THE NON-DESIGNER’S DESIGN BOOK

IGNER’S ROBIN WILLIAMS

N
-DES

IG
E NON TH
ES
TH DESIGN AND TYPOGRAPHIC PRINCIPLES E
D
AWA

K
FOR THE VISUAL NOVICE RD-W

O
INNING, BEST-SELLING BOOK ABO

BO
LEARN THE BASICS OF DESIGN AND TYPE UT D
FROM THE AUTHOR OF THE NON-DESIGNER’S ESIG
E D I
T I O
N
BOOK SERIES (OVER 800,000 COPIES IN PRINT) N!
R T H
F O U

N E R’ S

N
-DESI G

G
THIS ESSENTIAL GUIDE TO DESIGN

I
N
THE NO
S
WILL TEACH YOU

DE
◆ The four principles of design that underlie
THE AWARD-WINNING, BEST-SELLING BOOK every design project

K
ABOUT DESIGN! ◆ How to design with color

O
For nearly 20 years, designers and non-designers ◆ How to design with type

O
◆ How to combine typefaces for maximum effect

B
alike have been introduced to the fundamental
principles of great design by author Robin Williams. ◆ How to see and think like a professional designer
Through her straightforward and light-hearted ◆ Specific tips on designing newsletters,
brochures, flyers, and other projects
style, Robin has taught hundreds of thousands of
people how to make their designs look professional
using four surprisingly simple principles. Now in its ROBIN WILLIAMS is the author
I O N
T
E D I
fourth edition, The Non-Designer’s Design Book of dozens of best-selling and
T H

FOURTH EDITION
award-winning books, including
offers even more practical design advice, including
U R
a new chapter on the fundamentals of typography, The Non-Designer’s Presentation
Book, The Non-Designer’s InDesign
F O
more quizzes and exercises to train your Designer
Book, and Robin Williams Design
Eye, updated projects for you to try, and new visual
Workshop. Through her writing, teaching, and
and typographic examples to inspire your creativity. seminars, Robin has educated and influenced an DESIGN AND TYPOGRAPHIC PRINCIPLES
Whether you’re a Mac user or a Windows user, entire generation of computer users in the areas of
a type novice, or an aspiring graphic designer, design, typography, desktop publishing, the Mac, FOR THE VISUAL NOVICE
and the web.
you will find the instruction and inspiration to
approach any design project with confidence.
facebook.com/PeachpitCreativeLearning
@peachpit
WILLIAMS

US $34.99 Canada $39.99

ISBN-13: 978-0-13-396615-2
ISBN-10: 0-13-396615-1
5 3 4 9 9
ROBIN WILLIAMS
Level: Beginning / Intermediate
Peachpit Press Category: Graphic Design
9 780133 966152
www.peachpit.com Cover Design: John Tollett
J
THE NON-DESIGNER’S

DESIGN
BOOK fourth edition

design
and
typographic
principles
for the
visual
novice

Robin Williams
Peachpit Press
San Francisco
California
< The Non-Designer’s Design Book
fourth edition
robin williams
©2015 by Robin Williams
First edition published 1993.

Peachpit Press
www.peachpit.com
Peachpit is a division of Pearson Education.
To report errors, please send a note to errata@peachpit.com.

Editor: Nikki McDonald

Interior design
and production: Robin Williams
Cover design
and production: John Tollett
Proofreader: Jan Seymour
Prepress: David Van Ness

The 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 by
Roundtable Press, Inc.
The portions of “Ladle Rat Rotten Hut” and other stories, such as “Guilty Looks Enter
Tree Beers,” “Center A­ lley,” and “Violate Huskings” are from a long out-of-print book by
Howard L. Chace called Anguish Languish. It is our understanding that these delightful
stories are now in the public domain. They are easily found on the Internet.

Notice of Rights
All rights reserved. No part of this book may be reproduced or transmitted
in 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 Liability
The 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 author
nor Peachpit shall have any liability to any person or entity with respect to any loss or
damage caused or alleged to be caused directly or indirectly by the instructions contained
in this book or by the computer software and hardware products described herein.

Trademarks
Many of the designations used by manufacturers and sellers to distinguish their products
are claimed as trademarks. Where those designations appear in this book, and Peachpit
was aware of a trademark claim, the designations appear as requested by the owner of
the trademark. All other product names and services identified throughout this book are
used in editorial fashion only and for the benefit of such companies with no intention of
infringement of the trademark. No such use, or the use of any trade name, is intended to
convey endorsement or other affiliation with this book.

isbn 13: 978-0-13-396615-2

isbn 10: 0-13-396615-1
10 9 8 7 6 5 4 3 2 1
Printed and bound in the United States of America
To Carmen Sheldon,
my comrade in Design,
my friend in Life.
with great love,
R.
M
ore matter is being printed and published
today than ever before, and every publisher
of an advertisement, pamphlet, or book
expects his material to be read. Publishers
and, even more so, readers want what is
important to be clearly laid out. They will
not read anything that is troublesome to
read, but are pleased with what looks clear
and well arranged, for it will make their task
of understanding easier. For this reason,
the important part must stand out and
the unimportant must be subdued . . . .
The technique of modern typography must
also adapt itself to the speed of our times.
Today, we cannot spend as much time on
a letter heading or other piece of jobbing
as was possible even in the nineties.
Jan Tschichold 1935

typefaces
Modernica Light and Black
CONTENTS
Is this book for you?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Desi gn Principles
1 Introduction
The Joshua tree epiphany. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
The four basic principles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
11

2 Proximity
Summary of proximity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
The basic purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
15

How to get it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

What to avoid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

3 Alignment
Summary of alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
The basic purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
33

How to get it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

What to avoid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

4 Repetition
Summary of repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
The basic purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
55

How to get it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

What to avoid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

5 Contrast
Summary of contrast. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
The basic purpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
69

How to get it. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

What to avoid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
contents

6 Review of the Four Design Principles 85

Proximity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Alignment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Contrast. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Little Quiz #1: Design principles. . . . . . . . . . . . . . . . . . . . . . 90
Little Quiz #2: Redesign this ad. . . . . . . . . . . . . . . . . . . . . . 91
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

7 Design with Color

The amazing color wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Color relationships. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
95

Complementary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Triads. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Split complement triads . . . . . . . . . . . . . . . . . . . . . . . 100
Analogous colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Shades and tints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Make your own shades and tints . . . . . . . . . . . . . . . . . 103
Monochromatic colors. . . . . . . . . . . . . . . . . . . . . . . . 104
Shades and tints in combination . . . . . . . . . . . . . . . . . 105
Watch the tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Warm colors vs. cool colors. . . . . . . . . . . . . . . . . . . . . . . . . . 107
How to begin to choose?. . . . . . . . . . . . . . . . . . . . . . . . . . . 108
cmyk vs. rgb: print vs. web . . . . . . . . . . . . . . . . . . . . . . . . . 110
Print vs. web color models . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Little Quiz #3: Color. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

8 Extra Tips & Tricks

Creating a package or brand. . . . . . . . . . . . . . . . . . . . . . . . . 114
113

Business cards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Tips on designing business cards. . . . . . . . . . . . . . . . . . . . 120
Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Type size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Create a consistent image on all pieces . . . . . . . . . . . . 120
Letterhead and envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Tips on letterhead and envelope design . . . . . . . . . . . . . . . 124
Envelope size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Create a focal point . . . . . . . . . . . . . . . . . . . . . . . . . 124
Alignment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Second page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Faxing and copying . . . . . . . . . . . . . . . . . . . . . . . . . . 124

6
 contents

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

7
contents

Designing with Type

9 The Essentials of Typography
One space after punctuation . . . . . . . . . . . . . . . . . . . . . . . . 152
Quotation marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
151

Apostrophes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Little Quiz #4: Apostrophes . . . . . . . . . . . . . . . . . . . . . . . 155
Dashes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Special characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Accent marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Capitals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Underlining. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Kerning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Widows and orphans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

10 Type (& Life)

Concord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
167

Conflict. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

11 Categories of Type 175

Oldstyle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Modern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Slab serif. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Sans serif. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Decorative. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Be conscious. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Little Quiz #5: Categories of type. . . . . . . . . . . . . . . . . . . . . 183
Little Quiz #6: Thick/thin transitions . . . . . . . . . . . . . . . . . 184
Little Quiz #7: Serifs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

8
 contents

12 Type Contrasts 187

Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Combine the contrasts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Little Quiz #8: Contrast or conflict. . . . . . . . . . . . . . . . . . . 216
Little Quiz #9: Dos and don’ts. . . . . . . . . . . . . . . . . . . . . . 217
An exercise in combining contrasts. . . . . . . . . . . . . . . . . . . . 218

A Few Extras
13 Does it Make Sense?
The process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
An exercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
219

Okay—redesign this! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

14 Answers & Suggestions

Quiz answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Designer Eye suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . 225
223

15 Typefaces in this Book

Primary faces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
229

Modern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Oldstyle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Slab serif. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Sans serif . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Ornaments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Decorative. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Back matter 234

Mini-glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
OpenType . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

9
the non-de signer’ s de sign bo ok

Is this book for you?

This book is written for all the people who need to design things, but have
no background or formal training in design. I don’t mean just those who are
designing fancy packaging or lengthy brochures—I mean the assistants whose
bosses now tell them to design the newsletters, church volunteers who are
providing information to their congregations, small business owners who are
creating their own advertising, students who understand that a ­better-looking
paper often means a better grade, professionals who realize that an attractive
presentation garners greater respect, teachers who have learned that students
respond more positively to information that is well laid out, statisticians
who see that numbers and stats can be arranged in a way that invites reading
rather than snoring, and on and on.
This book assumes you don’t have the time or interest to study ­design and
typography, but would like to know how to make your pages look better. Well,
the premise of this book is age-old: Knowledge is power. Most people can
look at a poorly designed page and state that they don’t like it, but they don’t
know what to do to fix it. In this book I will point out four basic concepts
that are used in virtually every well-designed job. These concepts are clear
and concrete. Once you recognize the concepts, you will notice whether or
not they have been applied to your pages. If you don’t know what’s wrong
with it, how can you fix it? Once you can name the problem, you can find
the solution.
This book is not intended to take the place of four years of design school. I
do not pretend you will automatically become a brilliant designer after you
read this little book. But I do guarantee you will never again look at a page
in the same way. I guarantee that if you follow these basic principles, your
work will look more professional, organized, unified, and interesting. And
you will feel empowered.
With a smile,

10
 cha pter 4

Repetition
The Principle of Repetition states: Repeat some aspect of the design
throughout the entire piece. The repetitive element may be a bold font,
a thick rule (line), a certain bullet, design element, color, format, spatial
relationships, etc. It can be anything that a reader will visually recognize.
You already use repetition in your work. When you make headlines all the
same size and weight, or add a rule a half-inch from the bottom of each
page, or use the same bullet in each list throughout the project, you are
creating repetition. What new designers often need to do is push this idea
further—turn that inconspicuous repetition into a visual key that ties the
publication together.
Repetition can be thought of as consistency. As you look through a sixteen-
page brochure, it is the repetition of certain elements, their consistency, that
makes each of those sixteen pages appear to belong to the same brochure.
If page 13 has no repetitive elements carried over from page 4, the brochure
loses its cohesive look and feel.
But repetition goes beyond just being naturally consistent—it is a conscious
effort to unify all parts of a design.

It often happens in Life that we need The repetition of their clothes makes
repetitive elements to clarify and it immediately clear that these guys
unify. A certain number of the guys are some kind of organized entity.
above are on the same team, but we We do this sort of thing all the time.
can’t tell.

55
the non-de signer’s de sign bo ok

Here is the same business card we worked with earlier. In the second example
below, I have added a repetitive element: a repetition of the strong, bold
typeface. Take a look at it, and notice where your eye moves. When you
get to the phone number, where do you look next? Do you find that you
go back to the other bold type? Designers have always used visual tricks
like this to control a reader’s eye, to keep your attention on the page as long
as possible. The bold repetition also helps unify the entire design. This is
a very easy way to tie pieces of a design package together.

Sock and Buskin

Ambrosia Sidney

109 Friday Street

Penshurst, NM
505.555.1212

When you get to the end of the information,

does your eye just wander off the card?

Sock and Buskin

Ambrosia Sidney

109 Friday Street

Penshurst, NM

505.555.1212

Now when you get to the end of the information,

where does your eye go? Do you find that it bounces
back and forth between the bold type elements?
It probably does, and that’s the point of repetition—
it ties a piece together; it provides unity.

typefaces
Mikado Bold and Regular

56
 4 : r epetition

Take advantage of those elements you’re already using to make a project

consistent and turn those elements into repetitive graphic symbols. Are all
the headlines in your newsletter 14-point Times Bold? How about investing
in a very bold sans serif font and making all your heads something like
16-point Mikado Ultra? You’re taking the repetition you have already built
into the project and pushing it so it is stronger and more dynamic. Not
only is your page more visually interesting, but you also increase the visual
organization and the consistency by making it more obvious.

phlegmatics. Songs of love

Headlines and subheads
THE ELIZABETHAN
HUMOURS reduce the secretion of choler, are a good place to start
In ancient and medieval slow down the pulse, and
physiology and medicine, the reduce melancholic anxiety. when you need to create
humours are the four fluids
of the body (blood, phlegm,
Lemnius (1505–1568) wrote
that music affects “not only repetitive elements, since
choler, and black bile) believed the ears, but the very arteries,
the vital and animal spirits, it
you are probably consistent
to determine, by their relative
proportions and conditions, the erects the mind, and makes with them anyway.
state of health and the tempera- it nimble.” Marsilius Ficino
ment of a person or animal. (1433–1499) wrote in his
letters: “Sound and song easily
Eyes have Power arouse the fantasy, affect the
When two people fall in love, heart, and reach the inmost
their hearts physically became recesses of the mind; they still
one. Invisible vapors emanate [quiet], and also set in motion,
from one’s eyes and penetrate the humours and the limbs of
the other’s. These vapors change the body.”
the other’s internal organs
so both people’s inner parts Wine!
become similar to each other, Ken Albala states: ‘Wine is
which is why they fall in love— the most potent corrective
their two hearts merge into one. for disordered passions of the
You must be careful of eyes. soul. In moderation it reverses
all malicious inclinations,
Music has power making the impious pious, the
Songs of war accelerate the avaricious liberal, the proud
animal spirits and increase humble, the lazy prompt,
the secretion of blood in the timid audacious, and the

So take that consistent

THE ELIZABETHAN HUMOURS element, such as the
In ancient and medieval phlegmatics. Songs of love
physiology and medicine, the reduce the secretion of choler, typeface for the headlines
humours are the four fluids
of the body (blood, phlegm,
slow down the pulse, and reduce
melancholic anxiety. Lemnius and subheads, and make
choler, and black bile) believed
to determine, by their relative
(1505–1568) wrote that music
affects “not only the ears, but
it stronger. Make it a
proportions and conditions, the
state of health and the tempera-
the very arteries, the vital and design element in addition
animal spirits, it erects the
ment of a person or animal. mind, and makes it nimble.” to a useful element.
Eyes have Power Marsilius Ficino (1433–1499)
When two people fall in love, wrote in his letters: “Sound and
their hearts physically became song easily arouse the fantasy,
one. Invisible vapors emanate affect the heart, and reach the
from one’s eyes and penetrate inmost recesses of the mind;
the other’s. These vapors change they still, and also set in motion,
the other’s internal organs the humours and the limbs of
so both people’s inner parts the body.”
become similar to each other, Wine has Power
which is why they fall in love— Ken Albala states: ‘Wine is
their two hearts merge into one.
the most potent corrective
You must be careful of eyes.
for disordered passions of the
Music has Power soul. In moderation it reverses
Songs of war accelerate the all malicious inclinations,
animal spirits and increase making the impious pious,
the secretion of blood in the avaricious liberal, the
typefaces
Brioso Pro Regular
Matchwood Bold

57
 the non-de signer’s de sign bo ok

Do you create multiple-page publications? Repetition is a major factor in

the unity of those pages. When readers open the document, it should be
perfectly and instantly obvious that page 3 and page 13 are really part of
the same publication.
Point out the elements of repetition in the two sample pages below.

Consistent
Gulls Honor Wrote double rule
Heresy rheumatic starry offer former’s on the tops
dodder, Violate Huskings,
an wart hoppings darn honor form.
of all pages.
Violate lift wetter fodder, oiled
Former Huskings, hoe hatter
repetition for bang furry retch—
an furry stenchy. Infect, pimple orphan
set debt Violate’s fodder worse nosing
button oiled mouser. Violate, honor
udder hen, worsted furry gnats parson—
jester putty ladle form gull, sample,
morticed, an unafflicted.
Wan moaning Former Huskings
nudist haze dodder setting honor cheer,
during nosing. Water rheumatic form!


Nor symphony Vestibule guardings Consistent

Violate! sorted dole former, Watcher Yap, Fodder. Are fetter pegs. Ditcher
setting darn fur? Yore canned gat retch mail-car caws an swoop otter caw staple?
typeface in
setting darn during nosing? Germ pup Off curse, Fodder. Are mulct oiler caws headlines
an swapped otter staple, fetter checkings,
otter debt cheer!
an clammed upper larder inner checking-
and sub-
Arm tarred, Fodder, resplendent
Violate warily. Watcher tarred fur, aster horse toe gadder oiler aches, an wen darn heads, and
stenchy former, hoe dint half mush tutor vestibule guarding toe peck oiler bogs consistent
symphony further gull. Are badger dint an warms offer vestibules, an watched an
doe mush woke disk moaning. Ditcher earned yore closing, an fetter hearses space above
curry doze buckles fuller slob darn tutor any oil ding welsh. each.
peg-pan an feeder pegs. Daze worsted Ditcher warder oiler hearses, toe?
furry gnats parson wit fairy knifely enter-ruptured oiled Huskings. Nor,
dependable twos. Nosing during et oil Fodder, are dint. Dint warder mar
marks neigh cents. hearses. Wire nut?

4 This single
rule repeats
across the
Page The text has a “bottoming out” point (aligning bottom of
numbers across the bottom), but not all text must align here each page.
are in the if there is a consistent, repetitive starting point
same place at the top of the page.
and in
Some publications might choose to repetitively
the same
bottom out (or line up across the bottom—possibly
typeface on
with a ragged top, like a city skyline) rather
each page.
than “hang from a clothesline” (align across the
top). Use one or the other technique consistently,
though.

58
 4 : r epetition

If everything is inconsistent, how would anyone visually understand

that something in particular is special? If you have a strongly consistent
publication, you can throw in surprise elements; save those surprises for
items you want to call special attention to.
To do: Point out the consistent, repetitive elements of this book.

Evanescent wan think, itching udder

Effervescent further ache, dare wooden bather checking. Effervescent further peg, way
wooden heifer becking. Effervescent further lessens, dare wooden bather ditchers. The single, wide
Effervescent further oddest, way wooden heifer pitchers. Effervescent further clashes,
way wooden kneader clash rums. Effervescent further bash tops, way wooden heifer
column takes up
bash rums. Effervescent fur merry seed knee, way wooden heifer shaksper. Effervescent the same space
further tucking, way wooden heifer languish. Effervescent fur daze phony warts, nor as two columns,
bawdy cud spick anguish!
maintaining
Moan-late an steers Arsenate rheumatic the consistency
Violate worse jest wile aboard Hairy,  Snuff doze flagrant odors. of the outer
hoe worse jester pore form bore firming Moan-late an merry-age.
adjourning form. Sum pimple set debt

borders.
 Odors firmer putty rat roaches
Hairy Parkings dint half gut since, butter inner floor guarding.
hatter gut dispossession an hay worse  Denture half sum-sing ­impertinent toe
medly an luff wet Violate. Infect, Hairy asthma?
wandered toe merrier, butter worse toe  Hairy aster fodder.

skirt toe aster.  Conjure gas wart hopping?

O Hairy, crate Violate, jest locket debt  Violate dint merry Hairy.
putty moan! Arsenate rheumatic? Yap,  Debt gull runoff wit a wicket
inserted Hairy, lurking. bet furry retch lend-lard.

13

All stories and photos or Note the repetitive use of the

­illustrations start at the same triangular shape in the list and in
guideline across the top of the caption, opposite page. That
each page (also see the note shape is probably used elsewhere
on the opposite page about in the publication as well.
“bottoming out”).

typefaces
Bree Thin
Arno Pro

59
the non-de signer’s de sign bo ok

To create a consistent business package with a business card, letterhead,

and envelope, use a strong display of repetition, not only within each piece,
but between all the pieces. You want the person who ­receives the letter
to know you are the same person who gave her a business card last week.
You might want to create a layout that allows you to align the printed letter
with some element in the stationery design.

R• Robin Williams
•
9 Romilly Court
•
Las Cruces
•
NM
•
88008
•
575.555.1212
•
www.ratz.com
•
robin @ ratz.com

R• Robin Williams
•
9 Romilly Court
•
Las Cruces
•
NM
•
88008
•
575.555.1212
•
www.ratz.com
•
robin @ ratz.com

R• Robin Williams
•
9 Romilly Court
•
Las Cruces
•
NM
•
88008

60
 4 : r epetition

Repetition helps organize the information; it helps guide the reader through
the pages; it helps unify disparate parts of the design. Even on a one-page
document, repetitive elements establish a sophisticated continuity and
can pull together the entire piece. If you are creating several one-page
documents that are part of a comprehensive package, it is critical that you
employ repetition.

The Mad Hatter Repetitions:

 Wonderland, England Bold typeface
Objective Light typeface
 To murder Time Square bullets
Indents
Education
Spacing
 Dodgson Elementary
 Carroll College Alignments

Employment
 Singer to Her Majesty
 Tea Party Coordinator
 Expert witness

Favorite Activities
 Nonsensical poetry
 Unanswerable riddles

References available upon request.

Besides having strong repetitive elements that

make it very clear exactly what is going on here, this
person might also want to incorporate one or more
of these elements into the design of his cover letter.

typefaces
Nexa Light and Black
itc Zapf Dingbats (n = )

☞ typefaces
Myriad Pro Regular and Bold
Zanzibar Regular

61
the non-de signer’s de sign bo ok

If there is an element that strikes your fancy, go with it! Perhaps it’s a piece
of clip art or a picture font. Feel free to add something completely new
simply for the purpose of repetition. Or take a simple element and use it
in various ways—different sizes, colors, angles.
Sometimes the repeated items are not exactly the same objects, but objects
so closely related that their connection is very clear.

PIE JUST WANTS

TO BE SHARED

N
workshops for pie artists

e
slab pies
When you have a large group for sharing,
consider a slab pie.
With a higher proportion of crust to filling
and easy slicing into squares, your crowd will love it.

A
jar pies
Make sweet pies in small wide-mouth jars,
top them with a lid and a ribbon,

j
and share the pie joy.

f
pop-tart pies
Make a batch of pop-tart pies and freeze them.
Pop them into the toaster
when someone drops by for tea.

typefaces
mermaid tavern pie shop santa fe Transat Text Medium
Brioso Pro Regular and Italic
Heart Doodles f

It’s fun and effective to pull an element out of a graphic and repeat
it. The little heart motif could be applied to other related material,
such as envelopes, response cards, balloons, and everything would
be a cohesive unit, even without repeating the same heart.
Train your Designer Eye: Name at least five other repetitive
elements on this little card. (Suggestions on page 227.)
This card uses a centered alignment. What was done to help it
avoid looking amateur?

62
 4 : r epetition

Often you can add repetitive elements that apparently have nothing to do
with the purpose of your page. For instance, throw in a few petroglyph
characters on a survey form. Add some strange-looking birds to a ­report.
Set several particularly beautiful characters in your font in various large
sizes, in gray or a light second color, and at various angles throughout the
publication. Just make sure it looks intentional rather than random.

reminder
Staff Meeting Today! 2 p.m.
Be There or Be Square!
,. R
Overlapping a design element or pulling it outside of the borders serves
to unify two or more pieces, or to unify a foreground and a background,
or to unify separate publications that have a common theme.

friday tuesday
12 noon 9:30 p.m.

W Meet
Dr. Sal
Diversity
Enhancement
Training
Required for all employees!
The great thing about repetition Meet in the Green Room.
is that it makes items look like
they belong together, even if
the elements are not exactly the
same. You can see that once you
establish a couple of key repetitive
items, you can vary those items
Y\danU
and still create a consistent look.
typefaces
Train your Designer Eye: Name
Nexa Black
at least seven repetitive elements. Spumoni
(Suggestions on page 227.) MiniPics LilFolks P

63
the non-de signer’s de sign bo ok

Using the principle of repetition, you can sometimes pull an element from
your existing layout and create a new element that ties it together.

author and star

PATRICIA MAY
RADIO SHOWS
of the hugely popular

Yountville Seniors
Radio Mysteries
sunday . february 25 . 3:30 p. m.

yountville library
6516 Washington Street
Yountville • California typefaces
Quicksand Light
and Dash

The dashed letters inspired the dashed concentric ovals hinting

at a sound wave. Once you start noticing what can be repeated,
I guarantee you’ll enjoy developing so many options.
Train your Designer Eye: Name at least four other repetitive
elements on this little card. Also note where elements are aligned.
(Suggestions on page 227.)

●●●
9 2 7 Please bring a guest
and join us for the champagne opening of
s a n
●●●
d r a Umbrellas & Charcoal
●●● Meet the artist ●

John Tollett ●
●
gallery 927 sandra
santa fe • new mexico ●
● ● ●
5 to 9 p.m. ●
● ●
●
march 17
fruit and cheese reception
●
●

Train your Designer Eye: Name at least three repetitive elements

on this card. Also note where elements are aligned. (Suggestions
on page 228.)

64
 4 : r epetition

The repetitive element does not have to be a graphic or clipart. It can be

spacing, rules, fonts, alignments, or anything that you consciously repeat.

This is very typical:

Times New Roman,
R. William Whetstone Memorial Committee
centered, typewriter
presents the Twentieth Memorial Lecture
quotation marks.
Dr. Euphemia May Weber Someone did separate
Professor of Psychiatry and Neuroscience the information into
at the
University of California, Yountville logical groups, but you
on
"A Hundred Years
can see that the centered
of Science" alignment is weak. There
Monday, September 27, 8 p.m.
is an attempt to fill the
Reilly Rooser Auditorium, Truchas corners.
Free admission

R. William Whetstone Memorial Committee

Decide what you want to
presents the Twentieth Memorial Lecture focus on. This version has
Dr. Euphemia May Weber a focus on the speaker.
Regarding the Principle
Professor of Psychiatry and Neuroscience
at the University of California, Yountville, of Repetition, what are
will be speaking on the topic of
the repeated elements?
You can see where the
A Hundred Years of Science Principle of Alignment has
been applied, and this ad
Monday, September 27, 8 p.m. also uses the Principle of
Reilly Rooser Auditorium, Truchas
Free admission Contrast, described in the
following chapter.

This version has a focus on

A Hundred Years of Science the topic. Notice the black
bar is repeated in a thinner
Dr. Euphemia May Weber version at the bottom.
Professor of Psychiatry and Neuroscience
at the University of California, Yountville A repetitive element that
pulls things together can
be that simple.
Monday, September 27, 8 p.m.
Reilly Rooser Auditorium, Truchas
Free admission

This Twentieth Memorial Lecture is presented

by the R. William Whetstone Memorial Committee

65
the non-de signer’s de sign bo ok

S
Sometimes the mere suggestion of a repeated element can get the same
results as if you used the whole thing. Try including just a portion of a
familiar element, or use it in a different way.

designer eye
work shop: listen to your eyes

Artisan Art Supplies * Canyon Road

Friday * 3 to 5 p.m.
Bring a fine-tip red marker
typefaces
Profumo
Minister Light and Italic

If an image is familiar to a reader from your other marketing

material (page 37), all it takes is a piece of it to help the
reader make the connection. What is another repetition here?

Screenwriting
typefaces

Bickham Script Pro

Schmutz Cleaned

The
Conference in
Santa Fe
At The Screenwriting Conference in
Santa Fe , chances are you’ll meet
someone who will change your life.™
Santa Fe, New Mexico
June 1–June 5
505.555.1501 866.555.1501
www.SCSFe.com

This typewriter image, of course, has been used on all of the

Screenwriting Conference’s promotional material, so at this point we
don’t have to use the entire image. Once again, as in the example at
the top, we see the advantage of using just part of a recurring image—
the reader actually “sees” the whole typewriter.

66
 4 : r epetition

Repetition provides a sense of professionalism and authority to your pieces,

no matter how playful. It gives your reader the feeling that someone is in
charge because repetition is obviously a thoughtful design decision.

typefaces
FRANCES UNCIAL
ANNUALAT THE
MARTINI TASTING
MERMAID TAVERN
Brioso Pro Light
and Italic

LEMONDROP
6 parts lemon-flavored vodka
1 tsp sugar
1 part Cointreau or lemoncelli liqueur
Combine ingredients in a cocktail shaker half-
filled with ice cubes; shake well. Swirl half a lemon
around the rim of a martini glass and dip in sugar.

CLASSIC MARTINI Pour the contents of the cocktail shaker into the
glass and serve.
6 parts gin Stir in a mixing glass with lots
1 part dry vermouth of cracked ice. Strain into chilled
Cocktail olive glass and garnish with olive.
GIMLET
8 parts gin or vodka

DIRTY MARTINI 2 parts Rose’s lime juice

Combine ingredients
6 parts gin in a cocktail shaker with
2 parts dry vermouth cracked ice; shake well.
1 part olive brine Strain into a chilled
martini glass.
Cocktail olives
Combine liquid ingredients
in a cocktail shaker with
cracked ice; shake well.
Strain into a chilled cocktail QUEEN BESS
glass. Garnish with one or
two olives. MARTINI
6 parts gin
1 parts dry vermouth
2 teaspoons Benedictine

COSMOPOLITAN Combine all ingredients in a

cocktail shaker with cracked ice;
4 parts vodka shake well. Strain into a chilled
2 parts Cointreau or limoncello liqueur cocktail glass.
2 parts cranberry juice
1 part fresh lime (optional)
Combine ingredients in a cocktail shaker with cracked ice;
shake well. Strain into a chilled martini glass.

You can see that repetition doesn’t mean you have to repeat exactly
the same thing. Above, the headlines are all different colors, but they
use the same font. The illustrations are all different styles, but all
rather funky and ’fifties.
Just make sure you have enough repetitive elements so the
differences are clear, not a jumbled mess. For instance, in this
example you see that the recipes all follow the same format and
there are strong alignments. When there is an underlying structure,
you can be more flexible with the elements.

67
the non-de signer’s de sign bo ok

Summary of repetition
A repetition of visual elements throughout the design unifies and strengthens
a piece by tying together otherwise separate parts. Repetition is very useful
on one-page pieces, and is critical in multi-page documents (where we often
just call it being consistent).

The basic purpose

The purpose of repetition is to unify and to add visual interest. Don’t
under­estimate the power of the visual interest of a page—if a piece looks
interesting, it is more likely to be read.

How to get it
Think of repetition as being consistent, which I’m sure you do already. Then
push the existing consistencies a little further— can you turn some of
those consistent elements into part of the conscious graphic design, as with
the headline? Do you use a 1-point rule at the bottom of each page or under
each heading? How about using a 4-point rule instead to make the repetitive
­element stronger and more dramatic?
Then take a look at the possibility of adding elements whose sole purpose is
to create a repetition. Do you have a numbered list of items? How about using
a distinctive font or a reversed number, and then repeating that treatment
throughout every numbered list in the publication? At first, simply find
existing repetitions and then strengthen them. As you get used to the idea
and the look, start to create repetitions to enhance the design and the clarity
of the information.
Repetition is like accenting your clothes. If a woman wears a lovely black
evening dress with a chic black hat, she might accent her dress with red heels,
red lipstick, and a tiny red pin.

What to avoid
Avoid repeating the element so much that it becomes annoying or over-
whelming. Be conscious of the value of contrast (see the next chapter and
especially the section on contrasting type).
For instance, if the woman were to wear the black evening dress with a red
hat, red earrings, red lipstick, a red scarf, a red handbag, red shoes, and a
red coat, the repetition would not be a stunning and unifying contrast—it
would be overwhelming and the focus would be confused.

68
Index
A B
accent marks, 160 badges, examples of, 40, color
acronym for basic design 134, 182 analogous combination, 101
principles, 13 baseline black, 97, 111, 209–213
advertising, 141–144 explained, 186 blue, red, yellow, 96
use for alignment, 44, 47 choosing, how to, 108–109
Alignment, Principle of
Before & After Magazine, 235 cmyk, 110–112
basic principle of, 13, 33–54,
color models, 110–112
87 blank space. See white
breaking it, 132, 133, 136 color wheel
space
comparison of different analogous combination, 101
body copy, body text complementary colors, 98
text alignments, 37, 42 defined, 235
messy alignment example, 46 image of full color wheel, 102
borders, lose them, 130, 223 monochromatic colors, 104
mixing alignments, 72
uncrowd the text primary colors, 96
sitting on the ground vs.
in a border, 166 secondary colors, 96
clothesline, 58
soft vs. hard edges, 35 bottom out, 58 shades and tints, 102–105
strengths of, 87 branding, 114 split complements, 100
use baseline of text, 44 break the rules, when to, tertiary colors, 97
visual connection, 54 51, 225 triads, 99
all caps complementary colors, 98
brochures, 133–136
bad examples of, 26 contrast of, 208
Brunel University London, 36 comparison of typefaces,
caps vs. lowercase form, Brutus in Julius Caesar, 39
200–201 212–213
when to use, 201 bullets examples of, 208–213
why not to use, 161, 190, 201 definition of, 235 cool vs. warm colors, 107, 208
how to type •, 158–159, 166 effectiveness in marketing, 137
analogous colors, 101
in a list, not hyphens, 166 examples of contrasts in, 74,
Anguish Languish relationship to text, 18 80, 82–83, 208
stories from, 58–59, 194–195, hues, 102
198, 210–213 Burns, Robert, 43
in black-and-white, 209
ansi codes business cards, 117–120 monochromatic colors, 104
for accent marks, 160 reinforce your package, 134 primary colors, 96
for special characters, 158 business package, 60 rgb color model, 111–112
apostrophes, use of, 154–155 secondary colors, 96
Arial, don’t use it, 126, 132 C shades and tints, 102–105
split complements, 100
ascenders, 186
CafePress.com, 116, 235 tertiary (or third) colors, 97
asymmetry, 85 tints, 102–105
Canva.com, 235
cap height, 186 triads, 99
warm vs. cool colors, 107
Caveglia, Jerry, 43
web colors, which model
centered alignment, 35 to use, 112
examples of, 40–41, 42 white, 97, 111
impression of, 36, 54, 87 Wildflower Theory of Color,
make it look intentional, 42 106
suggestions for, 38–41 color palette, how to use it,
Chace, Howard L., 2 103
clothesline, 58 Conrad, Joseph, 201, 211
comparison
of color in typefaces, 212–213
of type contrasts, 215
complementary colors, 98
concord
basic principle of, 167
examples, 168–169

236
 inde x

E G
conflict Egyptian fonts, 178 glossary, 235
basic principle of, 167 em dash gray page, what to do, 195,
examples of, 170–171 how to type it, 158–159 210
how to avoid it, 69 when to use it, 157 gutter, what is it?, 133
consistency, 120. Also em space as paragraph
see Repetition, Principle of indent, 47, 132
contrasting type en dash
H
basic principle of, 167, 187 how to type it, 158–159 hang from a clothesline, 58
by color, 208–213 what it is, when to use it, 156 Hazlitt, William, 31
by direction, 204–207 envelopes Helvetica, avoid it, 132, 136
by form, 200–203 design tips, 124
by size, 188–191 hierarchy, use contrast to
size of, 124 show, 194
by structure, 196–199 standard size, 124
by weight, 192–195 hues of colors, 102
Evans, Dana Gwendolyn, 110
examples of, 172–173 hyphen, 156
summary, 174, 215 extended text
defined, 235
Contrast, Principle of
basic principle of, 13, 69, 89
type for, 176, 178 I
type not good for, 177
like wall paint, 84 identity package, 114
use as repetitive element, eye, eye flow
indented text
80–81 and white space, 85
first paragraphs not
using white space, 144 contrast and, 84 indented, 47, 132, 166
copy machines, design for, examples of, 16, 17, 32, 56, “typewriter” wide indents,
124 71, 87 46, 165
corners, what not to do in InDesign pdf Magazine, 235
them, 204 F inspiration, 94
crap, 13 invisible type, 176
faxing, stationery for, 124
CreateSpace.com, 116, 235 italic, true-drawn vs. fake, 202
flag, newsletter, 129
CreativeMarket.com, 146,
flush left
235
defined, 42 J
examples of, 36
D flush right
Joshua tree, 11
defined, 42 justified type, 42
dashes, 156–157
examples of, 37
Davis, J. Philip, 180
dazzling, 177
flyers, 125–128 K
design tips, 128
decorative type examples, kerning, 163
focus, focal point, 81, 124,
182 128, 220
descenders, 186 fonts
design tips fonts to let go of, 81
advertising, 144 for contrast, 132
brochures, 136 for readability, 132
business cards, 120 where to buy
flyers, 128 CreativeMarket.com, 235
letterhead and envelopes, 124 FontSquirrel.com, 235
newsletters, 132 MyFonts.com, 235
postcards, 140 FontSquirrel.com, 235
résumés, 148
form, contrasting, 200–203
direction contrasts, 204 caps versus lowercase is
basic principle of, 204 contrast, 200–201
examples of, 204–207 roman versus italic is a
use for contrast, 75 contrast, 202–203
frame. See borders

237
in de x

L P R
Ladle Rat Rotten Hut, 48, paragraphs radical thin/thin transition,
210, 211 first p. not indented, 47, 166 177
left alignment indent one em, 132, 165 readability, 132
examples of, 36 indent or extra space, not Repetition, Principle of
impression of, 36, 87 both, 166
basic principle of, 13, 55
letterhead and envelopes, Pie Day, 38 in brochures, 136
121–124 postcards, 137–140 in newsletters, 129
Life primary colors, 96 review of principle, 88
accenting your clothes, 68 principles of design, 11, 13 summary, 68
consistency creates review, 85–94 unity with variety, 67, 135
clarification, 55 printing, color model for résumés, 145–148
design your life, 85 images, 112 Return, after paragraph, 24
don’t be a wimp, 85
PrintPlace.com, 117, 235 reverse type, when not to
dynamic relationships, 69, 167
Proximity, Principle of use, 144
physical closeness implies
relationship, 15 basic principle of, 13, 15 rgb, 111–112
rules of, 74 does not mean everything right-aligned text
Your attitude is your life, 199 is close together, 20 examples, 34, 35, 50
Lindbergh, Ann Morrow, 14 purpose of, 32 Riley, Barbara, 222
review of principle, 86
line, drawn, 235 roman type, 202
summary of, 32
rules, breaking them, 51, 225
punctuation
M and quotation marks, 153 rules (drawn lines), 235
contrast in, 74
following styled text, 165
McDonald, Nikki, 2 in parentheses, 165 Rules of Life, 74, 85
McWade, John, 235
Melville, Herman, 172
messy alignment, 47
Q S
modern type examples, 177 quad left or right, 42 Sanford, Arlan, 142
monochromatic colors, 104 quizzes Sanford, Matt, 122, 147
monospaced lettering, 151, answers to, 223–228 sans serif
152 apostrophes, 155 putting two or more on a
categories of type, 183, 196 page, 199
monoweight, 179
color, 112 type examples, 179
multiple-page publications, contrast or conflict, 216 vs. serif, 198
58–59 design principles, 90 Sayers, Dorothy L., 201
MyFonts.com, 138, 235 dos and don’ts, 217 script type examples, 181
my philosophy on, 223
secondary colors, 96
N redesign this ad, 91
serifs, 185 serifs
newsletters, 129–132 thick/thin transitions, 184 horizontal and thick (slab),
contrast in, 70–71 178
quotation marks, 153 horizontal, thin, 177
repetition in, 58
illustration of, 176
newsprint, printing on, 144 none (sans), 179
quiz on, 185
O slanted, 176
shades of colors, 102–105
oblique, 202
Shakespeare Papers
odd-sized postcard, 138 branding of, 114–115
Old Singleton, 210 color scheme, 109
oldstyle type examples, 176 Sheldon, Carmen, 3
open book, open mouth, 223 Sidney, Mary, 135, 207
optical illusions sixes and nines, 153
reverse type size, 144
orphans, 164

238
 inde x

X
size typewriter photo, 151 x-height, 186
contrast, 188 typographer quotation
contrasts in, 78, 82–83
standard envelope, 124
marks, 153
Y
typographic essentials,
type size in business cards, 151–166 your attitude is your life,
120 85–89
typography
slab serif examples, 178 dynamic relationships in, 167
slanted text, 204
spacing arrangements, 21,
graphic design is type, 149
list of contrasts in, 215
Z
22, 25 on cheap paper, 144 Zapf Dingbats, 235
clarifies information, 31, 143 reverse type, 144 Zazzle.com, 235
letterspacing, 163
one space after punctuation,
152 U
Principle of Proximity relies underline, don’t do it, 162
on, 28
unity in design, 54
special characters, how to
type them, 158–159
split complement colors, 100 V
stress, illustration of, 176 Van Ness, David, 2
structure, 196–199 vip, visually illiterate person,
basic principle of, 196 221
contrast, 196
different categories of type,
196, 197 W
serif vs. sans serif contrast,
198–199 weight contrast, 192
symbols, use dramatically, 191 White, Jan, 2, 209
white space
by-product of organization,
T 32, 142
tertiary colors, 97 defined, 235
organization of, 17
thick/thin transitions, 176 to create contrast, 140
little or none, 178 trapped
moderate, 176 defined, 235
quiz on, 184 examples of, 24, 50
radical, 177 solutions for, 50
slight in sans serif, 180
widows, 164
Thomas, Jimmy, 72–73
Wildflower Theory of Color,
threefold brochure, 133 106
tints of colors, 102–105 Williams, Cliff and Julie, 126
Tollett, John, 2, 113, 116, 131, Williams, Jimmy Thomas,
219 72–73
tracing paper, using to Williams, Pauline, 151
sketch ideas, 91
Williams, Robin, 240
tracking, 163
Williams, Scarlett, 146
triads of colors, 99
WingDings, 235
true-drawn italic, 202
Tschichold, Jan, 4
typefaces
comparison of color in,
212–213
how to combine, 187–203

239