3 Rules Of Thumb For Effective Graphic Design

When designing visual elements for marketing use, it is important to understand and apply some underlying theories to the elements you’re designing.  I have recently read a few books that will help you understand some of the conceptual underpinnings behind design. If you are a good artist, then you will learn a lot about theory, if you are not so good with design, then you will learn some good rules to help you take your deign game to the next level.  They books are:

·         -Creativity: Theories and Themes: Research,Development, and Practice, Mark Runco

·         -Understanding Comics: The invisible art, Steve McCloud

·         -Visual Thinking For Design, Colin Ware

From each of these books, I was able to learn three major concepts which I have begun to apply to my work.  Aside from the obvious choices such as color, icons, and other static elements one should consider these three rules of thumb:

Ware’s concept of “spatial relationships"
Space is important in layout. Space can be created by content – such as text, images, lists, logos etc. – or it can be created by the space in–between content, called negative space, or whitespace. Space can be passive; a by–product of the layout process. Or, it can be active; there for a reason, to guide the user's eye, or help them make a decision.

Example of Elements Using Spatial relationships to Achieve an Effect

McCloud’s concept of elemental relationships.
Each element in a given image should relate in some way to all other elements involved in the design.

Runco’s idea of “relativity,”
In order to make visual elements understandable they must be made relative to something, i.e. a legend on a map etc. 

Applying these rules of thumb will take you a long way into beginning to think more deeply about what elements to use when creating visual elements and how to display them in a way that appeals to users cognitive minds. 

References:

Runco, M. A. (2014). Creativity: Theories and Themes: Research, Development, and Practice (Kindle). Retrieved at Amazon.com

McCloud, S. (1994). Understanding comics: The invisible art. New York: HarperPerennial.

Ware, C. (2008). Visual thinking for design. Massachusetts: Morgan Kaufmann Publishers. 

Applying Semantics To Image Design: Make Graphics Speak Louder

It is no secret that our brains are hard wired to perceive meaning images. In Visual Thinking For Design by Ware, he discusses what he calls the "color processing machinery," of the eye and which provides a good basis for this hard wiring. The fact that we are so tuned in to the meaning in different colors, designs and shapes provides the basis for the broader application of semiotics, (Ware, 2008).

Building on this; Ware talks about how when image creators properly apply theories of color, spacing, segmentation, emphasis, etc. that Ware (2008) discusses – can have a profound effect on the success of the message conveyed within the images.  These “semantics” – are what drives the connection between the images and what they are meant to convey, and must be considered carefully when curating images - especially for marketing purposes. 

 

Sample Google Heat Map

I also found Ware’s discussion of eye-movement to be very interesting.  In my marketing day-today we often use heat-maps that Google provides that tell us where people eyes are looking and what they are clicking on – which we then use to maximize web-design.  

When Ware was talking about how are eyes are sensitive to movement, shapes and designs – it reminded me of an example one of my teachers in college showed me of an excellent us of semantics and semiotics in logo design.   

When we look at the two Fedex logos do we see a space between the “E,” and “X,” or do we see an arrow or a home?  And if we do what does it infer?  

 

Ware's book is a great resource for where to begin to segment the process of applying psychology to design.  

References:

Ware, C. (2008). Visual thinking for design. Massachusetts: Morgan Kaufmann Publishers.