Journey from Concept to Creation : Design

Balance.

Adman — Wed, 25 Apr 2007 16:41:00 GMT

The fourth graphic design principle I will write about is the principle of balance. Like all principles of design, balance applies equally to the elements within the layout as well as the overall layout. There are two basic types of balance: formal (symmetrical) and informal (asymmetrical).

The concept of formal balance is pretty easy to understand. With formal balance, every item on one side of the page is repeated symmetrically on the other side. Prevalent in ancient Roman and Greek architecture, formal balance is typically used in institutional ads and ads requiring a look of dignity. Formal balance can also be somewhat boring and mundane, especially to recent creative school grads eager to demonstrate their creativity. Nevertheless, the most effective ads are often the simple ones. Remember, the purpose of design is itself quite simple; to communicate your message to the target audience
in the most effective manner possible. Sometimes the most effective manner is to "keep it simple stupid."

One of the most effective ad types is often referred to as the David Ogilvy layout. This layout contains a dominant visual, a headline under the visual, and a two or three column copy block under the headline...black letters on a white (or light colored) background -- along with the logo and contact info which is usually placed at the bottom right hand side. While this may seem simplistic, especially to young graphic designers who are eager to demonstrate their prowess, it has been proven time and again to be highly effective. William Bernbach's Volkswagen ad, discussed in my previous blog, is a classic example. While this "Picture Window" ad layout itself is quite simple, the elements of this 1960 ad design (art director, Helmut Krone) – concept, headline, visual, copy, etc. -- are of exceptional quality. This ad is also a great example of informal balance, especially in terms of the size and composition of the photo. The weight of the typography balances against the light gray color of the photo background… and the small black VW.
Bernbach by the way, has "violated" one of my pet peeve rules by allowing widows and orphans in the body copy. But, upon closer examination his reasoning becomes clear.
He used his "creative license" to balance the weight of the third copy block against the car in the photo... balancing the VW logo with the car in the process.
Informal balance still requires balanced optical weight but
the weight is distributed differently. Informal balance is more dynamic and exciting and it usually results in a more interesting design... and interesting and unusual shapes tend to attract attention. With informal balance, all of the elements are still balanced, but the balance can be distributed in terms of color, value, shape, position, texture and direction.
The use of informal balance requires a higher level of artistic ability than does formal balance. The study of classical art is invaluable in helping to develop a better understanding of informal balance. In the Volkswagen ad, the photo composition of the car uses informal balance (directional balance) beautifully. This technique is used to sell through the "unique selling proposition" of the ad as presented in the “Think Small” headline and copy -- and Bernbach's copywriting was truly masterful.
I would argue, by the way, that the ad uses a combination of both formal and informal balance to achieve its objective. [There is good reason why this ad is considered the greatest ad of all time.] Regardless of the type of balance, the optical center (a point just above center and slightly to the left) should always act as the ads pivot.
There is also a third type of balance – radial balance. This is when all the elements of the design “radiate” from a center point in a circular fashion. Radial balance is a great way to lead the eye into the focal point in the center of the ad.

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Sequence (eye travel).

Adman — Wed, 17 Jan 2007 20:41:00 GMT

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In addition to my interest in reading company mission statements as mentioned in a previous blog, as an advertising executive, I also can’t help myself when it comes to evaluating the visual design of television commercials and corporate videos, magazine advertisements, brochures, web sites, logos, etc. When it comes to design work, I have found it relatively easy to separate the design pros from the “weekend warriors” that I mentioned in my first blog. While professional artists apply design principles to their work instinctively – using them as a guide in evaluating the progress of their work -- inexperienced and untrained “designers” routinely violate design principles.

There are few art directors at the advertising agency or design studio level who did not receive formal training. Those "lucky" enough to get an agency job after graduation typically work an entry level job as an assistant -- pushing the mail cart or going out for burgers for a couple of years prior taking the helm as a designer or art director. There are a handful of top (and quite expensive) creative schools from which top agencies recruit entry level creatives. Three of these (Portfolio Center, SCAD Atlanta and Creative Circus) have campuses in Atlanta and in addition to other creative schools such as The Alliance Theater School, they contribute to a great local talent pool.
Nevertheless, not all persons called on to produce designs or layouts are so fortunate. Many are asked to develop visual graphics without the benefit of formal training – sadly, never having the experience of being sent out to get burgers for the creative staff. But there is hope. These burger deprived “creatives” can improve their design work immeasurably by learning these fundamental design principles…and understanding how to apply them. This brings me to the next principle -- Sequence.
Through habit, the eye moves from left to right and then top to bottom, from big elements to smaller ones, from dark to light, from color to non-color, and from unusual shapes to common shapes. The advertising designer can start eye travel anywhere in the ad and control its direction… left, right, up or down. In a well-designed ad, a directional pattern should be evident. The professional designer takes the reader by the hand and leads him or her through the ad to the climax.
To illustrate this principle, I will point again to my Sunshine Biscuits’ poster. Note how the viewer is guided through the ad with the crayons leading the viewer from the main visual to the headline. While the main visual will attract immediate attention, the crayons help to lead the viewers’ eye into the headline… and the “warm and fuzzy” message which contains the benefit mentioned in previous blogs. In addition, The contrast of white space behind the house tends to focus the eye on the artwork… this is helped a bit by the rays of the sun -- in tandem with the chimney -- which lead the eye into the house. The shape of the door and direction of the crayons then help to lead the eye into the headline. It should be obvious that sequence is closely related to emphasis, as noted in my previous blog.
Officially, there are two more principles left to talk about. I will leave you guessing this time about the next one... This blog reminds me of how the Sunshine Biscuits' marketing director loaded me up with a big box of snacks for "inspiration" while I was creating this poster... so I’ve been thinking about food while writing this and it is definitely time for a healthy snack… no burgers for me… those Cheez-it’s are looking pretty good… or maybe some Krispy crackers and peanut butter… yum.

Emphasis.

Adman — Wed, 13 Dec 2006 21:41:00 GMT

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As I mentioned in my last blog, I consider the principle of unity to be the most important principle of design. I want to reiterate that it extends beyond the unity of shapes to include color, typography, visuals, copy and other factors. I should also point out that these principles affect all art forms; painting, drawing, sculpture, architecture, industrial design and video design. The principles of design are to the artist what the rules of grammar are to the writer.

   By stating that unity is the most important principle, I did not mean to detract from the importance of the other principles -- they are all critical to good design and if any of these principles are violated, the overall design will certainly suffer. In addition to evaluating unity, the creative artist should make a decision as to which design element will be emphasized. Emphasis can be provided by singling an element out, moving it away from the clutter of other elements, making it bigger, bolder or more colorful. The emphasized element might be placed at optical center to ensure its being seen, but it may also be placed elsewhere. The most important rule about emphasis is that all emphasis is no emphasis. Separate elements should not compete for primary attention. Where several items get equal billing, emphasis is cancelled out. In a poorly designed layout, the elements fight for attention. In the poster for Sunshine Biscuits®, there is little doubt that the emphasis is on the child-like house illustration. It is big, bold and colorful. Plus, it has the added benefit of selling the products.
   One challenge in creating proper emphasis can involve dealing with the tendency of clients to want their logo and/or phone number to be enlarged so that it ends up visually fighting with everything else in the ad. David Ogilvy even wrote a poem about this -- “If the client moans and sighs, make the logo twice its size…” While you might have to struggle with the client over this issue, it is your job as the designer to explain what should be emphasized to enhance the effectiveness of the work. In these cases, I try (Lord knows) to convince the client of the need to put the benefit forward as the most important item (see previous blogs). If you are successful in convincing your target market of the benefit, and that the benefit is substantial and worthy with regard to the competition, they will find the phone number all by themselves. The best clients will leave design decisions to the professional designer.
   This brings me to one of the reasons I decided to take this little side trip in the first place. While many designers work in a vacuum, good designers recognize that their work is an extension of strategic planning. The purpose of advertising is usually to sell the benefit via the creative promise (I'll talk about the creative promise in a later blog.). Or, the purpose might be to position the product or service, to enhance the image of the client, and/or to brand the image in the mind of the target market. The principle of emphasis plays a major role in helping to achieve these goals.
   Emphasis applies to all design work…including collateral...and video. The designer should evaluate which element has the highest priority in the design and make it the primary element. As I noted in the last blog, emphasis is closely related to unity. Emphasis is also very closely related to the principle I will talk about in my next blog... Sequence (eye travel).

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Unity.

Adman — Thu, 23 Nov 2006 02:41:00 GMT

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Back in the day, when I played tournament foosball, there were five basic principles that were critically important. The table had to be in excellent shape. If it wasn’t, it was a waste of time and I wouldn’t bother with it. As a matter of fact, only those foosball joints that took care of their tables would establish a reputation and draw the best players around. There were only a handful of foosball joints that seemed to understand this. If the rods were bent or warped it was useless. If they became sticky and wouldn’t spin freely it was equally useless. If the playing surface became dirty or had oversprayed silicone (used for the rods) on it, you couldn’t keep the ball in play. If the balls were chipped or warped they were useless. If the table wasn’t level, playing was an exercise in futility. But, when the conditions were right the foosball table and I became one -- we were unified -- and as I humbly noted in my last blog, virtually unbeatable. This brings me to what I consider to be the most important of the five principles of design – UNITY.

The first mistake I usually notice in a poorly designed ad is a violation of unity. If an ad has unity, all of the elements are tied together and appear to be related. Unity keeps the ad from falling apart. In a unified ad, all of the elements have similar shape, size, texture, color, character and mood. The type in a unified ad has the same character as the art.
I created this giant poster for Sunshine Biscuits® to help promote their Habitat For Humanity® program. The target market was mothers of young kids who would be shopping in Kroger® food stores. (The giant poster was placed in cookies/crackers aisles.) It was featured in the Atlanta Business Chronicle in their special issue on Atlanta's Best Advertising. I will use it as reference in discussing the five principles of design.
White space (negative space) can help provide unity while also giving the ad an interesting shape. Negative space should be to the outside of the ad – ad elements should never be separated with white space; this causes the ad to fall apart. Negative space should not be trapped inside the ad…it needs to have a path outside the ad elements. In keeping with the law of proportion (another principle to be discussed in an upcoming blog) the white space around the edges of the ad should have an irregular shape. This adds interest and attracts
greater attention.
Here is a little trick on how to evaluate unity of design shapes. If you “black-in” all the elements of the ad leaving the negative space or white space alone, the elements ought to look unified. They don’t necessarily have to physically connect but they must relate to each other visually. If there is too much negative space between the elements, they lose unity with each other.
As my foosball analogy illustrates, none of the five principles work in a vacuum…they are all necessary and inter-related. If any one principle is violated, the work will suffer. By the way, in addition to proportion, Unity is very closely related to another principle, “emphasis” which will be the subject of my next blog.

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