading (rhymes with wedding) is the space

between lines of text, also known as line spacing.

 If you're not sure how much line spacing to use, don't

fret—the default is usually fine. The goal is to make
your text as comfortable to read as possible. Too
much or too little spacing, as in the example below,
can make things unpleasant for the reader.

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 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, you might adjust your tracking to
create a certain artistic effect. It can also help you fix
fonts that are poorly spaced to begin with.

 Kerning is the space between specific characters.

Unlike tracking, it varies over the course of the word
because each letter fits together differently.

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 Some fonts have what we call bad kerning, making

certain letters look improperly spaced. If a font you're
using has bad kerning, it's best to cut your losses and
choose something else.

 Putting it all together. Well-crafted text can mean

the difference between something ordinary and
something extraordinary—even if you're just getting
started with design. All it takes is an interest in
typography and you'll start to notice more, see more,
and be able to do more in your own work.

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2. The power of color

 Color plays a vital role in design and everyday life. It
can draw your eye to an image. Sometimes it can
trigger an emotional response. It can even
communicate something important without using
words at all.

 So how do we know which colors look good together

and which ones don't? The answer is simple: Color
theory.
- Artists and designers have followed color theory for centuries,
but anyone can learn more about it.
- It can help you feel confident in many different situations,
whether it's choosing colors for a design or putting
together the perfect outfit. With a little insight, you'll be
looking at color in a whole new way.
 Color basics. Let's start at the beginning with a
refresher on the basics. Remember learning about
primary and secondary colors in school? Then you
already have some knowledge of color theory.
 Secondary colors are created by combining two
primary colors. Red and yellow make orange; yellow
and blue make green; and blue and red make purple.

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 If we mix these colors together, we get even more in-

between shades, like red-orange and yellow-green.
All together, they form what's called a color wheel.
(You can probably see where it gets its name.).

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 A closer look. Now that you know about the color

wheel, let's take it one step further with hue,
saturation, and value. These are terms you might
not encounter in daily life, but they're the key to
understanding more nuanced colors—like all those
little paint chips at the home improvement store.

 Hue is the easiest one; it's basically just another word

for color. In the example below, you might describe
the hue as coral pink or light red, depending on your
interpretation.

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 Saturation refers to intensity—in other words,

whether the color appears more subtle or more
vibrant. Highly saturated colors are brighter or richer.
Desaturated colors have less pigment and therefore
less oomph.

 Value has to do with how dark or light the color is,

ranging from black to white. As you can see below,
this gives us many different shades, from a deep
reddish brown to a light pastel pink.

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 Creating color schemes. So how do we put this all

together to create professional-looking color
schemes? There are actually tried-and-true formulas
based on something called color harmony that can
help.
 Color harmony uses the color wheel to illustrate
time-tested color combinations. We'll explore some of
the most common types of harmony below.

 Monochromatic. The easiest formula for harmony is

monochromatic because it only uses one color or
hue. To create a monochromatic color scheme, pick a
spot on the color wheel, then use your knowledge of
saturation and value to create variations.

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 Analogous. An analogous color scheme uses colors

that are next to each other on the wheel, like reds
and oranges or blues and greens.

 Complementary colors are opposite each other on

the wheel; for instance, blue and orange or the classic
red and green.

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 Avoiding common mistakes

 Choosing the right colors. Every color sends a

message. It's important to consider the tone of your
project, and choose a color palette that fits.
 For example, bright colors tend to have a fun or
modern vibe.

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 Desaturated colors often appear more serious or

businesslike.
 Sometimes it just
depends on the
context. With practice
and creativity, there's
no limit to what you
can do.

 Putting it all together. Everywhere you look, there's

color, color, and more color. It can be intimidating to
use it in your work, but it doesn't have to be. Just
keep experimenting, and remember what you've
learned about color theory.

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3. Layout and Composition

What is composition?
 In many ways, layout and composition are the
building blocks of design. They give your work
structure and make it easier to navigate, from the
margins on the sides to the content in between.

 Five basic principles. The key to mastering layout

and composition is to think like a designer. There
are five basic principles that can help you transform
your work and sharpen your eye for design.

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 Proximity is all about using visual space to show

relationships in your content. In practice, it's pretty
simple—all you have to do is make sure related items
are grouped together (for instance, blocks of text or
elements in a graphic, as in the example below).

 White space is an important part of every

composition. White space helps you define and
separate different sections; it gives your content
room to breathe.

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 Alignment is something you deal with all the time,

even if you don't realize it. Whenever you type an
email or create a document, the text is aligned
automatically.
 When aligning objects by yourself (for instance,
images or separate text boxes), getting it right can be
tricky.

 Contrast simply means that one item is different

from another. In layout and composition, contrast
can help you do many things, like catch the reader's
eye, create emphasis, or call attention to something
important.
 In the example below, we've used color, more than
one style of text, and objects of differing sizes.

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 Repetition is a reminder that every project should

have a consistent look and feel. This means finding
ways to reinforce your design by repeating or
echoing certain elements.
 For instance, if you have a specific color palette, look
for ways to carry it through. If you've chosen a special
header style, use it every time.

 Putting it all together. You might say layout and

composition are the unsung heroes of design. It's
easy to overlook their role, but they're part of
everything you do.

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4. Images
 Images can be a powerful force in design. No matter
what the subject, we're naturally drawn to them. From
beautiful, high-definition photos to carefully crafted
graphics, they're usually the first thing we see.
 However, images aren't just for decoration. In design,
they're the hook that draws the viewer in.

 Finding images. You don't have to be an artist to use

images in your work. All it takes is a little creativity
and a willingness to think outside the box. With the
right resources, you can learn to set your designs
apart. First: finding high-quality images for almost
any type of project.

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 Using stock. Maybe you're handy with a camera or

have some graphic design experience—that's great! If
not, don't panic. There are countless online sources
that offer images for exactly this purpose.
 The truth is, most people (including professionals)
rely on free or low-cost images called stock.

 Choosing effective stock. Most stock image sites let

you browse or search their offerings. Look for results
that are relevant to your project, but also unique in
some way.

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 In this example, we've searched for the word travel.

The image below would be a fine choice because it
subtly illustrates the concept but has a personal feel.

 As viewers, we're are naturally drawn to images that

feel authentic, like distinct but believable photos and
graphics that tell a story.
 The best images are somewhat open ended. They
set the tone for your project but leave room for
interpretation.

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 Some stock images are just too generic to be

effective. For instance, how many times have you
seen a business presentation with something like the
graphic below?

 Putting it all together. Adding photos, graphics,

and other visuals to your work is a great way to
make it more engaging.
 Even a simple background image can transform your
design into something special.

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5. FREE SOFTWARE
1. SVG-Edit
 SVG (Scalable Vector Graphics) is a graphics design
format in which XML is used to detail the shapes.
 Once this is done, an
SVG viewer is used to
render the XML. SVG-
Edit is totally built into
HTML5, JavaScript
and CSS3, without the
need for any server-
side processing.

2. Serif DrawPlus Starter Edition

 While DrawPlus may not initially come across as a
design App that professional graphics designers can
use, it is actually surprisingly capable, and it is
packaged in a free version that has muscled itself into
the list of the top free graphics design applications.
The software is intuitive to use and features an
array of tools that mirror the functionality of Adobe
Illustrator.

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3. Easel.ly
 Easel.ly is a free graphic design application
developed to create infographics.
 While you may notice a few rough edges when you
first begin using this software, it lives to its creators’
promise of being easy to use.
 Simply select a theme, objects and shape then drop
some text in and you will end up with an acceptable
infographic within no time.

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