AHPR2033

PRODUCTION AND
PUBLICATION
WEEK 4: DESIGN

Mr. WTKS
DESIGN – PRINCIPLE OF
DESIGN, GRIDS AND MODULAR
LAYOUT
PRINCIPLE OF
DESIGN
The “Principles of design” are the techniques used for the
effective arrangement and distribution of elements into a
composition.
The principles are...
1. Balance
2. Proportion
3. Sequence
4. Emphasis
5. Unity
BALANCE
Balance is the equal distribution of visual weight in a design.
Visual balance occurs around a vertical axis; our eyes
require the visual weight to be equal on the two sides of the
axis.
There are two basic approaches: symmetry and asymmetry.

Symmetry Asymmetry
SYMMETRY BALANCE
Symmetry is created by repeating the reverse of a design on
the opposite side of the vertical axis; each side, in essence,
becomes the mirror image of the other.
Considered formal, ordered, stable and quiet. It can also be
boring.
Often used in architecture.
Symmetr
y
ASYMMETRY BALANCE
More complex than symmetry — it offers more variety,
suspense, action, movement, tension and playfulness within
a design or a page layout.
It tends to be more informal.
Asymmet
ry
PROPORTION
Proportion is the relationship of two or more elements in a design
and how they compare with one another.
Proportions show comparisons, dominance, scale and may help
lead our vision.
A correct relationship exists between the elements with respect
to size or quantity.
Closely aligned with emphasis and sequence.
GOLDEN MEAN
Ratio refers to how one measurement relates to another.
The ratio formed of 1 : 1.618 is called the Golden mean (or Golden
Section) - the ratio of bc to ab is the same as ab to ad.
Typography

Logo design
GROUND THIRDS
"Ground Thirds" is one of the most important concepts
associated with design and composition.
It suggests that you break planes into (roughly) one-third /
two-third arrangements.
It is widely used in all sorts of design, in art, mathematics,
architecture.

Ground Thirds
Ground Thirds
Proportion
SEQUENCE
Refers to visual direction, or how the eye moves through a design,
page layout, or composition.
More formal sequencing follows these rules most strictly.
Informal sequencing tends to use optical weight more to jump our
vision around a page, advertisement or layout.

Sequence
SEQUENCE
Standard formula in design:
i. headlines tend to sit atop stories
ii. copy follows heads
iii. Important stories or message parts sit higher than less
important ones.
iv. left side tends to get more importance
v. The best stuff sits high and left, the least important low
and right
 Sequenc
e

A flyer invited students to be part of a leadership development program, but the

design undermined the message by asking the reader’s eye to jump around
the page from black box to black box. The redesign at right uses contrast at
the top to tell the reader where to start, then uses the Western inclination to
read left to right to describe the two parallel parts of the program, finally placing
all of the contact and deadline information in a single, easy-to-find box at
the bottom right of the page.
Sequenc
e
EMPHASIS
Involves standing one element off in a layout.
Every design needs a dominant element, a focal point, a strong
graphic lead.
While multiple entries and emphasis can be effective in designs, it
is more complex and risks confusing the reader in a different way:
s/he doesn’t understand where to begin. Too many points can
dilute emphasis.
There are many ways and strategies to emphasis:
i. Isolation
ii. Imbalance
iii. Ragged edges, unusual shapes or uneven borders
iv. Incongruity
v. Disproportion
vi. Selective focus
1. ISOLATION

is a kind of placement -- where

something is put. An item that
stands apart from its
surroundings will be more
noticeable. This is not likely to
make an item be noticed first
but can make one item stand
out.
2. IMBALANCE

By skewing and teetering the main element. Reader may

attract attention.
is achieved when the elements within a composition are of
differing weights, tones, colors, and placement.
3. RAGGED EDGES, UNUSUAL SHAPES OR UNEVEN
BORDERS

Rail against conformity and the uniformity of a page’s

design.
Although our eyes like order, something out of the ordinary
may attract attention (simple and minimal).
4.INCONGRUITY

Puts element out of its normal

context and gives it an
especially unusual, ironic,
sarcastic spin.
A feeling that “something’s
wrong with this picture.”
5. DISPROPORTION

An instance of being out of

proportion with something
else.
Lack of proportion or lack of
proper relationship in size,
number and etc.
6. SELECTIVE FOCUS

Blur background or foreground of an image.

Leaving only what was focused on clear to our vision.
UNITY
Unity refers to the cohesion or overall relatedness of a design
or layout’s parts.
All the elements — graphics, type, art, design strategies,
borders, color, etc. — must work together, pull in the same
direction, to best communicate the intended idea.
Unity strategies and ploys include: grouping, color, parallel
structure, white space, borders, typography, style, etc.
Unit
y
ELEMENTAL FORM
Elemental form orders a page’s arrangement using a handful
of basic letter shapes.
5 letter shapes are normally used:
▪ L-shape
▪ T-shape
▪ O-shape
▪ /-shape
▪ S-shape or C-shape
L-SHAPE
Probably the most commonly used forms in publication design
and in composition.
• Wrap visual, graphic or copy areas.
• Framing (enclosed the element within the design)
• Adds emphasis, calling attention to dominant design component.
• Delimiting space (in photography often)
• Most common and practical
L-shape
T-SHAPE
Also an important structural device.
• Wrap and frame other design elements.
• Most often inverted
• Configurations used in triangular composition
• Gives sense of strength to a design.
T-shape
O-SHAPE
Also known as a targeting device.
The form has a strong tendency to funnel our vision.
• Frames
• Brings an inherent symmetry to some design
• Circular forms have long been used to show continuity,
regularity and unity
O-shape
O-shape
/-SHAPE
This elemental form used more for sequencing and directing
our vision than it is as a structure device; but not always.
• Brings an energetic feel to a layout.
• Helps show or imply movement
• Helps sequence or direct vision
• Catches our attention -- may suggest an immediacy
• Also may work with triangular composition
/ - shape
/ - shape
S-SHAPE OR C-SHAPE
Like the /-shape, this elemental form is used more for
sequencing and directing our vision than it is as a structure
device; but not always.
• Most graceful of the elemental forms
• Often suggests movement
• Helps lead our vision
• Helps provide direction and lead-in with visuals, but is a
gentler shepherd of our sight.
C - shape
TIME
Tactics that can help to conserve readers’ time and effort: -
Place the table of contents as close to the cover as possible.
Put departments, columns or regular features in the same
place each issue.
Once establish a design look, stand by it.
Properly align visually supportive elements on the same
page as its text citation or an adjacent facing page.
Eliminate or minimize jumps.
Show unity throughout a spread.
Establish a stylebook and stick to it.
GRIDS AND MODULAR
LAYOUT
Grid – is the subdivision of a space into horizontal and
vertical modules.
The grid is important for a number of reasons:
• It provides an efficient tool for shaping design space.
• A grid can quickly organize the whole of page or individual
page parts.
• The overall look of modular design is clean.
• Orderly subdivision makes designing easier.
• The grid provides a flexible format.
• Grids are especially functional for blocking lengthy copy
areas.
END