The Basics of Graphic Design
Basic Elements of Art/Design
A. Line
A line is usually present in every design, even if it is a solid border. Lines are used to divide space, direct
the eye, and create forms. They can create different effects and visual impact. While a thick, bold line draws
attention because of its visual power, thin lines tend to do the opposite. The style of a line can also
influence the way the user sees it. The expressive qualities of line are as variable as each artist’s work. Lines
can be short, long, thick, thin, thick and thin, smooth, textured, broken, flowing, erratic, dark, light,
dark and light, heavy, soft, hard, playful, ordered, even, variable, calligraphic, authoritative, tentative,
irregular, smudged, uneven, straight, crooked, choppy, ghostly, graceful; the variety is endless!
Imaginary lines are created when two areas of different colors, textures, or values meet to create a line
between those effects. Alone or in combination with other lines or shapes they can aid in the readability,
appearance, and message of a design.
Use lines to:
• organize
• texturize
• guide the eye
• provide movement
• make a statement
• convey universal meanings
B. Shape
From ancient pictographs to modern logos, shapes are at the root of design. There can be circles, squares,
rectangles, triangles or any other abstract shape; most designs include at least one of these. Like lines,
shapes are also associated by our mind with different movements. For example, circles are associated with
movement and nature, while squares are often seen as structured, stable, and basic designs.
The three basic types of shapes are geometric, natural, and abstract.
• Geometric shapes are structured, often symmetrical shapes. These include squares, circles, and
triangles but also octagons, hexagons, and cones.
• Natural shapes are found in nature or they can be man made shapes. Leaves are an example of a natural
shape. An ink blob is a natural shape. Natural shapes are often irregular and fluid.
• Abstract shapes are stylized or simplified versions of natural shapes. Symbols found on signs, such as
the stylized wheelchair shape for handicapped access, is one example.
Just like with the lines, the color, style, background or texture of a shape can totally change the viewer’s
perception as well as guide the eye or organize information.
C. Texture
Texture can refer to the actual surface of a design or to the visual appearance of a design. In the first case,
the audience can actually feel the texture, making it unique from the other elements of design. Selection
of paper and materials in package design can affect actual texture. In the second case, texture is implied
through the style of design. Rich, layered graphics can create visual texture that mirrors actual texture.
Texture is always a part of our designs whether intentional or not. It is the visual or tactile surface
characteristics of a piece. In desktop publishing, texture comes from the paper we use. We may also add
visual textures through the arrangement of lines and shapes or the use of photographic images of
specific surfaces.
D. Color
Color is not essential to a good design. Black and white and shades of gray can create ‘color’ that is just as
effective as reds, blues, and greens. However, color is an added dimension that can evoke moods and make
powerful statements when used wisely. Color contributes to the unity of a series of flyers, emphasizes
important information and leads the eye through a design. Studies have shown that a person who lives
in a red environment has a higher heartbeat and pulse than a person living in a blue environment. The
human brain sees this and influences the rest of the body. Therefore color theory is very important to
know. Being a master of colors might make the difference between a good design and a stunning one.
Important note: the descriptions below pertain to our culture and how we react to these colors. Other cultures have
different “values or meanings” associated with colors. For instance, in the Hmong culture (and many of the Eastern
cultures), white is a sign of death. Imagine their difficulties when put in our American hospitals! If you have cultural
diversity in your church, and you use color on your website, newsletter or other materials, it is important to learn
these cultural differences so you can make sure you do not inadvertently convey the wrong message!
• BLUE: Blue is the overwhelming “favorite color.” Blue is seen as trustworthy, dependable and
committed. The color of sky and the ocean, blue is perceived as a constant in our lives. As the collective
color of the spirit, it invokes rest and can cause the body to produce chemicals that are calming;
however, not all blues are serene and sedate. Electric or brilliant blues become dynamic and dramatic,
an engaging color that expresses exhilaration. Some shades or the overuse of blue may come across as
cold or uncaring. Blue is the least “gender specific” color, having equal appeal to both men and women.
How the color blue affects us physically and mentally:
* Calming and sedate
* Cooling
* Aids intuition
• GREEN: Green occupies more space in the spectrum that is visible to the human eye and is second only
to blue as a favorite color. Green is the pervasive color in the natural world. The natural greens, from
forest to lime, are seen as tranquil and refreshing, with a natural balance of cool and warm (blue and
yellow) undertones. Green is considered the color of peace and ecology. However, there is an
“institutional” side to green that is associated with illness, “Government-issued” side that may conjure
up negative emotions, and “slimy” or bilious greens.
How the color blue affects us physically and mentally:
* Soothing
* Relaxing mentally as well as physically
* Helps alleviate depression, nervousness and anxiety
* Offers a sense of renewal, self-control and harmony
• YELLOW: Yellow shines with optimism, enlightenment, and happiness. Shades of golden yellow carry
the promise of a positive future. Yellow will advance from surrounding colors and instill optimism and
energy, as well as spark creative thoughts.
How the color blue affects us physically and mentally:
* Mentally stimulating
* Stimulates the nervous system
* Activates memory
* Encourages communication
• ORANGE: Orange, a close relative of red, sparks more controversy than any other hue. There is usually
strong positive or negative association to orange and true orange generally elicits a stronger “love it” or
“hate it” response than other colors. Fun, flamboyant and playful orange radiates warmth and energy.
Orange contains some of the drama of red, tempered by the cheerful good humor of yellow.
How the color blue affects us physically and mentally:
* Stimulates activity & appetite
* Encourages socialization
* Energizing
• RED: The pituitary gland really springs into action when it sees red. A chemical message is sent to your
adrenal medulla and releases the hormone epinephrine. This alters your body chemistry, causing you to
breath more rapidly, increases your blood pressure, pulse rate, heartbeat, and your flow of adrenaline.
These reactions are physiological, and we have no control over the effect. As a result, red is indelibly
imprinted on the human mind to connect with excitement and high energy.
How the color blue affects us physically and mentally:
* Increases enthusiasm
* Stimulates energy
* Encourages action and confidence
* A sense of protection from fears and anxiety
• PURPLE: Purple embodies the balance of red simulation and blue calm. This dichotomy can cause
unrest or uneasiness unless the undertone is clearly defined, at which point the purple takes on the
characteristics of its undertone. A sense of mystic and royal qualities, purple is a color often well liked
by very creative or eccentric types and is the favorite color of adolescent girls.
How the color blue affects us physically and mentally:
* Uplifting
* Calming to mind and nerves
* Offers a sense of spirituality
* Encourages creativity
• BROWN: Brown says stability, reliability, and approachability. It is the color of our earth and is
associated with all things natural or organic.
How the color blue affects us physically and mentally:
* Feeling of wholesomeness
* Stability
* Connection with the earth
* Offers a sense orderliness
• WHITE: White projects purity, cleanliness, and neutrality. Doctors don white coats, brides traditionally
were white gowns and a white picket fence surrounds a safe and happy home.
How the color blue affects us physically and mentally:
* aids mental clarity
* encourages us to clear clutter or obstacles
* evokes purification of thoughts or actions
* enables fresh beginnings
• GRAY, BEIGE and TAUPE: These neutral tones are timeless, practical, solid and above all, classic.
How the color blue affects us physically and mentally:
* safe and non-offensive
* expectant
• BLACK: Black is authoritative and powerful; because black can evoke strong emotions, too much can
be overwhelming.
How the color blue affects us physically and mentally:
* feeling inconspicuous
* a restful emptiness
* mysterious evoking a sense of potential and possibility.
E. Value
Value is light and dark and all the shades in between (gray scale). The use of this element creates contrast.
F. Space
Space comes in two flavors: Positive space, which is represented by highlights or by an object; Negative
space, which is represented by open space or by shadow. The balance of space creates a composition.
Principles of Design
A. Balance
Balance in design relates to our physical balance, or what we perceive to be balanced. Balance may be
symmetrical or asymmetrical, or may be referred to as formal and informal. In both cases, it is meant to
provide visual stability. A symmetrical design will have all elements arranged in a central axis (horizontal
or vertical), with equal space on either side. An asymmetrical design will be opposite of a symmetrical
design, and is therefore a little more complex.
Symmetrical or formal Asymmetrical or informal
B. Size/Scale/Proportion
Size is the physical dimensions of an object. Scale and proportion in art are both concerned with size. Scale
is the relative size of an object in comparison to other objects in a design. Proportion refers to the size of a
part of an object in comparison to the remainder of the object.
Scale = Relative size of one object to another Proportion = Relative size of parts of a whole
C. Repetition/Rhythm
Repetition is used to create patterns within a design, where a particular element of design is repeated. This
repetition may be clearly visible, or may be underlying. Repetition is used to create rhythm in a design.
Rhythm is used to create order in a design composition. The pattern of rhythm may vary depending on the
choice of element used. Both these principles are often described as providing a ‘visual beat’ to an image.
Repetition
Rhythm
D. Emphasis
Simply put, emphasis is used to grab the attention of the viewer in a design. An element of design can be
emphasized by the use of color, gradation, contrast, texture, shape, or placement in comparison to
remainder of the design.
Emphasis
E. Unity/Variety
Any design should elicit harmony and should look unified. The various principles, when combined to
create a design, should work in harmony with each other. A splatter of unrelated objects or images
cannot create unity in design. Instead, unity is achieved by the use of all or any of the aforementioned
principles of design. It is important to understand that unity can be achieved even in variety. This is where
harmony comes in. For example, when you consider web page design, ultimately a web page has to look
composed in terms of its title, content, side bars that provide information and the various ads posted on it.
Van Gogh was concerned with the
unity of his paintings. In this one, the
swirling brush strokes and dominance
of cool colors tends to unify the surface
and create the feeling that everything
belongs together.
TOP: Unity...the cover of each issue has
the same color bar and reversed title
along the left edge.
BOTTOM: Variety...each one of the six
issues per year uses a different color.
Where Do I Begin?
First and foremost, a printed piece should have good content that meets the needs and expectations of the reader.
On the design and page layout side, a good design creates interest and maintains readability through consistency,
conservation (clutter-busting), and contrast.
For simplicity, I’ll refer to a newsletter, but these ideas will apply to all publications you produce.
Evaluate Your Current Piece
Before you begin to analyze the layout, the writing, the use of graphics and white space of your newsletter
design, pick up your current piece and look at it as if for the first time. Too close to the subject? Ask a friend to
help. Before you see the trees, look at the forest.
One measure of a newsletter design effectiveness is the first impression a reader has upon seeing it. Does it say
boring, exciting, read me now, save me for later, or don’t bother — there’s nothing important here?
Without reading more than a few words, the nameplate/masthead, the choice of layout, the grayness or
openness of the design, color and weight of the paper, and the balance of text and graphics all give clues to
the value of the content. Or perhaps we should say the “perceived value”.
Will a new reader perceive value in your newsletter?
Design With Definite Goals in Mind for Your Design
One goal of good newsletter design is to entice the reader to read the information in the newsletter. Designers
achieve this through choice of layout, typefaces and use of visuals.
But those choices should also be guided by other factors such as the purpose and the desired image of the
newsletter. The use of provocative images may catch a readers eye but do they represent the image you want the
newsletter to convey? Do they enhance or overshadow the message?
Ask These Questions About the Newsletter Design
Look at the newsletter design from the perspective of the new reader - someone seeing this newsletter for the
first time.
• What is the purpose of the newsletter and who is the intended audience?
The purpose and audience should be readily discerned simply by looking at the nameplate and perhaps the
table of contents. Does the name of the newsletter or a subtitle tell the first time reader what to expect? Is
this a topic that is likely to interest them? Is this a newsletter meant for consumers, scholars, professionals
or kids? Is the primary purpose to inform, entertain, generate sales, or promote a cause?
• Who is sending this newsletter?
Disclosure can lead to trust. Hiding your identity as the publisher could lead the reader to question the
true motive behind this newsletter. Is there a masthead listing the staff company or organization and
contact information? (This should not be an issue for your church.)
• What type of image does the newsletter reflect?
Does the newsletter have a formal or casual look? Does it appear to be carefully put together or simply
slapped on paper and shoved out the door? The choice of paper, its size, and thickness also contribute to
the image. Does it look cheap, friendly, elegant, or institutional?
• Does your first impression of the purpose, sender, and image hold true to the intended goal of the newsletter?
If there is ambiguity — or worse a conflict — between the intended goals and what a reader sees at first
glance, then perhaps the newsletter design needs reworking.
Consistency, Conservation, Contrast and First Impressions
Look at the three C’s of good design: consistency, conservation, and contrast. These can improve the overall
appearance and first impression of a newsletter.
• Is the name of the newsletter or its subtitles consistent with the desired purpose and audience or do they
imply something different?
• Do you want to convey a formal image? A clutter of typefaces and graphics gives an entirely different
impression and isn’t consistent with a formal image.
• A lack of contrast between headlines and text and other elements can give an impression that the contents
are boring or uninteresting. Is that the perception you want? Or is there conflict between the serious nature
of the content and the playful informal look of the newsletter?
Whether it is first impressions or what the reader finds when they dig a little deeper — purpose, sender
image, consistency, conservation, and contrast all work together to create an effective newsletter.
Brand Standards —It’s not just for large corporations!
Does your church have a set of “rules” that say how your logo can and cannot be used? Or what color palette
everyone should consistently use for your main communication pieces? Creating a brand standard manual does
not have to be a complex thing.
What to include
Be sure to include guidelines on acceptable variations of use for your logo, any clear space requirements around
the perimeter of your logo, a color palette, and font standards.
Logo
Logo
Color palette
priMary CoLor
pantone 541 C
aCCepted StaCked variationS
overview
The King of Kings logo is made up of specially drawn individual elements that are
combined in an exact relationship. They should never be altered in relationship or form.
ALWAYS USE THE ELECTRONIC ARTWORK PROVIDED.
C100 M57 Y0 K38
PMS 541
PMS 541
R0 G70 B127
This is a sample of text in this color.
1/C PMS 541
gradated symbol
The logo has been designed to work in a range of sizes and applications across different
media. It is intended to be used in a horizontal format whenever possible, avoiding any
form of rotation. A square format is available if necessary.
SeCondary CoLorS
pantone 370 C
C56 M0 Y100 K27
1/C PMS 541
solid symbol
(not shown)
Electronic artwork for the logo is available in a number of standard file formats. Please
request artwork from the office or from Jane Halbert, halbertdesign@comcast.net.
PMS 370
PMS 370
R94 G151 B50
This is a sample of text in this color.
pantone 144 C
C0 M48 Y100 K0
Logo
Symbol
word Mark
PMS 144
PMS 144
1/C Black
solid symbol
1/C Black
gradated symbol
(not shown)
fonts
pantone 543 C
C41 M11 Y0 K0
PMS 543
PMS 543
R143 G195 B234
This is a sample of text in this color.
CLear SpaCe
Clear space helps to maximize the logo’s prominence and legibility across all applications.
aCCepted horizontaL variationS
1/C White
gradated symbol
(not shown)
1/C PMS 541
gradated symbol
R248 G151 B29
This is a sample of text in this color.
Logo
overview
Goudy Modern MT and Futura have been selected for the King of Kings Brand Typefaces
and should be used throughout all printed communications.
A minimum amount of clear space should always surround the logo, separating
it from
pantone
129 C
other elements such as headlines, text, imagery, or the edge of the page.C0This
clear
M16
Y77space
K0
R255 G212 B87
PMS 129symbol.
should be equivalent to the height of one quadrant of the circular
This is a sample of text in this color.
PMS 129
2
4
1/C PMS 541
solid symbol
6
Futura is our primary typeface and the entire family — Light, Plain, Semi-Bold and Bold
can be used for headlines, captions, call-outs and copy. It is a sans serif typeface of high
readability and versatility due to the variety of weights available. As a rule, headlines
should be in Bold or Semi-Bold and body copy should be in a lighter weight.
Goudy Modern MT is our secondary typeface and can be used to support Futura. It is a
serif typeface and is appropriate for limited use to add emphasis, such as headlines — it
should NOT be used for text, body copy and long blocks of text.
When a system font is required for use in Word and Powerpoint documents or online
communications, we use Arial.
1/C Black
gradated symbol
Goudy Modern MT
Futura Book
1/C Black
solid symbol
1/C White
solid symbol
3
7
Designing Your New Piece
Use these basic guidelines to help construct your newsletter.
A. Be consistent in your newsletter design
• Use grids for page to page consistency.
• Use templates and style guides for consistent formatting.
• Use repeating elements such as footers, headers, department heads.
B. Be conservative in your newsletter design
• Use three or fewer typefaces.
• Use frames and boxes sparingly.
• Use no more than one or two pieces of clip art, photos, or graphic accents per page if possible.
C. Use contrast in your newsletter design
• Use high contrast typefaces such as a bold sans serif type for headlines and a serif for body text. • Make it big, really big. Use an exaggerated drop cap or enlarge a single piece of clip art or photo to make a
statement. (Use this sparingly)
• Use white space (extra wide gutters or margins) to counteract dense text.
A layout is the “management of form and field”. The main purpose of a layout is to display your elements (images
and text) and communicate your message in a way that allows the reader to receive your information. Once you
have content for a project, creating a proper, balanced layout can determine the effectiveness of a design.
Grid System
A grid was created as a way to arrange visual elements in a particular field or area. They are a tool to facilitate
creating a visual composition and provide page-to-page consistency. In a symmetrical grid, the page on the right
will be exactly the opposite of the left page. This gives the two the same margin, outer margin and inner margin.
When creating your grid, consider how your piece will be printed. Does your church printer require the 1/4”
white space around the perimeter of the paper? What is the final size of your page? This will influence whether
you decide on a 2-column, 3-column or 4-column grid (or other variation).
Symmetrical
Asymmetrical
Create a Book Map to lay out your pagination.
A book map is literally a small map of your finished piece. It is very helpful to “map out” where all of your
content is going to go before building your document to ensure you have space for everything you need to
include. This is especially helpful if your newsletter is more than 4 pages, but can also be helpful on smaller
pieces like a brochure or flyer. It will save you time in the end!
Photo
Front Cover
Missions Missions
(to come) (ministry
teams)
Pg 6
Pg 7
Two
Pastor’s
Letters
IFC
Youth
(recaps)
Pg 8
Upcoming
Events
Misc
Pg 3
Youth
(ministry
teams)
Pg 9
Misc
Adult
Care
Adult
Ministries Ministries Ministries Ministries
Fellowship (letter)
Pg 12
Testomonial
Pg 13
Back
Cover
Brochure Outside
Pg 14
Front
Cover
Pg 15
Worship Missions
& Music (recaps)
Pg 4
Youth
(ministry
teams)
Pg 10
Pg 5
Misc
Pg 11
Mail
Panel
(Misc)
BC
1 photo description chart &
description
with
facts
examples
Brochure Inside
Typography
Below are some basic definitions to help you understand how type is described and measured.
A. Typeface
A typeface refers to a group of characters, such as letters, numbers, and punctuation, that share a common
design or style. Times New Roman, Arial, Helvetica and Courier are all typefaces.
B. Fonts
Fonts refer to the means by which typefaces are displayed or presented. Helvetica in movable type is a font,
as is a TrueType font or PostScript file
C. Type Families
The different options available within a font make up a type family. Many fonts are
at a minimum available in roman, bold and italic. Other families are much larger,
such as Helvetica Neue, which is available in options such Condensed Bold,
Condensed Black, UltraLight, UltraLight Italic, Light, Light Italic, Regular, etc.
D. Serif Fonts
Serif fonts are recognizable by the small lines at the ends of the various strokes of a
character. As these lines make a typeface easier to read by guiding the eye from letter
to letter and word to word, serif fonts are often used for large blocks of text, such as in
a book. Times New Roman is an example of a common serif font.
E. Sans Serif Fonts
Serifs are small lines at the ends of character strokes. Sans serif, or without serif, refers
to typefaces without these lines. Sans serif fonts are often used when a large typeface
is necessary, such as in a magazine headline. Helvetica is a popular sans serif typeface.
Sans serif fonts are also common for website text, as they can be easier to read on
screen. Arial is a sans serif typeface that was designed specifically for on-screen use.
F. Point
The point is used to measure the size of a font. One point is equal to 1/72 of an inch.
When a character is referred to as 12pt, the full height of the text block (such as a
block of movable type), and not just the character itself, is being described. Because
of this, two typefaces at the same point size may appear as different sizes, based on
the position of the character in the block and how much of the block the character
fills.
G. Pica
The pica is generally used to measure lines of text. One pica is equal to 12 points, and
six picas are equal to one inch. This is no longer used as much in our digital world.
H. Baseline
The baseline is the invisible line on which characters sit. While the baseline may differ
from typeface to typeface, it is consistent within a typeface. Rounded letters such as
“e” will extend slightly below the baseline.
I. X-height
The x-height is the distance between the meanline and the baseline. It is referred to as
the x-height because it is the height of a lowercase “x.” This height can vary greatly
between typefaces.
Jane
Halbert
J. Tracking, Kerning and Letterspacing
The distance between characters is controlled by tracking, kerning and letterspacing.
Tracking is the space between characters consistently across a block of text. This may
be used to increase legibility for an entire magazine article. Kerning is the reduction
of space between characters, and letterspacing is the addition of space between
characters. These smaller, precise adjustments may be used to tweak a specific word,
such as in a logo design, or a large headline of a story in a newspaper. All of the
settings may be experimented with to create artistic text effects.
Please note that as a general rule, these minute adjustments are not needed. But it is
important to be aware of them to keep readability at it’s best.
Jane
Halbert
K. Leading
Leading refers to the distance between lines of text. This distance, measured in points,
is measured from one baseline to the next. A block of text may be referred to as being
12pt with 6pts of extra leading, also known as 12/18. This means there is 12pt type on
18pts of total height (12 plus the 6pts of extra leading).
When selecting a type face/font family, think about the “mood and intent” of your information/message, but also
consider your readers! If a large portion of your congregation is older, you need to use a font that is easy to read,
use a slightly larger font size, and keep a bit more white space. If it is directed to kids, it can be a bit more playful.
For consistent branding, it is best if your church selects two or three fonts to use on a regular basis. Consider
creating a basic branding standards package.
Imagery
Deciding on appropriate imagery can be difficult. In the church setting, keep it simple. If you can use photos of
your parisheners engaged in the activity, that is good! Photos of people draw viewers in. It can create a sense of
excitement and ownership for your event.
If you do not have someone in your parish or group who is willing to help out with taking photos, perhaps
consider purchasing an inexpensive digital camera and keep it in the office, or have people take photos with their
phones and email them to you. A staff member who is running an event, or a volunteer at the event can snap a
few shots. Start a folder of images, with the events named and dated. This will keep future searches easier.
You can also snap shots around your building. Take a photo of the exterior of your church that is from a different
angle than the front entrance.
There are sites that you can purchase ROYALTY FREE images and clipart.
Recommendations for easy, cheap photo editors
There are several phone apps for photo editing, red eye correction and minor color adjustments.
There are no retouching apps on phones at this time.
Photoshop is the only full image editing software.
Some free apps that have limited correction:
• GIMP
• PhotoScape
• Portrait Pro - trial version
http://graphicdesign.about.com
Buzzle: http://www.buzzle.com/articles/principles-of-design.html
http://www.1stwebdesigner.com/design/graphic-design-basics-elements/
http://www.design-lib.com/graphic-design-basic-elements-gd.php
Putting It All Together
qBefore beginning the layout, evaluate your current piece
qChoose a grid system
qAdd header bars, footer type, etc.
qType or paste in text and style it
qDetermine what imagery you have and with what section it should be placed. Vary their angles, or add
shadows, but be consistent in your treatment.
qAdjust the type flow to accommodate
qAdd in “extras”...a shadowed box to highlight an area; or a small photo or logo
General Things to Remember
qKeep it simple, keep fonts consistent
qUse some variation in size of graphics
qHave an element that is constant from page to page (at least within a section)...perhaps a color bar.
qIf you are using black and white only, occasionally put a header or small blurb in a reverse block or header.