Visual Design
Ninety-five things you need to know. Told in Helvetica and dingbats.
Jim Krause
New Riders
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ISBN 13: 978-0-321-96815-9
ISBN 10: 0-321-96815-8
987654321
Printed and bound in the United States of America
Ninety-five things you need to know.
Told in Helvetica and dingbats.
Jim Krause
VISUAL DESIGN
TABLE OF CONTENTS
Page Topic
Number Number Chapter/Topic
Page Topic
Number Number Chapter/Topic
6 Introduction
66
4. Delivering Visuals
68
26
Graphic Simplification
70
27
Building with Shapes
28
Thematic Imagery
72
74 29 Effects
76
30
Representational Art
78 31 Photography
32
Cropping and Containment
80
82
33
Objects as Windows
10
12
1
14
2
16 3
18 4
20 5
22
6
24 7
26
8
1. Setting the Stage
Proportional Considerations
Defining Boundaries
Margins
Columns
Grids
Defying the Grid
Backdrops
Backdrop Panels
28
2. Filling Spaces
30
9
Dynamic Spacing
32
10
Static Placement
11
Symmetry vs. Asymmetry
34
36
12
Aligning, and Not
13
The Golden Ratio
38
40
14
Over and Under
15
Alternative Orientations
42
44 16 Minimalism
46
17
Intentional Complexity
48
3. Directing the Eye
50
18
Visual Hierarchy
52 19 Associations
54 20 Framing
56
21
Guiding with Color
58 22 Linework
60
23
Pointing Elements
24
Flow and Containment
62
64
25
Cover and Interior Connections
84
5. Considering Style
86 34 Consistency
88
35
The Character of a Curve
90 36 Appropriateness
92
37
Value and Conveyance
94
38
The Styles of Others
96
39
Mixing It Up
40
Conveyances of Era
98
100
102
41
104 42
106 43
44
108
110 45
112 46
114
47
6. Entertaining the Eye
Visual Texture
Repetition
Pattern
Depth and Illusion
Perspective
Callouts
Intentional Chaos
116
118
48
49
120
122
50
7. Color Awareness
Color Perception
Hue, Saturation, and Value
Value Over All
Page Topic
Number Number Chapter/Topic
124
126
128
130
51
52
53
54
Wheels of Color
Color Associations
Finalizing Palettes
Digital Color Tools
132
134
55
136
56
57
138
140
58
142
59
144
60
8. Color and Conveyance
Intense Palettes
Muting Some, Muting All
Restraint and Punch
Energy Through Variety
Color Connectivity
Working Within Limits
146
148
61
150
62
63
152
154
64
65
156
158
66
67
160
162
68
9. Typography
Types of Type
Typographic Voices
Type and Trend
Seeing Subtlety
The Spaces Between
Typographic Hierarchy
Typographic Customization
Assent, Dissent
164
166
69
168
70
170 71
172
72
73
174
176 74
178
75
180
76
10. Infusing with Intangibles
The Importance of Theme
Controlling Conveyances
Juxtaposition
Evaluating Audience
Assessing Competition
Brainstorming
Banking Ideas
Question Everything
Page Topic
Number Number Chapter/Topic
182
11. Avoiding Unsightliness
184 77 Decide
186
78
Be Aware
79
Establish Pecking Order
188
190
80
Value Values
192
81
Mind Tangents
194
82
See with Fresh Eyes
196
12. Practical Matters
198 83 CMYK
200
84
Process Printing Know-How
202 85 Paper
204
86
Press Checks
206
87
Digital Printing
208 88 WYSIWYG?
89
Is It Safe Yet?
210
212
214
90
216
91
218
92
220
93
94
222
224
95
13. Inspiration and Education
Learn from the Greats
Note, Examine, Comprehend
Other Worldly Beauty
Saving Visuals
Leave It Alone
Expand and Evolve
226
Glossary
234
Index
VISUAL DESIGN
INTRODUCTION
If I were to describe the intended tone of this book
The 95 topics covered in this book are offered at a
both in terms of its text and imagesId say its meant
rate of exactly one subject per spread, and each
to come across as concise, and also conversational;
topic is presented through more or less equal parts
to-the-point, but not without its share of meandering
text and imagery. Nearly all the books content is
anecdotes; and serious while still delivering hints
delivered through a visual vocabulary of Helvetica
of sass and humor. In other words, just the sort of
and dingbats (typographic families of symbols, imagery,
passionate, focused (and sometimes playfully irreverent)
and ornaments). Which brings up the obvious questions,
tone you might expect when talking design or art with
Exactly why is this books subject matter presented
anyone whos similarly interested in creativity.
using Helvetica and dingbats, and why are there
95 topics?
Visual Design is for designers, illustrators, photographers, fine artists, and pretty much anyone else
First off, there are 95 topics simply because the
involved in creating art for professional or personal
rounder and more complete-feeling number of 100
purposes. This is a book thats filled with highly usable
wouldnt fit into the 240-page format of this book. Thats
and widely applicable principles of aesthetics, style,
all. (But that doesnt mean anything important was left
color, typography, printing, andvery importantly
out: As any writer could tell you, there are always ways
the behind-the-scenes conceptual thinking that
of combining two or more subjects under the umbrella
goes into coming up with layouts, illustrations, and
of a single larger topic.)
photographs that are visually and thematically
attractive and engaging.
As far as the Helvetica and dingbats go, to explain their
Dingbats and ornaments are used as the main visual
role in Visual Design is also to explain and emphasize
element for the vast majority of this books images for
one of this books primary goalsthat of being able to
similar reasons: Because dingbatslike Helvetica
offer artists a ton of highly applicable information without
tend to convey themselves without a great deal of
overly influencing the ways in which that information
self-aggrandizing fanfare, and therefore are capable
might be put to use. So here goes: Helvetica was
of adapting to a wide range of styles and moods within
chosen as the font for this books textand for nearly all
the layouts and illustrations they inhabit.
of the words used within its imagessimply because
Helvetica is one of those very rare fonts that cannot
Thats why Helvetica and dingbats have been used to
only deliver a wide range of thematic conveyances
deliver this books informational, conceptual, and visual
(think, for instance of the elegant look of a headline set
content: In order to spark inspiration and ideas in the
in the thinnest possible weight of Helvetica versus the
minds of viewers without calling any more attention to
commanding boldness of a block of text set in Helvetica
these visual components than necessary. Also, on the
Black), but it can also act as an almost invisible
level of visual entertainment alone, I hope you enjoy
thematic component for a layout or illustration whose
seeing the ways in which characters of the Helvetica
other visual elements are meant to set the pieces mood.
font familyand those from a variety of dingbat
Know many other fonts that can claim this remarkable
familieshave been used to uniquely illustrate this
set of qualities in quite the same way? I dont.
books subject matter.
Just a couple more notes about the content of Visual
This book was created using the same trio of software
Designone regarding the depth of coverage seen
programs that most designers, illustrators, and
throughout the book, and the other about the software
photographers use to create their own works of design
mentioned in its pages.
and art: Adobe InDesign, Illustrator, and Photoshop.
In most cases, when these programs are mentioned,
Some of this books topicslike those dealing with
it is without a great deal of specifics in terms of what
broad aspects of composition and aesthetics (primarily
buttons to push or what pull-down menus to activate.
covered in Chapters 1 through 6)are presented in
Why is this? Its simply because software changes
considerable depth and completeness. Other subjects
quickly and often, and the hope is that the information
such as typography and colorwill themselves be
in this book will be of a much more long-lasting nature
topics that fill entire books in future additions to the
than is generally found when it comes to computers and
Creative Core series. Naturally, the attention these
software. So, if you come across a tip in this book about
large-scale topics receive in this book is abridged
using such-and-such program to help you perform
in comparison to how they will be covered in volumes
such-and-such task, I hopeif necessaryyoull be
of their own, but readers should still find that these
willing to open that programs Help menu to find out
subjects have been dealt with in a solid, practical,
how the current version of the software handles these
instructive, and enlightening way within the chapters
matters. (To me, this is really the best way of learning
of Visual Design.
new things about software anywaysince it almost
always leads to discoveries of other menu items and
tools that may come in handy for other tasks.)
Finally, thank you for taking a look at Visual Design.
This is my fourteenth book on subjects dealing with
design, creativity, and digital photography, and its
content is near and dear to the creative centers of my
brain and being. I hope you enjoy it and find it helpful
in creating your own personal and professional
expressions of visual art.
BOOK01
Visual Design is the first book in the
New Riders Creative Core series.
9
The second book in the series (available now)
Jim Krause
[Link]
is Color for Designersa book that
significantly expands upon the color-related
information offered in Chapters 7 and 8
of this book.
A third title, Lessons in Typography, is due
on the shelves in 2015. Keep your eyes open for
more offerings from this series in the future.
66
CHAPTER 4
Delivering
Visuals
67
DELIVERING VISUALS
26 GRAPHIC SIMPLIFICATION
It doesnt take much to convey the idea of a star. Or a
theres rarely a good reason to turn on the computer
flower. Or a cat or a car. A few linesstraight and/or
before youve penciled at least a page or two of ideas
curvedcould be all thats needed. Or maybe just a
worthy of digital attention.
simple combination of basic shapes. You could always
do moreif you wanted, but when you get right down
Try this when developing the look of a simplified icon
to it, it doesnt take much simply to communicate the
or graphic: Go too far. Oversimplify. And once youve
visual essence of a person, place, or thing.
gone too far and oversimplified your subjects form to
the point where its becoming difficult to identify, begin
68
Simplified depictions of subjects are often used
adding the details or embellishments that are needed
as elements within logos or informational graphics.
to convey the look and the stylistic feel of whatever it
Depending on how theyre crafted, basic renderings
is youre depicting.
of this sort might come across as utilitarian, fanciful,
childish, crude, or elegant.
The ability to produce quality graphics of this kind is
expected of most professional designers. If you do
Apply everything you know about composition
not yet consider yourself talented in this area, practice.
every time you work on a graphic image of this sort.
On your own and for fun. That way, when youre
Consider visual hierarchy, balance, flow, symmetry,
asked to come up with a graphic simplification in a
asymmetry, color, and style. And, by all means, spend
potentially stressful on-the-job situation, youll be able
an adequate amount of time in the thumbnail stage
to work with a good measure of confidence and with
when coming up with graphically simplified visuals
a few tricks already up your sleeve.
DELIVERING VISUALS
27 BUILDING WITH SHAPES
One effectiveand surprisingly funway of coming
representational or abstract icons from basic shapes.
up with a graphic simplification of a person, place, or
If you arent already familiar with these tools, become
thing is to build your subject using a visual vocabulary
so. And do it as soon as possible. Pathfinder tools
of basic shapes: squares, circles, rectangles, ellipses,
give the designer a fantastic range of options
triangles, stars, and/or polygons.
when merging, subtracting, or finding interesting
intersections between shapes. You can use Pathfinder
70
Building illustrations or icons of real-world subjects
tools to sculpt both simple and complex renderings
using basic shapes can lead directly to usable results
from shapes of any kind.
or it could provide a strong start toward an image that
departs from a purely shape-based structure.
On a related note, you can create intriguing and
attractive visuals by forcing graphically depicted
Abstract icons, too, can be developed very effectively
subjects to fit withinand to conform toa geometric
using basic geometric shapesespecially when
shape. Challenge yourself, for example, to develop an
tools like those found in Adobes Pathfinder panel are
icon of a thing or an animal that fits neatly into a circle,
involved (available through Illustrator and InDesign).
an ellipse, a square, or a triangle. Designers often do
this when crafting logos: Take note of examples of this
The Pathfinder panel offers the tools-of-choice
kind of thing when you come across them and gather
that many designers turn to when creating either
ideas for your own work.
DELIVERING VISUALS
28 THEMATIC IMAGERY
Whether you realize it or not, every logo, illustration,
Half the battle, when it comes to identifying and
or image you create emits conveyances: intangible
delivering meaningful thematic conveyances,
themes like strength, creativity, order, precision,
lies simply in acknowledging that these abstract
antiquity, and grace.
entities exist and that they are crucial components
of any effective work of design or art. Once this
72
Its important to avoid letting these thematic convey-
has been taken care of, it then becomes a matter
ances happen willy nilly. Take control: Identify the
of accepting your responsibility as a designer and
themes you want your logo, layout, or illustration to
finding ways of giving form to these non-tangible
deliver to its target audience and then get down to
conveyances through well chosen typefaces, colors,
business creating a piece that not only looks good,
and imageryas well as through canny choices
but also accurately conveys the abstract inferences
involving the compositional and stylistic appearance
youre aiming for.
of your creation.
In the graphic arts, themes could be thought of as
Write down relevant themes the next time you begin
descriptors you would like to see associated with the
a design project. Come up with lists of on-target
company, person, product, or message your creation
adjectives and use these lists to help judge the visual
is connected with. Six such descriptors are listed in
and stylistic choices you make while working. Not
this columns first paragraph. Here are some more:
only will this streamline decision-making processes
elegance, brawn, gentleness, hi-tech, depression-
as you explore options, it will also help you come
era, futurism, fragility, exuberance, speediness,
up with a legitimate rationale for the content and the
solidity, efficiency, casualness, urbanity, childishness,
appearance of your logo, layout, or illustrationa
orderliness, retro-kitsch, and back-to-nature.
rationale that your client might enjoy hearing.
DELIVERING VISUALS
29 EFFECTS
Eye-catching special effects were once only available
made illustrationits up to you) and freely exploring
through time-consuming darkroom magic or the hands
your programs offering of special effects. The
of a skilled illustrator. These daysthanks to the
lessons learned during this digital playtime will
digitization of art mediathings like drop-shadows,
almost certainly come in handyand probably
transparency effects, and dimensional treatments are
sooner than laterfor real-world on-the-job projects.
each just a menu selection away. And those are just
the tip of the digital effects iceberg.
All special effects are subject to the whims of fad
and fancyevery bit as much as typefaces and
74
Its rarely mandatory to apply effects of any kind to
color schemes. Drop shadows, for instance, regularly
a layouts components (or to a layout as a whole)
cycle in and out of favor among both designers and
but effects are often worth considering. Sometimes,
audiences. And not only that, but even when drop
just the right special effect turns out to be exactly
shadows seem especially popular, its generally only
whats needed to add a perfect finishing touch to a
a few specific styles of drop shadows that seem to
compositions visual impact or its conceptual message.
have the full approval of better designers and more
discerning viewers. If you pay close enough attention
Learn about the effects available through programs
to the work of leading designers,
like Photoshop, Illustrator, and InDesign by playing
it wont take long before you
with them. For most visually oriented people
see the truth in this. Same goes
(designers, illustrators, and artists included) theres
for things like transparency
simply no better way to become acquainted with
illusions, shine and shimmer
digital effects than by opening a document (a blank
effects, and emboss and bevel
document, a photo from your hard drive, a custom-
treatments.
DELIVERING VISUALS
30 REPRESENTATIONAL ART
Depictions of reality can be delivered straight up,
like these using the computer, though some artists still
as in the case of a tightly rendered illustration or a
prefer to create their conveyances of altered reality
photograph.
using old-school media like paints, pencils, and inks
(or the digital equivalents of these traditional tools).
Reality-based visuals can also be presented through
76
stylized imagery. This is probably the widest (and
Are you rendering a particular subject for the logo
most varied) category in which visuals can be
or layout youre working on? If so, dont settle on a
placeda category that includes contemporary
specific approach until you have considered your
modes of illustration and photography, impressionistic
options. Look through illustration and design annuals
fine-art paintings, and era-based graphic depictions
for ideas. Look through art history books, too. Even the
(think: flowing art nouveau designs from the 1930s,
best illustrators regularly survey material outside their
bold Soviet poster imagery from the 1950s, psyche-
own portfolio for ideas and inspiration.
delic album covers from the 1960s, and so on).
Do you possess the skills necessary to illustrate
Depictions of reality can also be altered in ways that
your subject as you see fit? If yes, then go for it.
ensure the delivery of conveyances like surrealism,
If maybe, then how about taking a stab at it and
fantasy, humor, horror, or mystery.
possibly spending some time off-the-clock teaching
yourself the required skills? If no, then start looking
Digital photography and image-altering software has
for an illustrator who can pull it off for you
made it easier than ever to create visuals of genres
budget permitting.
DELIVERING VISUALS
31 PHOTOGRAPHY
In case you havent already noticed, good designers
Once you get in the habit of regularly snapping good
often make good photographers. Good designers
looking photographs, your stash of ready-to-use
have an acute eye for composition, are able to see the
images will grow quickly. Designers with a strong cache
aesthetic and communicative potential of subjects as
of photos invariably have several favorites within their
unalike as a crumpled piece of paper and a setting
collectionphotos that are just waiting to serve as
sun, andin many casesalso possess a strong and
foundational images for works of design or art. A strong
practical understanding of Photoshop.
stockpile of photos also will provide attractive options
for layouts in need of anything from a colorful backdrop
78
Advice: Learn by doing. Make a habit of keeping a
image of flowers to a featured shot of an emotive
pocket digital camera on hand and taking pictures
downtown scene.
of the people, places, and things that catch your eye
and prick your interest. And, very importantly, aim for
Another thing that you can do with your digital camera
a wide variety of photographic outcomes by exploring
is collect abundant photos of visual texture (see
your cameras buttons, features, and settings. Also,
Visual Texture, page 102). You can shoot excellent
needless to say, put your savvy sense of composition
representations of visual texture using subjects like
to good use by seeking points of view that will record
an aged cement floor, a wall with cracked and peeling
every subject and scene you shoot in an intriguing and
paint, a frost-covered windshield, or a drawer full
attractive way.
of colorful buttons. You can then use these photos
of visual texture as effective backdrops for layouts,
illustrations, and Web pages.
DELIVERING VISUALS
32 CROPPING AND CONTAINMENT
Be sure to consider different ways of placing and
compositional elements like typography, graphics, or
containing the illustrations and photos that you add
other images). Try several options before deciding
to layouts.
whats best: Cropping can significantly affect the way
any image presents itself.
Images can be bled off the edges of a page, inset
80
from a pages extremities, bordered by a line (thin,
If youre a designer who likes to shoot your own
thick, black, white, colored, etc.), confined by an
photographs (as mentioned on the previous spread),
illustrated frame, enclosed with text, or wrapped
youll be tempted to aim your viewfinder in ways
with a decorative pattern.
that produce shots that are beautifullyand tightly
composed. Unfortunately, this otherwise good habit
The perimeters of photos and illustrations can also
will allow few choices when it comes time to fit your
be darkened, blurred, or roughened as a way of
photo into a layout that is calling for images of very
establishing and emphasizing their outer edges.
specific proportions. The solution? Shoot wide: Pull
back slightly from what you consider to be your shots
Consider cropping, tooespecially if youre working
best composition and allow a bit of breathing room
with photographs. Cropping can be slight or it can
around its central area of interest. This excess room
be severe, cropping can zoom in tightly on an
will increase your options when it comes time to crop
images essential component(s), or it can be applied
the photo to fit within layout-specific spaces.
in ways that leave areas of excess space within a
scene (space that might or might not be filled with
DELIVERING VISUALS
33 OBJECTS AS WINDOWS
Who says
only standard shapes
like rectangles, circles, and
triangles are fit to hold images or text?
82
What about using a freeform shape, a silhouette, or
a typographic form to hold a photo, an illustration, a
graphic, a pattern, a block of text, or an entire layout?
A potential for intriguing interaction exists when
shaped containers such as these are used as
holders for visual content: The container and
the content could agree in terms of thematic
conveyancesor they could intentionally oppose
one another in order to convey notions of humor,
silliness, or editorial-style commentary.
234
Index
235
INDEX
1-point lines, 14
3D rendering software, 40
236
A
about this book, 69
Adams, Douglas, 97
aesthetic beauty, 218
alignment, 3637
alleys between columns, 18
alternative orientations, 4243
analogous palettes, 127
annuals, 152, 228
appropriateness, 90
arrows, 60
associations, 5253
asymmetry, 3435
audience evaluation, 172
B
backdrop panels, 2627
backdrops, 2425
banking ideas, 178
Barry, Dave, 59
beauty, aesthetic, 218
black-and-white images, 122, 123
blackletter fonts, 148, 149, 228
bleed, 228
boundaries, 1415
brainstorming, 176
budgetary limits, 144
C
callouts, 112113, 228
Carroll, Lewis, 55
chaos, intentional, 114115
Close, Chuck, 87
CMYK colors, 198199, 200, 228
color
components of, 120
guiding with, 5657
intense, 134135
muted, 136137
perception of, 118
values of, 92, 120, 121, 122123
wheels of, 124125
color associations, 126127
color connectivity, 142
Color for Designers (Krause), 56
Color Guide panel, 130, 131, 136, 228
color palettes. See palettes
Color Picker panel, 130, 131, 136, 228
color temperature, 138
color tools, 130131
color wheels, 124125
columns, 1819, 228
competing material, 174
complementary palettes, 127
complexity, intentional, 4647
compositional frames, 54
connections
color-based, 142
cover and interior, 64
consistency, 86
containment
cropping and, 80
flow and, 62
contrast, 128
cool colors, 56, 136, 138, 229
cool gray, 136, 138, 228
cover and interior connections, 64
Creative Core Series, 9
cropping, 8081, 229
crowding, 4647
curves, 8889
D
decisiveness, 34, 184
decorative typefaces, 148
depth, conveying, 108109
digital effects, 7475
digital printing, 198, 206, 229
dimensional effects, 4041
dingbat fonts, 148, 149
dingbats, 6, 7, 229
DPI (dots per inch), 200, 229
drop shadows, 40, 74
Dylan, Bob, 43
dynamic spacing, 3031, 52, 229
E
effects, 7475
energy, visual, 140141
eras, conveying, 98
Escher, M. C., 40, 108
evaluating/examining
design examples, 216
your own work, 180181
expanding and evolving, 224
Eyedropper tool, 130, 142, 229
F
flow, 6263
fonts, 148149, 229
See also typography
framing, 5455, 229
237
G
geometric shapes, 70
golden ratio, 3839, 229
graphic simplification, 6869
grids, 2023, 230
defying, 2223
setting up, 2021
guides, 20
gutters, 16, 230
H
halftone dots, 198, 200, 230
harmony, 90, 128
headlines, 158
Helvetica font, 7, 230
hierarchy
typographic, 158159
visual, 5051, 62, 188
horizontal guides, 20
hue, 120, 121, 122, 230
hurtful tangents, 192
INDEX
238
I
icons, 70, 230
ideas, banking, 178
illusory effects, 40
illustrations
line-rendered, 58
representational, 7677
Illustrator, 8, 106, 130, 230
images
backdrop, 24
photographic, 7879
thematic, 7273
indecision, 34, 184
InDesign, 8, 130, 230
inkjet printers, 198, 206, 230
inspiration, 87, 216, 218
intense palettes, 134135
intentional chaos, 114115
intentional complexity, 4647
J
[Link] website, 9
juxtaposition, 170171
K
kerning, 156, 230
L
The Last Supper (Leonardo da Vinci), 60
learning from the greats, 214
leaving it alone, 222
Leonardo da Vinci, 60
letterspacing, 156157, 231
limits, working within, 144
linework, 14, 5859
M
margins, 1617
minimalism, 4445
Mir, Joan, 114
mixing styles, 96
monitor calibration, 208
monochromatic palettes, 127
Mozart, Wolfgang Amadeus, 63
muted colors, 136137, 231
N
novelty typefaces, 148, 149
O
offset printing, 198, 204, 231
ornament fonts, 148
outlining, 160, 231
over and under effects, 4041, 108
P
palettes, 231
finalizing, 128129
five types of, 127
intense, 134135
Web-safe, 210
panels, backdrop, 2627
paper choices, 202203
Pathfinder operations, 70, 106, 231
patterns, 106107
backdrop, 24, 106
creating, 106
repeating, 104
pecking order. See hierarchy
perception of color, 118
perspective, 60, 110111
phi computations, 38
photographs, 7879
compositional framing of, 54
shooting and collecting, 78, 80
Photoshop, 8, 130, 231
placement
dynamic, 31
static, 31, 3233
pointing elements, 6061
Pollock, Jackson, 50, 114
press checks, 204205, 231
primary colors, 124
printing
CMYK colors for, 198
digital, 198, 206
facts/cautions about, 200
offset, 198, 204
paper choices for, 202
press checks for, 204205
process color printing, 198, 200, 231
proportional considerations, 1213
punch, visual, 138
Q
quality control, 204205, 206
questioning everything, 180181
R
rectangles, golden, 39
Renaissance paintings, 54
repetition, 104105
representational art, 7677
restraint, visual, 32, 138
reversed elements, 231
RGB color, 125, 232
Roman typefaces, 148
S
sans serif fonts, 148, 149, 232
saturation, 120, 121, 122, 232
saving visuals, 220221
scrap file, 220
screen build, 200, 232
screens, 198, 232
script typefaces, 148, 149
secondary hues, 124
seeing with fresh eyes, 194
self-assessment process, 194
serif fonts, 148, 149, 232
shapes
building with, 7071
holding visuals in, 82
simplified graphics, 6869
sketches, 12, 46
spacing
dynamic, 3031, 52
static, 32, 232
special effects, 7475
split-complementary palettes, 127
spot colors, 200, 232
239
INDEX
Starry Night (Van Gogh), 62
static placement, 31, 3233
static spacing, 32, 232
stored visuals, 220221
stress, minimizing, 178
styles
awareness of contemporary, 186
customizing for clients, 94
mixing different, 96
Swatches panel, 130
symmetry, 32, 3435
240
T
tangents, 192, 232
target audience, 172, 232
tertiary hues, 124
text. See typography
textures
backdrop, 24
photographs of, 78
visual, 102103
themes, 72, 166167, 168
thumbnail sketches, 12, 46, 233
tracing paper, 46
translucency treatments, 40
transparency effects, 108
trends, typographic, 152
triadic palettes, 127
triangles, 60
typefaces, 148149, 233
typography, 148163
creative use of, 162
customization process in, 160161
evaluation process in, 150
font categories in, 148149
hierarchy in, 158159
letterspacing in, 156157
subtlety in, 154155
trends in, 152
V
value, 92, 120, 121, 122123, 233
value structure, 123, 129, 190
Van Gogh, Vincent, 62
vanishing points, 110, 111, 233
variety, 140141
vertical guides, 20
visual connections, 64
visual energy, 140141
visual hierarchy, 5051, 62, 188, 233
visual restraint, 32, 138
visual texture, 102103, 233
W
warm colors, 56, 138, 229, 233
warm gray, 136, 138, 233
wave shape, 88, 89
Web-safe colors, 210
website of author, 9
white backdrops, 24
word associations, 176
WYSIWYG, 208, 233
