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NGISEDTHROBIN WILLIAMSKOBOR T HF O UNT I OE D IDESIGN AND TYPOGRAPHIC PRINCIPLESFOR THE VISUAL NOVICELEARN THE BASICS OF DESIGN AND TYPEFROM THE AUTHOR OF THE NON-DESIGNER’SBOOK SERIES (OVER 800,000 COPIES IN PRINT)Whether you’re a Mac user or a Windows user,a type novice, or an aspiring graphic designer,you will find the instruction and inspiration toapproach any design project with confidence.ROBIN WILLIAMS is the authorof dozens of best-selling andaward-winning books, includingThe Non-Designer’s PresentationBook, The Non-Designer’s InDesignBook, and Robin Williams DesignWorkshop. Through her writing, teaching, andseminars, Robin has educated and influenced anentire generation of computer users in the areas ofdesign, typography, desktop publishing, the Mac,and the web.FOURTH EDITIONTHE AWARD-WINNING, BEST-SELLING BOOKABOUT DESIGN!For nearly 20 years, designers and non-designersalike have been introduced to the fundamentalprinciples of great design by author Robin Williams.Through her straightforward and light-heartedstyle, Robin has taught hundreds of thousands ofpeople how to make their designs look professionalusing four surprisingly simple principles. Now in itsfourth edition, The Non-Designer’s Design Bookoffers even more practical design advice, includinga new chapter on the fundamentals of typography,more quizzes and exercises to train your DesignerEye, updated projects for you to try, and new visualand typographic examples to inspire your creativity.THIS ESSENTIAL GUIDE TO DESIGNWILL TEACH YOU The four principles of design that underlieevery design project How to design with color How to design with type How to combine typefaces for maximum effect How to see and think like a professional designer Specific tips on designing newsletters,brochures, flyers, and other projectsTHE NON-DESIGNER’S DESIGN BOOKIGNER’S-DESE NONTHEAWARD-WINNING, BEST-SELLING BOOK ABOUT DESIGN!S’RENG-DESINGISEDNTHE NOKOOBT HRUF ONOITE D IDESIGN AND TYPOGRAPHIC PRINCIPLESFOR THE VISUAL NOVICEfacebook.com/PeachpitCreativeLearningUS 34.99Canada 39.99ISBN-13: 978-0-13-396615-2ISBN-10:0-13-396615-1Peachpit Presswww.peachpit.comLevel: Beginning / IntermediateCategory: Graphic DesignCover Design: John Tollett9780133 9661525 3 4 9 9WILLIAMS@peachpitROBIN WILLIAMS

JTHE NON-DESIGNER’SDESIGNBOOKfourth editiondesignandtypographicprinciplesfor thevisualnoviceRobin WilliamsPeachpit PressSan FranciscoCalifornia

Non-Designer’s Design Book Thefourth editionrobin williams 2015 by Robin WilliamsFirst edition published 1993.Peachpit Presswww.peachpit.comPeachpit is a division of Pearson Education.To report errors, please send a note to errata@peachpit.com.Editor:Interior designand production:Cover designand production:Nikki McDonaldProofreader:Prepress:Jan SeymourDavid Van NessRobin WilliamsJohn TollettThe quote by Jan White on page 209 is from the out-of-print book How to Spec Type,by Alex White. Reprinted courtesy of Roundtable Press, Inc. Copyright 1987 byRoundtable Press, Inc.The portions of “Ladle Rat Rotten Hut” and other stories, such as “Guilty Looks EnterTree Beers,” “Center A lley,” and “Violate Huskings” are from a long out-of-print book byHoward L. Chace called Anguish Languish. It is our understanding that these delightfulstories are now in the public domain. They are easily found on the Internet.Notice of RightsAll rights reserved. No part of this book may be reproduced or transmittedin any form or by any means, electronic, mechanical, photocopying, recording,or otherwise, without the prior written permission of the publisher.For information on obtaining permission for reprints and excerpts,please contact permissions@peachpit.com.Notice of LiabilityThe information in this book is distributed on an “as is” basis, without warranty.While every precaution has been taken in the preparation of this book, neither the authornor Peachpit shall have any liability to any person or entity with respect to any loss ordamage caused or alleged to be caused directly or indirectly by the instructions containedin this book or by the computer software and hardware products described herein.TrademarksMany of the designations used by manufacturers and sellers to distinguish their productsare claimed as trademarks. Where those designations appear in this book, and Peachpitwas aware of a trademark claim, the designations appear as requested by the owner ofthe trademark. All other product names and services identified throughout this book areused in editorial fashion only and for the benefit of such companies with no intention ofinfringement of the trademark. No such use, or the use of any trade name, is intended toconvey endorsement or other affiliation with this book.isbn 13: 978-0-13-396615-2isbn 10:0-13-396615-110 9 8 7 6 5 4 3 2 1Printed and bound in the United States of America

To Carmen Sheldon,my comrade in Design,my friend in Life.with great love,R.

More matter is being printed and publishedtoday than ever before, and every publisherof an advertisement, pamphlet, or bookexpects his material to be read. Publishersand, even more so, readers want what isimportant to be clearly laid out. They willnot read anything that is troublesome toread, but are pleased with what looks clearand well arranged, for it will make their taskof understanding easier. For this reason,the important part must stand out andthe unimportant must be subdued . . . .The technique of modern typography mustalso adapt itself to the speed of our times.Today, we cannot spend as much time ona letter heading or other piece of jobbingas was possible even in the nineties.Jan Tschichold 1935typefacesModernica Light and Black

CONTENTSIs this book for you?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Desi gn rast11The Joshua tree epiphany. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11The four basic principles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Proximity15Summary of proximity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32The basic purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . 32How to get it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32What to avoid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3233Summary of alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54The basic purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . 54How to get it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54What to avoid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5455Summary of repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68The basic purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . 68How to get it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68What to avoid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6869Summary of contrast. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84The basic purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . 84How to get it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84What to avoid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

contents678Review of the Four Design Principles85Proximity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Alignment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87Repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Contrast. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Little Quiz #1: Design principles. . . . . . . . . . . . . . . . . . . . . . 90Little Quiz #2: Redesign this ad. . . . . . . . . . . . . . . . . . . . . . 91Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Design with Color95The amazing color wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Color relationships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97Complementary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Triads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Split complement triads . . . . . . . . . . . . . . . . . . . . . . . 100Analogous colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Shades and tints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Make your own shades and tints . . . . . . . . . . . . . . . . . 103Monochromatic colors. . . . . . . . . . . . . . . . . . . . . . . . 104Shades and tints in combination . . . . . . . . . . . . . . . . . 105Watch the tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Warm colors vs. cool colors. . . . . . . . . . . . . . . . . . . . . . . . . . 107How to begin to choose?. . . . . . . . . . . . . . . . . . . . . . . . . . . 108cmyk vs. rgb: print vs. web . . . . . . . . . . . . . . . . . . . . . . . . . 110Print vs. web color models . . . . . . . . . . . . . . . . . . . . . . . . . . 112Little Quiz #3: Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Extra Tips & Tricks113Creating a package or brand. . . . . . . . . . . . . . . . . . . . . . . . . 114Business cards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117Tips on designing business cards. . . . . . . . . . . . . . . . . . . . 120Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120Type size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120Create a consistent image on all pieces . . . . . . . . . . . . 120Letterhead and envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . 121Tips on letterhead and envelope design . . . . . . . . . . . . . . . 124Envelope size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Create a focal point . . . . . . . . . . . . . . . . . . . . . . . . . 124Alignment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Second page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Faxing and copying . . . . . . . . . . . . . . . . . . . . . . . . . . 1246

contentsFlyers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Tips on designing flyers . . . . . . . . . . . . . . . . . . . . . . . . . . 128Create a focal point. . . . . . . . . . . . . . . . . . . . . . . . . . 128Use subheads that contrast . . . . . . . . . . . . . . . . . . . . 128Repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128Newsletters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129Tips on designing newsletters . . . . . . . . . . . . . . . . . . . . . . 132Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Paragraph indents . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Not Helvetica/Arial!. . . . . . . . . . . . . . . . . . . . . . . . . . 132Readable body copy. . . . . . . . . . . . . . . . . . . . . . . . . . 132Brochures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Tips on designing brochures . . . . . . . . . . . . . . . . . . . . . . . 136Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Proximity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Postcards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137Tips on designing postcards. . . . . . . . . . . . . . . . . . . . . . . 140What’s your point? . . . . . . . . . . . . . . . . . . . . . . . . . . 140Grab their attention. . . . . . . . . . . . . . . . . . . . . . . . . . 140Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140In general. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Advertising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Tips on designing ads. . . . . . . . . . . . . . . . . . . . . . . . . . . . 144Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144Type choices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144Reverse type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144Résumés . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Tips on designing résumés . . . . . . . . . . . . . . . . . . . . . . . . 148Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Match the design to the medium. . . . . . . . . . . . . . . . . 1487

contentsDesigning with Type91011The Essentials of Typography151One space after punctuation . . . . . . . . . . . . . . . . . . . . . . . . 152Quotation marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153Apostrophes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153Little Quiz #4: Apostrophes . . . . . . . . . . . . . . . . . . . . . . . 155Dashes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156Special characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Accent marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160Capitals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161Underlining. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162Kerning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Widows and orphans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165Type (& Life)167Concord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Conflict. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174Categories of Type175Oldstyle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176Modern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177Slab serif. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178Sans serif. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181Decorative. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182Be conscious. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183Little Quiz #5: Categories of type. . . . . . . . . . . . . . . . . . . . . 183Little Quiz #6: Thick/thin transitions . . . . . . . . . . . . . . . . . 184Little Quiz #7: Serifs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1868

contents12Type Contrasts187Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208Combine the contrasts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215Little Quiz #8: C

Whether you’re a Mac user or a Windows user, a type novice, or an aspiring graphic designer, you will find the instruction and inspiration to approach any design project with confidence. ROBIN WILLIAMS is the author of dozens of best-selling and award-winning books, including The Non-Designer’s Presentation Book, The Non-Designer’s InDesign

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