Twenty Rules for Good Design

1. Twenty Rules for Good Design Inspired by David Jury’s book “what is Typography?” For Advanced Art Course Highland Park Middle School Dallas, TX. David Jury is the Head of Graphic Design at Colchester Institute in the UK. He holds awards of excellence for his typographic work from the New York Type Club, the International Society of Typographic Designers, and ICOGRADA

2. 1.Have a concept Which design better presents its concept?

3. 1.Have a concept • If there is no message, no story, no idea, no narrative, or no useful experience the graphic design is unsuccessful?.

4. 2. Communicate: don’t decorate Which design best communicates the idea?

5. 2. Communicate: don’t decorate • Make sure your design carries meaning, no matter how simple or abstract.

6. 3. Speak with one visual voice Which of these designs have harmonious elements?

7. 3. Speak with one visual voice • Make sure all the elements relate harmoniously to each other.

8. 4. Use two typeface families maximum Which one of these designs type design workers better?

9. 4. Use two typeface families maximum • Choose typefaces for specific purposes. • One type family alone can be used to great effect.

10. 5. Use the one, two punch! Which design focuses the viewers’ attention on one important element first, and then gives you a change to view the rest of the design?

11. 5. Use the one, two punch! • Focus the viewer, the focal point will force the viewer to look at the information.

12. 6. Pick colors on purpose Which of these two designs makes better use of attractive and interesting color combinations?

13. 6. Pick colors on purpose • Know what the colors represent when you combine them and, more important, what they symbolize to the audience.

14. 7. If you can do more with less then do it. Which one of these designs communicates with ease?

15. 7. If you can do more with less then do it. • It is a bit of common sense: the more objects placed into a given space, the harder it is for the viewer to see the message.

16. 8. Negative space in magical – create it, don’t just fill it up! Which design uses negative space as an element to re-enforce the message?

17. 8. Negative space in magical – create it, don’t just fill it up! • It’s often said that negative space is more important than the elements surrounding it?

18. 9. Treat the type as an image. Which example incorporates the text with the overall image to improve the interest of the design?

19. 9. Treat the type as an image. • The notorious “headline/picture/body-copy” strategy seen in countless poster designs

20. 10. Type is only type when it’s friendly Which design is easier to read and understand?

21. 10. Type is only type when it’s friendly • Make it legible and readable. The goal is to have type that is easy to read and be expressive at the same time

22. 11. Be universal. Remember that it is not all about you. Which one of these designs do you feel is more acceptable to the viewer?

23. 11. Be universal. Remember that it is not all about you. • Talking to oneself is the domain of the fine artist. Being universal is the domain of the designer. The designer has to sell their idea to a very large audience.

24. 12. Squish and Separate Which design is more rhythmic?

25. 12. Squish and Separate • Create contracts in density and rhythm by pulling material closer together and pushing other material further apart.

26. 13. Distribute light and dark. Which image has a wide range of tonal value?

27. 13. Distribute light and dark. • Make sure there’s a wide range of tonal value. With out tonal range the design can not live up to its potential

28. 14. Be Decisive. Do it on purpose – or don’t do it at all. Which designer shows more confidence?

29. 14. Be Decisive. Do it on purpose – or don’t do it at all. • Place visual elements with confidence, and make clear decisions about size arrangement, and distance from other elements?

30. 15. Measure with your eyes: design is visual. Which design is more successful visually?

31. 15. Measure with your eyes: design is visual. • The eyes are funny things; they’re often fooled by visual stimuli, the notorious optical illusion. Make sure elements are placed in a way that makes it easy to understand.

32. 16. Create images – don’t scavenge Which one of these designs seems to be original?

33. 16. Create images – don’t scavenge • Nothing is more meaningless than a commonly used instance of stock photography that shows up everywhere

34. 17. Ignore fashion Which designs seem to be following fashion trends?

35. 17. Ignore fashion • Try to produce your design with meaning, not current stylistic trends.

36. 18. Move it! Static equals dull. Which design is less flat in nature?

37. 18. Move it! Static equals dull • People make assumption about 2D visual design, and that is-it’s flat and lifeless! You need to engage the viewer into having a moving experience. Above all, remember that the information must flow clearly to the reader.

38. 19. Look to history, but don’t repeat it. Which design looks like it has been repeated?

39. 19. Look to history, but don’t repeat it • . Design of the past has its place and is important and you can learn from it but make sure you produce your own innovative work.

40. 20. Symmetry is the ultimate evil. Which of these two designs is symmetrical?

41. 20. Symmetry is the ultimate evil • Symmetry does occur in nature but that does not mean it works well for design

42. APPENDIX • Jury, D. (2006). What is Typography? (Essential Design Handbooks). Hove: RotoVision • Koberg, D and Bagnall, J (1981) The All New Universal Traveler: A Soft-Systems Guide To Creativity, Problem-Solving, And The Process Of Reaching Goals. Los Altos, CA: William Kaufmann, Inc.