For nearly 20 years, designers and non-designers alike have been introduced to the fundamental principles of great design by author Robin Williams. Through. Editorial Reviews. From the Back Cover. A lot has happened in the world of digital design since The Non-Designer's Presentation Booksite Edition. The Non-Designer's Design Book second edition. ROBIN WILLIAMS. @ZOO4 by Robin. Williams. Peach pit Press. Eighth. Street. Berkeley,. California.
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The Non-Designer's Design Book book. Read reviews from the world's largest community for readers. So you have a great concept and all the fancy digit . Now in its fourth edition, The Non-Designer's Design Book offers even more practical design advice, including a new chapter on the. THE NON-DESIGNER'S DESIGN BOOK, by Robin Williams. There are four basic principles of design. They are easy to remember because.
Find a strong alignment and stick to it. If the text is flush left, set the heads and subheads flush left. Avoid centring elements.
I guarantee that most designs that have a sophisticated look are not centred. I know it is difficult, as a beginner, to break away from a centred alignment; you'll have to force yourself to do it at first.
But don't justify text. Robin's Principle of Proximity states that you group related items together. When several items are in close proximity, they become one visual unit rather than several separate units. Conversely, items or groups of information that are not related to each other should not be in close proximity. Colours tend to be either on the warm side they have some red or yellow in them or on the cool side they have some blue in them.
You can "warm up" certain colours such as grays or tans by adding more yellow or reds to them. You can "cool down" some colours by adding various blues to them. The thing to remember is that cool colours recede into the background, and warm colours come to the front. It takes very little of a hot colour to make an impact - reds and yellow jump right into your eyes.
So if you're combining hot colours with cool, always use less of the hot colour. Business cards - use a small font 8- or 7-point type.
It makes the card look more professional and sophisticated. Never mind that it makes it harder to read - a business card is not a book or brochure, it contains information that only needs reading rarely. Letterhead and envelopes - design them at the same time as your business cards, so that they all look like they belong together. Alignment - choose one alignment for your stationery!
Be brave - try flush right down the wide with lots of line spacing, or try setting your company name in huge letters across the top.
Flyers - a flyer is the place to try a fun and different typeface, to call attention to a headline. Do something out of the ordinary to make people stop and look.
Create a focal point to catch the person's eye - one thing on your page should be huge and interesting and strong.
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Newsletters - one of the most important features of a multi-page publication is repetition. Choose an alignment and stick to it.
Brochures - think about the order in which a reader will read the panels and design accordingly. Newspaper ads - take note of where your eyes go next time you scan the newspaper; I'll bet you see and read at least the headlines of the ads that have more white space.
That's because white space provides a strong contrast on a full, busy page. Oldstyle - these fonts are based on the handlettering of scribes wedge-tipped pen held in the hand - hence the serifs of the lowercase letters are always at an angle, the angle of the pen. Oldstyle is good for extensive amounts of body copy. Modern - these fonts have serifs, but the serifs are horizontal instead of slanted and the serifs are very thin - making modern fonts not good for extended amounts of copy.
Modern fonts appeared in the s.
They have a striking appearance , especially when set very large. They have a cold, elegant look.
The Non-Designer's Design Book [Book Summary]
Slab serif - Along with the industrial revolution came a new concept: At first, advertisers took modern typefaces and made the thicks thicker. Now I see what she means: "If the two elements are sort of different, but not really, then you don't have contrast, you have conflict. You cannot contrast point type with point type.
You cannot contrast dark brown with black. Get serious. Or is it a mistake? Your audience should be able to tell when something changes, and it should be clear that the change is intentional: the contrast should be dramatic. Does it signify something meaningful helping me by flagging important differences , or was it put in there at random just confusing the reader? This also seems relevant to her discussion of centered alignment on p. If you can't instantly tell that the type is centered, why bother?
They are so common that, even to the untrained eye, they convey "I use decades-old defaults instead of thinking about what I do," which doesn't send a professional message. Pick a focal point and really contrast it with everything else. Use proximity to group sub-parts sensibly, and use repetition and alignment to help readers navigate these sub-parts easily.
Headings: a heavy black version of a sans serif, such as Eurostile, Formata, Syntax, Frutiger, or Myriad. I knew about serif, sans serif, and other a. Script vs Decorative seems pretty clear, and both are best used sparingly "if the thought of reading an entire book in that font makes you wanna throw up, you can probably put it in the decorative pot. Sure, sometimes I am not happy with my results.
The Five Temptations of a CEO [Book Summary]
Still, I can look at my mistakes and figure out how to improve the next time I design a flyer, business card, or website. Today, I think I am a more consistently good designer. You can be a designer, too No matter what you do for a living, you have had times when you needed to design a brochure, flyer, or business card for your employer. If you are self-employed, you need design skills to convince potential customers to download.
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Because our success in life depends on our visual communication skills, you and I need to develop our design sensibilities. As non-designers, you and I need to become designers, too. Principles are based on the Gestalt Theory The principles in this book are adaptations of the Gestalt Theory and its principles of design.
As part of a class I took in college, I studied the Gestalt Theory and found it incredibly boring and incomprehensible. To me, it was like reading a legal brief or accounting statement.
Maybe it was because of the century-old style of writing, but I found it hard to apply those century-old principles to my graphic designs. There are before-and-after presentations that show how a flyer, brochure, business card, or website page might look before incorporating each principle of design.
Almost every page of this book has inspiring examples of how these simple designs principles can magically and positively change our perceptions. This book contains practical design tips to use in all kinds of graphic design projects photo by Doug Martin It is not magic — instead, they are how-to design principles for non-designers I am not going to spoil the plot of this book by revealing the design principles.Even though 10 years have gone by, the principles do not change.
This volume focuses on graphic design, devoting about half of the book to a study of typeface. A book I've found useful in designing both webpages and book covers.
Every item should have a visual connection with something else on the page. Once the four basic principles have been detailed, it moves on to an equally important part of design: Now I feel mildly competent. View table of contents. Customers who bought this item also bought.
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