DiMarco J. Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques

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ChaptEr 3 Design: Elements and Principles 83

9. Background. Maintain a high contrast between text and image for maxi-

mum readability and legibility. Avoid using reversed-out text (white text on

a dark background) at small point sizes. Reversed-out serifs are hard to read:

when using reversed-out type, use sans serif typefaces.

10. Serif vs. sans serif. Serif typefaces have cross strokes (tails) at the edges

of the letters. They are commonly used in text type because they are easy

to read. The New York Times is set in Times New Roman, a serif face that

has an eloquent legibility and is very easy for the eyes to digest. Serif fonts

are more organic because of their owing forms. Sans serif typefaces have

sharp edges and a modern look. They work well in headlines and in reverse

type. The right mix of serif and sans serif typefaces creates visual contrast

and helps the eye recognize a composition’s primary, secondary, and inter-

mediate type elements.

11. A nal rule. Never use together two typefaces that are in any way simi-

lar. For consistency, type should be exactly the same. Use the same font

throughout a piece, creating contrast through size and weight. Or, for vari-

ety, use contrasting typefaces: mixing serif and sans serif faces. There are

only two approaches: exactly the same or completely different.

Design Principles

To illustrate the principles and techniques of design, I have utilized the work

of Alvin Lustig (1915–1955), a communication specialist who incorporated his

subjective vision into graphic design. Lustig was a designer, printing expert, and

researcher. He, along with Paul Rand, was inuential in introducing the New

York School style of design to the world. The New York style incorporated the

manipulation of visual form and the skillful analysis of communication content

(Meggs 2006, 374–76).

Unity is the quality of connectedness that inhabits our designs. Our task is to

take different parts and create a whole image that generates a gestalt, with the

different elements coexisting in harmony. In the previous section on design

devices, we discussed methods for creating unity, or a gestalt, including the use

of grids, the law of thirds composition, and consistency in layout. Taking these

standard design devices further, listed below are design principles that can be

translated into techniques for achieving visual unity.

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PART ONE Theory and Principles84

Balance is the distribution of visual weight in the composition; it provides a

sensation of comfort and stability in an image. Positioning elements on opposite

sides of the page is the starting point to using balance in a composition. Balance

can also be achieved with negative space—by centering an image, for example.

Balance can be seen most often in horizontal space, but it can also be estab-

lished in vertical space. Balance can also be created through rhythm.

Figure3-26 This design uses shapes to create balance. Screen Actor magazine cover

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ChaptEr 3 Design: Elements and Principles 85

Rhythm, which is created by repeating elements in the same or a slightly modi-

ed way, establishes a pace for an image, engendering unity and visual motion.

The distribution of repetitive elements arranged in a space also establishes

compositional balance. Rhythm is established by using repetition.

Figure3-27 This design uses line, scale, and repetition to create rhythm. Conference on Art

Education leaet designed by Alvin Lustig, May 1948.

Repetition is created by repeating images and elements such as line, shape,

type, space, and color. Repetition gives a design structure, consistency, and

hierarchy. We see repetition in all forms of design; it is a main principle in creat-

ing symmetry.

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PART ONE Theory and Principles86

Figure3-28 This design uses repetition of scale and type to create information structure.

Conference on Art Education leaet designed by Alvin Lustig, May 1948.

Symmetry is another term for mirror image. A symmetrical design has the

same elements repeated proportionally to each other. This effect creates a feel-

ing of stability and unication. We see symmetry in nature: our bodies are bilat-

erally symmetrical, with two arms, legs, eyes, feet, and hands. The opposite of

symmetry is asymmetry. Asymmetrical forms create variety.

Variety is the range of line, shape, color, texture, and that is used in a composi-

tion. We are always striving to achieve visual impact in our designs; variety is

another technique that can help us do so. Combined with other elements, such

as form and line, and utilizing principles such as repetition and rhythm, unity

or a gestalt can be achieved when variety is introduced into design composi-

tions. The most straightforward way to create variety is to manipulate scale and

proportion.

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ChaptEr 3 Design: Elements and Principles 87

Figure3-29 This design uses both symmetry and asymmetry to create the look of snow using

geometric symbols. Screen Actor magazine cover designed by Alvin Lustig, December 1942.

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PART ONE Theory and Principles88

Figure3-30 This design uses textural and color variety to visually represent interior design materials. Cover of

Interiors magazine designed by Alvin Lustig, July 1946.

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ChaptEr 3 Design: Elements and Principles 89

Scale and proportion refer to the size of objects in a composition and their rela-

tionship to one another. Scale is a technique that uses a variety of element sizes

to attract attention and create emphasis. Scale is used to establish proportion

among elements. (Objects with the same proportions are symmetrical, or mirror

images of each other.) Scale can be used effectively to establish dominance.

Figure3-31 This design uses scale, balance, proportion of white space, and dominance. The

Makers of Modern Literature poster, designed by Alvin Lustig, 1949.

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PART ONE Theory and Principles90

Dominance is critical for creating successful compositions. A composition’s dom-

inant visual element will draw the viewer in to look or read further. Attracting the

reader should be the main goal of using dominant visual elements; they also help

to establish hierarchy in a composition, guiding the viewer toward understanding

and action. Another method of attracting attention is to use abstraction.

Figure3-32 This design uses dominance in color and scale. New Directions Books poster

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ChaptEr 3 Design: Elements and Principles 91

Abstraction is the manipulation of natural shapes to create simplied forms.

Reducing shapes and photos through manipulation is one approach to abstrac-

tion. Digital manipulations that lead to abstractions include reducing opacity,

adding effects and lters, warping, and blending imagery and text. Another

approach to abstraction is to integrate elements that are not organic with others

that are connected in nature. Abstraction can also be created using overlap.

Figure3-33 This design uses abstract illustrations to present concrete concepts about inven-

tors worldwide. World Inventors Exposition catalog cover designed by Alvin Lustig, 1947.

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PART ONE Theory and Principles92

Overlap and integration is the layering of design elements (e.g., type, image,

shape, line, texture) to create a new form that has depth and visual delity.

Most digital design applications provide tools for layering objects. Overlapping

(compositing) items using this layering feature is a strong method for creating

abstraction. Overlapping is the main technique used to create collages (over-

lapped mixed media) and montages (overlapped and integrated photographs).

Figure3-34 This design uses the overlap of line, shape, and image to create an integrated

abstract design that maintains communication clarity. Metropolitan Los Angeles: One Commu-

nity book cover designed by Alvin Lustig, 1949.

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