A design portfolio should include a selection of a designer’s best work. It should be able to offer the viewer a comprehensive collection of your work and your skills. Presenting your design portfolio is similar to narrating a story—it must be well-organized, easy to navigate, and filled with compelling content.
Although some designers still prefer to showcase their work through physical portfolios, the majority opt for digital portfolios often done using any lay outing or presentation software like Powerpoint or Keynote. There are also a lot of free web hosting sites that you can use to present your portfolio as a website.
Here are some steps to guide your students in building their design portfolio:
• Tailor your portfolio to its purpose; for instance, if you’re applying as an illustrator post, emphasize your illustrations and relevant pieces. For students applying to design schools, review program requirements, which may differ by major.
• Curate your portfolio to highlight exceptional pieces, prioritizing quality over quantity. Avoid including random or unfinished work.
• Organize your content into categories if applicable, making it easier for viewers to navigate.
• When crafting the design description, it’s important to include more than just the size and medium used. Providing a description or context for your work can help the viewer understand its meaning and significance. You can also share your creative process and how you developed the work. Remember that presenting artwork or design without any context can be confusing and unappealing to the viewer.
• If your work is not digital, take photographs of the original or scan it at the appropriate resolution. Ensure that the colour is not altered in the process. Store it in an organized manner either in a clear book or a binder to keep it safe.
• To effectively showcase sculptures, murals, or installation art in your portfolio, ensure thorough photography from various angles, paying close attention to composition and lighting to present your work in the best light.
• Consider using mockups when applicable to present your designs realistically. For example, if showcasing packaging or logo designs on merchandise like shirts, mockups help visualize the final product. Many image editing software and website plugins offer free mockup templates with user-friendly instructions for creating lifelike presentations.
Following each design lesson and assessment, offer students the chance to organize their designs and reflections into a portfolio or presentation format. This allows them to keep a record for future reference or to include in their design portfolios.
In this lesson, we will talk about the design process. In my experience as a designer, I’ve found that having a structured process is crucial for success. Throughout this playbook, I’ve emphasized the importance of having a well-organized font and image collection, which has significantly streamlined my workflow. However, design isn’t just about creating a visually appealing end product; it’s a multifaceted process that begins with understanding the client’s needs through a creative brief. From there, it will involve brainstorming strategies to address those needs, followed by the actual design phase. Afterward, the design undergoes a thorough quality check, and if no errors are found, it is delivered to the client. If revisions are needed, the process loops back to understanding the necessary changes and implementing them.
Achieving great design involves numerous steps, but having a reliable process in place can you and your students create great designs. Because this process is not linear but rather loops back to any of the previous steps, it allows for valuable input from your team, fostering collaboration and effective communication skills.
The Design Process
Here’s my approach to the design process based on my experience as a designer:
Define the Problem: Every design project begins with a creative brief or a set of instructions outlining the project’s objectives and requirements.
Investigate and Research: This phase involves ensuring that the instructions are clear and that all necessary materials are available. If not, you will need to identify where to source them. Depending on the design project, this can also involve researching the brand, target market and
Generate Ideas: This stage involves brainstorming ideas and creating sketches or comprehensive studies of potential designs. If you are working with a team, this is the part where you can brainstorm and collaborate.
Make the Prototype: This is where the actual design work takes place, bringing the chosen idea to life.
Present: When you have completed your design, it’s time to submit it to the client or present it to your team for quality check. However, before doing so, make sure to go through your work and self-check for any errors.
Evaluate and Revise: If revisions are needed, evaluate how to correct or improve the design and proceed with revisions.
The process may cycle back to any stage depending on the extent of revisions required. Major revisions may involve returning to the problem-defining stage. For minor revisions, it may simply require going back to the design stage before progressing to the next steps until the project is completed.
Source: The Design Process in the Art Classroom: Building Problem-Solving Skills for Life and Careers by Robin Vande Zande, Lauren Warnock, Barbara Nikoomanesh & Kurt Van Dexter (2014) The Design Process in the Art Classroom: Building Problem-Solving Skills for Life and Careers, Art Education, 67:6, 20-27, DOI: 10.1080/00043125.2014.11519294
When it comes to design, the visuals and imagery you choose are extremely important. Whether it’s a stunning photograph or a carefully crafted illustration, they are often the first thing that catches the viewer’s eye. The use of imagery in design is crucial because it helps to communicate messages, emotions, and ideas, while also engaging the audience.
Images are not just decorative elements, they serve as a hook that draws viewers in, helping to establish a connection with them and leaving a lasting impression even before they have read a single word. As a designer, It is essential to know how to choose and format images appropriately to effectively communicate and connect with the audience.
In this lesson, we will be discussing the different types of images, namely Raster and Vector. I will be providing relevant sources of high-quality, royalty-free images that you or your students can use for their layouts, posters, and other design projects. I will also offer tips on how to select images and use them to their advantage.
Sometimes, design requirements may require the use of an illustration instead of an actual photograph, or converting a coloured image to black and white to make it more impactful. We will also cover image toning and cropping techniques to make your chosen images more effective. Additionally, we will talk about the use of AI-generated images as useful references.
Lesson Outline
Definitions and Terms
How to select your visuals effectively
Colored or Black and White Image?
How to crop your images
Technical References
Suggested Learning activities
Learning Outcomes
At the end of the lesson educators shall be able to teach their students to:
Understand the importance of visuals and imagery in design, recognizing that designers are the initial point of engagement with the audience.
Learn how to effectively use imagery to convey messages, evoke emotions, and communicate ideas in design projects.
Recognize the difference between Raster and Vector images and their respective applications in design.
Acquire the skill of selecting high-quality, royalty-free images suitable for various design projects.
Gain insights into formatting images appropriately to enhance visual communication and audience engagement.
Explore techniques for converting images between different formats and tones to meet design requirements effectively.
Develop proficiency in image toning, cropping, and other editing techniques to optimize the impact of chosen images.
Understand the potential of AI-generated images as design resources and references in the creative process.
Definitions and Terms
With countless digital images available for download and tons of software to created illustrations, picking the right file format for your project can feel daunting.
Raster VS Vector
A raster image is a digital image that is made up of small, rectangular pixels arranged in a grid pattern to form an image.
The quality of an image depends on how high their resolution is, meaning the greater the resolution the better its quality. Resolution applies to both printed and digital images.
When selecting images, you may need to decide whether they will be displayed on a screen or printed. If your design will be displayed on a screen, such as a website, you only need to consider the screen resolution. To ensure the images in your document look good on a screen, you should make sure they are in 72 PPI resolution. On the other hand, if you plan to print your design output, you need to make sure that the images are 300 DPI in size at 100% of the final output. This will ensure that your images look clear and sharp when printed.
Many kinds of resolution can apply to different media, but let’s just narrow it into two types, print resolution and screen resolution.
Screen Resolution
Screen resolution is measured in PPI (pixels per inch). The optimal on-screen image resolution is 72 DPI. Increasing DPI won’t improve image quality, but will enlarge file size and slow website or file loading.
Print Resolution
Print resolution is measured in DPI, which is the number of ink dots a printer deposits per inch. 300 DPI is the standard print resolution for high-quality output, meaning that the printer outputs 300 tiny ink dots per inch of the print.
A sample of a raster image and how it looks up close.
Vector images are made by using mathematical algorithms that are embedded in software programs. These algorithms establish points on a grid that can be scaled up or down without any loss of quality. Designers use vector files to create vector artwork and illustrations, such as logos, advertisements, and static images. Unlike raster image, you can modify, resize, and scale these vector images without any loss of resolution.
A sample of a vector image and how it looks up close. Notice that edges are sharp even if you zoom very closely.
Below are common vector file types
• EPS (Encapsulated PostScript) • AI (Adobe Illustrator document) • PDF (Portable Document Format—only when saved from vector programs) • SVG (Scalable Vector Graphic)
Color Modes (RGB and CMYK)
As a designer, it’s important to understand the difference between RGB and CMYK colour modes since selecting the incorrect mode can significantly impact the mood and communication of your design. Let’s take a look at the characteristics and differences between RGB and CMYK and know when to use each one in your designs.
The RGB color profile is made up of Red, Green, and Blue hues, which mix together to form a wide range of colors. It’s exclusively used in screen displays like computer monitors, mobile phones, and TVs.
Unlike using ink, RGB works through additive processes, blending light to create color. It’s the opposite of subtractive color processes, like mixing paints or dyes. When all RGB primaries are at full intensity, you get white, and when there’s no color, you get black. RGB offers a vast array of colors; its gamut, or color range, is larger than CMYK.
Always opt for RGB when designing for screens, like digital designs or online ads.
The CMYK color profile consists of Cyan, Magenta, Yellow, and Key (Black), which blend together to generate a spectrum of hues. This four-color process is compatible with any type of printer. When you zoom in on printed images, you’ll notice the four-color dots layered to form different hues and gradients.
CMYK modes operate through subtractive color processes, where all primaries combine to produce a somewhat dark hue, akin to mixing paints and dyes to create that not-so-pretty dark shade as a kid. As inks and dyes are layered onto each other, they subtract from the white of the paper.
Choose CMYK as your color mode when working on printed design materials such as brochures, flyers, business cards, and packaging design.
How to select your visuals effectively
The photo you select plays a significant role in how people view your design and whether they take action on it. Here are ways to effectively choose images for your design projects:
Identify the purpose: Before selecting an image, understand what your project aims to achieve and how visuals can help. Think about how the pictures you choose can help communicate your message, stir up emotions, and get your audience to take action. Whether it’s getting more sales, making your brand more recognizable, or setting a certain vibe, make sure your visuals match your project’s main goals.
In the web banners showcased below, the designer carefully selected images that directly convey the theme of the design.
2. Image quality matters: Viewers associate the quality of your photos with the quality of the product. There are tons of resources to acquire great photographs that can elevate a decent idea into something special. Ensure that your images have sufficient resolution and size to be effectively utilized. When sourcing images from stock photo websites, always give credit as necessary.
See the comparison between the two images below:
3. Make it memorable and relatable: A memorable image sticks in viewers’ minds. Unique coloring effects, creative cropping, and unexpected elements can make an image unforgettable. However, relatability is key. Choose images that resonate with your audience and support your story.
In the selection of social media posts provided below, the designer meticulously chose relevant and captivating photos to capture the attention of their target market effectively.
4. Aim to engage: Engaging designs evoke emotions and experiences. Your image should draw your audience into your design. Understand your audience and brand well to choose engaging photographs. Consider demographics and the perspective of your target market.
In the sample display web banners below, the models featured in the photographs represent the target audience for the showcased product. Additionally, the designer incorporated actual product shots alongside complementary images to enhance the overall design.
5. Expand your sources: Consider using various sources for visuals, including photography, illustrations, collages, or image editing software. If using stock images, ensure they are of high quality or customize them to fit your concept.
In the sample advertisement for a beauty product below, an illustration was creatively employed in lieu of the conventional photograph. This artistic choice not only imbues the ad with a distinctive allure but also elevates the product’s visibility within the spread, making it truly stand out.
6. Be mindful of the brand: Photos should align with your brand guidelines to maintain a cohesive narrative. If using stock images, adjust them to better fit your brand’s tone and style. Pay attention to details like color, tone, and whether the people and props represent your brand appropriately.
In the following example, images undergo manipulation to adopt monochromatic tones aligned with the company’s corporate colors. This strategic decision serves not only branding purposes but also ensures that the images complement and support the content rather than overpowering the page as the focal point.
Colored or Black and White Image?
To ensure that the chosen image for your design project is utilized to its maximum potential, it’s crucial to consider the color mode. Does the design call for a colored image, or would converting it to black and white enhance its impact? Moreover, one must evaluate its suitability for the industry being targeted and its appeal to the intended audience. These are just a few factors to weigh when selecting and leveraging an image to its fullest advantage.
Here are some guiding tips to assist you in selecting the appropriate color mode:
Subject Matter: Different types of imagery suit different subjects. For instance, food photography typically shines in color, enhancing its appeal and mouthwatering qualities. Conversely, images with dramatic undertones often excel in black and white. Consider the defining factors of your image—like color—and let that guide your choice.
The sample image below showcase the visuals for a food product, men’s personal care, and personal care products utilizing natural ingredients. The image on the left, catering to the food product, is presented in vibrant color to enhance its appetizing allure. Meanwhile, the upper-right image, designed for men’s care, adopts a black and white presentation, amplifying its masculine appeal and drawing attention to the central product.
2. Texture and Patterns: Are you aiming to emphasize a product’s texture or a captivating pattern? Monochrome can accentuate texture, drawing the viewer’s attention to intricate details and patterns within the image.
A photograph taken from the exhibit, Angkor: The Lost Empire of Cambodia at the Royal BC Museum.
3. Contrast: Consider how your image will interact with other design elements. Should you adjust colors to maintain harmony with your brand’s palette? Utilize color theory to ensure your image complements the overall design and creates visual cohesion.
Observe how the models dons neutral-colored attire, a deliberate choice to avoid clashing with the vibrant hues dominating the overall design. Additionally, positioning the model facing towards the product enhances the composition, directing focus seamlessly towards the featured item.
4. Final Output: Contemplate the intended presentation format. Will your design be printed? Consider the printing material—whether it’s a black and white ad for a newspaper or a colored ad for newsprint. Adjusting contrast levels or simulating grayscale can optimize the image’s appearance for the intended medium.
In addition to its intended use, it’s crucial to consider the orientation and aspect ratio of the design where the image will be incorporated. Will it maintain its effectiveness if presented horizontally? If the original image is vertical and needs to fit into a horizontal space, ensure the essential elements are preserved and the overall aesthetic remains intact. Additionally, take into account the requirements of various social media platforms; some prefer square images while others favor portrait orientation.
These sample images are tailored for mobile sites and social media posts, featuring close-cropped compositions optimized for small device viewing. Consideration is given to the orientation requirements of each platform to ensure seamless integration and maximum impact.
In conclusion, take the time to explore how your chosen image can be maximized within your design, ensuring it aligns with your project’s objectives and the final presentation format. By carefully considering these factors, you can leverage your image to its fullest potential while enhancing the overall impact of your design project.
How to crop your images
In addition to selecting the color mode, careful consideration of how your images will be cropped is essential to ensure they look their best. While having pre-cropped images readily available is convenient, you can use photo editing applications like Photoshop, Gimp, or other image manipulation apps if your chosen image requires cropping. However, it’s crucial not to crop photos randomly without understanding the purpose and desired effect. Otherwise, you risk diminishing their quality or visual appeal.
These are some techniques that I find useful as a designer:
1. Use the Rule of Thirds – Employing the rule of thirds is a common method for achieving a well-balanced crop. By dividing your frame into three equal sections both vertically and horizontally, you create a grid of nine squares. Aligning key elements along these gridlines ensures effective composition. This principle is frequently observed in film and TV, where subjects often occupy the left or right third of the screen. Additionally, consider exploring the golden ratio, also known as the golden spiral, for alternative compositions.
If you are using an image that comes with a background, frame it in such a way that the subject falls on one of the intersection points of the grid.
2. Crop with caution– Drawing in close to your subject can evoke drama and intimacy, directing focus to specific persons, objects, and product. While close cropping can enhance impact, it’s crucial to exercise restraint. When cropping an image of a person, be mindful in cropping at the elbows, knees, fingers, hips and head. Extreme close cropping should be employed deliberately for specific effects while maintaining overall composition awareness.
Good cropping VS Bad cropping
The image on the left demonstrates the application of the rule of thirds, positioning the subject at an intersection point for optimal composition. It’s cropped effectively to encapsulate the emotion portrayed in the photo. Conversely, the second image was over-cropped, resulting in the loss of essential elements like the bubbles, detracting from the image’s essence. Additionally, cropping at the elbow and fingers was not ideal, as it compromises the integrity of the image composition.
3. Explore and get creative – Experiment with placing your images within different shapes or incorporating creative borders to infuse uniqueness into your visuals. The extent of cropping and arrangement of image elements should be guided by creative direction of your design. Take the opportunity to explore and practice using various image manipulation software.
The image below is intended for use in an e-commerce website. The brushes from the original photos were replace with the actual products. The photo needed to be converted to a square format as well so the foreground and the upper part needed to be extended through photo manipulation using Adobe Photoshop.
An example on how you can crop your photos and place them in containers to highlight the feature of the product.
Technical References
Read/Watch
1. Watch this video about the fundamentals of incorporating images into graphic design. It provides guidance on locating high-quality stock images and offers techniques for editing images through cropping, resizing, and other adjustments
2. Image editing softwares such as Adobe Photoshops enables you to enhance specific aspects of your image, such as color mode, cropping, adjusting contrast. brightness, and saturation.
However, not everyone has access to such software, so here are a few free:
Link – https://zapier.com/blog/photoshop-alternatives-best-free-photo-editors/alternatives.
3. Read- How to Choose Between Color and Black & White (and Why It Even Matters) https://phlearn.com/magazine/how-to-choose-between-color-and-black-white/
4. AI generated images – AI can also be a source of your visuals for a design project.
I employed Padlet, a Generative AI-powered tool, to generate these images and I was pleasantly surprised by the speed and accuracy of the results. While there were some minor inaccuracies, they did not significantly impact the overall quality. I successfully achieved the desired artist-inspired look for my images.
5. Read about How to Choose Diverse and Inclusive Photos – https://www.forumone.com/insights/blog/how-to-choose-diverse-and-inclusive-photos/
6. Read about – Inclusive Imagery: 5 Tips to Create Visual Content for Every Audience in 2022 – https://wiredimpact.com/blog/inclusive-imagery-5-tips-to-create-visual-content-for-every-audience-in-2022/
9. Burst – https://www.shopify.com/stock-photos Free stock photos and royalty-free images
Suggested Learning activities
1. Encourage students to engage in photography or explore various sources for royalty-free images. Guide them in curating a personalized photo collection tailored for their design projects. Prompt them to label and categorize these images to facilitate easy access when required. Emphasize the importance of ensuring that downloaded images are indeed royalty-free and suitable for commercial use. Encourage students to provide appropriate credit if mandated by the source website.
2. Ask students to capture images of various subjects around the school. Printing them in black and white is acceptable. Prompt them to evaluate each image and apply their knowledge of proper cropping techniques. Did the composition adhere to the rule of thirds? Would a different orientation, such as vertical instead of horizontal, enhance the photo? Are there any distracting elements diverting attention from the main subject?
3. Task students with using a free photo editor to manipulate the image into a different color mode, such as monochrome or black and white. Encourage them to consider the following questions: Did the change of color mode made the image more impactful? Did it enhance its appeal? Prompt them to experiment with adjusting brightness, saturation, and contrast to further refine the image.
Layout and composition are essential components of design that provide a structure to your work and enable easy navigation. They guide the viewer from the margins to the main content. Composition is important as it determines how your content is organized. Whether it involves text, images, or graphic elements, having a well composed layout is crucial for coherence in your work. Without it, your work would lack organization and clarity. Oftentimes, designers who are just starting tend to focus on learning design software before they learn the basic principles and fundamentals of design. However, to become a great designer, one should prioritize learning the foundations first.
To become proficient in layout and composition, it is important to develop a designer’s mindset, which may sound intimidating but is actually achievable. There are seven key principles that can enhance your work and improve your design sensibilities. Remember to keep these principles in mind as you start your next project and strive to implement them effectively. Seven fundamental principles of design
Definition and terms with samples on how to implement the seven fundamental principles of design
Technical References
Suggested Learning Activities
Learning Outcomes
At the end of the lesson educators shall be able to teach their students to:
Understand the importance of layout and composition in design, recognizing them as foundational elements that provide structure and facilitate navigation within visual compositions.
Identify the significance of composition in organizing content, whether it involves text, images, or graphic elements, to ensure coherence and clarity in design work.
Develop a designer’s mindset by familiarizing oneself with the seven key principles of design: proximity, space, alignment, contrast, repetition, hierarchy, and color.
Apply the seven fundamental principles of design effectively in design projects to enhance visual appeal and improve design sensibilities.
Definition and terms
1. Proximity – Proximity is a design principle that aims to establish a visual relationship between related items in your content. It’s simple to apply as all you need to do is group items that are related, like text blocks, images or graphic elements, as shown in the example below.
This technique enhances the clarity of your work, whether it’s composed of text only or incorporates visual elements.
Below is another instance demonstrating the application of the proximity principle.
2. White Space – White space, also known as “negative space,” refers to the empty areas within a design that do not contain any elements. Novice designers often feel compelled to fill every pixel with some form of “design,” disregarding the significance of white space. However, white space has several crucial functions in a design, primarily allowing elements room to breathe. Additionally, negative space can accentuate specific content or parts of a design, enhancing clarity.
In addition, it aids in the legibility of elements within a design. For instance, typography becomes more readable when both upper and lowercase letters are used, as negative space varies more around lowercase letters, making it more readable.
In certain instances, negative space is used to create secondary images that may not be immediately discernible to viewers, contributing to branding strategies.
Below is another excellent demonstration of white space utilization:
3. Alignment – Alignment is an important concept that has an impact on various aspects of our daily tasks, even if we are not always aware of it. When we create emails or documents, text alignment is automatically applied. However, aligning objects such as images or text boxes can be difficult when done manually. It is important to maintain consistency to practice alignment.
Organizing content within a grid structure can help achieve proper alignment. Find a strong alignment that works for your design and stick with it, inconsistent alignment can make your design look disorganized.
4. Contrast – “Contrast” in design refers to the difference between adjacent elements. This difference in visual characteristics makes certain elements stand out and catches the attention of the viewer. Apart from this, contrast is also a crucial factor in making designs accessible. Insufficient contrast can make it difficult to read the text content, especially for those with visual impairments.
When a client say they wants a specific element to “pop”, it generally means that it needs more contrast from the other surrounding elements.
In the example below, the designer used a subtle gray font color and an accent to highlight the main ingredient of the product, making the actual photo of the product stand out.
5. Repetition – Repetition can be an effective technique to reinforce an idea and create a cohesive design that combines various elements. It can be achieved by repeating colors, typefaces, shapes, or other design elements. Beyond reinforcing a concept, repetition can also contribute to establishing the overall look and feel of a design.
An example of product shot applying the principle of repetition.
6. Hierarchy – Hierarchy in design refers to the relative importance of different elements within a layout. The important part of the content should be emphasized so that it appears to be the most significant.
One of the easiest ways to illustrate hierarchy in design is by using titles and headings. The page title should be given the most prominence, and be immediately recognizable as the most significant element on the page. Headings and subheadings need to be formatted in a way that highlights their importance to one another, as well as the title and the body copy.
7. Colour – Learning the basics of color is essential before starting any design project. This includes understanding colour theory and psychology. Mastering the use of colour in design can help grab attention and make your work stand out.
Packaging design featuring vibrant colors to evoke a tropical summer theme:
Technical References
Read/Watch
Watch the video below to learn more about layout and composition.
The fundamentals of design such as lines, shapes, textures, and balance, are ubiquitous in visual creations. They serve as the foundation for all visual content. Initially, these basics may seem daunting, especially if you don’t consider yourself a designer.
However, understanding these fundamentals is simply about grasping each component and leveraging it effectively. This knowledge is invaluable for various projects, whether you’re crafting graphics or enhancing designs. It’s essential for designers, regardless of their experience level, to comprehend how design elements and principles interact and to apply them purposefully in their projects to achieve visually appealing and functional result.
Lesson Outline
Definition and terms with samples on how to implement the fundamentals of design to enhance your designs.
Technical References
Suggested Learning Activities
Learning Outcomes
At the end of the lesson educators shall be able to teach their students to:
Develop a thorough understanding of the fundamental elements of design, such lines, shapes, textures, and balance, and their significance in visual compositions.
Gain proficiency in applying design fundamentals to enhance the aesthetic appeal and functionality of various design projects.
Engage in learning activities aimed at practicing and reinforcing the application of design fundamentals in real-world design scenarios.
Cultivate the ability to recognize and analyze how design elements and principles interact within visual compositions, facilitating intentional and purposeful design decisions.
Develop creative problem-solving skills through the application of design fundamentals to address design challenges effectively.
Definition and terms
Line – A line is a connection between two or more points. They can vary in thickness, waviness, or jaggedness. Lines are often found in design, in drawings, illustrations, infographics, maps, and graphic elements like icons, textures and patterns. They are also used in simpler compositions to add emphasis, to organize and add appeal. When working with lines, consider its characteristics such as weight, color, texture, and style, as these subtle variations significantly influence design perception and their purpose. Explore how lines manifest in unexpected places, such as within text, where experimenting with different qualities can yield diverse outcomes.
In the example below, Lines are used to point the important parts of the product.
2. Shape – Shapes are two-dimensional forms that are closed areas with defined length and width. They can take various forms such as circles, squares, and triangles, and are categorized into two main types: geometric and organic. Geometric shapes are characterized by regularity, while organic shapes exhibit fluid contours. Artists and designers use shapes as foundational components in rendering images visually and conceptually. By applying shading techniques, shapes can be imbued with the illusion of depth, making them resemble their three-dimensional counterparts and forms.
Shapes are essential in visual communication as they help recognize symbols from street signs, abstract art, and other images.
In everyday design, shapes are essential for organizing content, creating illustrations, and enhancing visuals. They form the basis of various elements and hold significant importance.
In the example provided below, I utilized a variety of shapes to highlight and depict relevant data:
3. Form – When a shape becomes three dimensional, it is known as form. Forms are present in sculptures, architectural structures, and various three-dimensional objects. Forms can also be suggested through artistic techniques, utilizing elements such as light, shadow, and perspective to create a sense of depth.
Even in less realistic forms such as illustrations, artists use similar techniques to give the impression of depth. A simple shadow can create the illusion of layers or provide context to an object by giving it a sense of spatial placement.
In the example below, a Rubik’s Cube was used to suggest a mix-and-match approach when selecting tiles for your home.
4. Texture – Texture pertains to the tactile quality of a surface. It can be an integral part of a three-dimensional object. In design, texture adds depth and tactile sensation to otherwise flat visuals. Surfaces may convey smoothness, roughness, hardness, or softness, depending on various elements at play. Textures make excellent background elements and add considerable intrigue to creative endeavors. However, it is important to exercise caution to avoid excessive texture as it can quickly overwhelm the viewer.
In the sample poster below promoting a sports tryout event, the background resembles a grass texture of a sports field, subtly evoking the theme of athleticism and sportiness:
5. Balance – Balance in design refers to the equal distribution of visual weight, which can be influenced by various factors such as color, size, quantity, and negative space. Achieving a balanced composition can be challenging for beginners, as it relies heavily on intuition.
Symmetrical designs are characterized by the presence of identical or similar elements on both sides of an axis, creating a sense of balance and harmony through uniformity. On the other hand, asymmetrical designs use different elements to create a balanced composition, without necessarily maintaining perfect symmetry. This is achieved by strategically placing contrasting elements to draw attention to focal points, resulting in an overall sense of balance and visual interest.
6. Rule of thirds – Many designers and photographers use a technique called the rule of thirds. This method involves dividing the workspace into a 3×3 grid and placing the focal point on or near one of the grid lines. This creates a visually pleasing composition that is easy for the human eye to follow. Research suggests that people naturally follow this orientation when viewing a design.
In the example below, the product is strategically positioned at one of the intersection points of the grid, ensuring that viewers are immediately drawn to it.
To create shapes, lines, and forms, you’ll need vector graphic tools. While Illustrator is widely accepted in the industry, there are also other open-source and affordable alternatives available for you and your students to explore and practice creating vector graphics.
Create Icons – Using what they have learned about the fundamentals of design ask your students to create an icon. Icons are images that visually represent individuals, locations, or objects. Unlike pictograms or symbols, they are more realistic and need to closely resemble their subject to be universally understood. Icons are often used on signage, mobile devices, the internet, and in places where instructions or information needs to be communicated without the use of words.
No software is required; a graphing notebook or pad and pen will suffice. Utilizing their understanding of color, instruct them to add meaning through coloring.
Teaching the intricacies of colour and its application in graphic design can be a daunting challenge due to its expansive nature. However, using its inclusion in high school art classes can makes it easier to teach. Instead of just studying colors in paintings, this playbook’s approach focuses on understanding colors in design. It serves as a connection between traditional art courses and practical design applications while traditional visual arts courses delve into colour through analysis of various paintings and artworks, these lessons focus on dissecting colours within the context of design applications.
Understanding colour in design is crucial for aspiring designers for several reasons. Colour communicates messages, emotions, and intentions that vary culturally, socially, and psychologically. Colours define brand identity, establish visual hierarchy, and enhance aesthetic appeal. In digital and product design, colour choices impact usability and accessibility. Designers must be mindful of cultural nuances to avoid conveying unintended messages. Learning colour theory empowers designers to create compelling and culturally relevant designs.
This lesson will include a review of the colour theory, colour harmony, psychology of colour, as well as suggested activities that students can do to apply what they have learned. While these principles might be familiar to educators, my focus is on demonstrating how they relate to practical design output and, more importantly, how they apply to various design solutions and products. Lesson Outline
What is Colour?
The Colour Wheel
Definitions and Terms
Colours in Context
Colour Temperature
Colour and the environment we live in
Colour Blindness in design
Technical References
Reflection and guiding questions
Suggested Learning Activities to support this lesson
Learning Outcomes
Upon completion of this lesson, educators will be able to teach students to effectively apply principles of colour theory and harmony in the creation and revision of advertisements, demonstrating an understanding of effective colour usage.
At the end of the lesson, educators will be able to teach students to develop the ability to discern and select cohesive colour palettes that harmonize effectively, enhancing the visual impact of their designs.
Through exploration of various colour combinations, educators will be able to teach students to gain insight into the intricate relationships between colours, enabling them to make informed choices in their design work.
Content
What is Colour?
Our eyes perceive colour as a result of light bouncing off objects and entering our eyes, which then interpret the combinations of light to create colour.
What is Colour Theory
Colour theory is the study of the principles of colour, both in science and art. It explores colour in relation to other hues and its measurements. Colour theory sets the foundation for artists to work with colours. However, it’s important to note that these principles are not absolute rules. They should be used as guidelines and not restrict your creative process. The logical structure of colour theory can be divided into three categories – The colour wheel, colour harmony, and colours in context.
Why is Colour Theory important?
Colour schemes play a vital role in branding, promotion, and sales. The right colour can make your brand stand out and attract your target audience. Understanding colour associations and avoiding poor colour combinations can help you create effective ads, make better branding decisions, and boost your sales. So, use colour theory to your advantage and create a brand that resonates with your audience.
1 – The Colour Wheel
The colour wheel is a vital tool for selecting colour schemes. It displays primary, secondary, and tertiary colours alongside their associated hues, tints, tones, and shades. Mixing white, black, and gray with the original colours creates brighter, lighter, softer, and darker colours. This allows you to experiment and create unique colour schemes for your projects.
Definitions and Terms
Hue
The term ‘hue’ refers to the quality of colour that distinguishes it from other colours. It is essentially what colour you are specifying. Hue also refers to the dominant wavelength of colour out of the 12 basic colours. For instance, the hue of crimson is red.
Saturation
Saturation refers to the intensity of colour, or how pure a colour is. A high saturation indicates a very bright colour, while desaturation refers to a washed out or grayed out colour.
Varieties of Colour
Tints are colours created by adding white to a hue.
Shades are colours created by adding black to a hue.
Tones are colours created by adding grey to a hue.
Primary Colours
Red, blue, and yellow are considered “primary” colours because they cannot be created by combining other colours. They are the most fundamental and basic colours. Because they are the foundation of every colour, they can be mixed to create a vast range of colours.
Secondary colours are created by mixing two primary colours and are located between them.
Tertiary Colours
These colours are a blend of two secondary colours and are positioned between them in the colour wheel.
Colours in Context
Colour Harmony
Understanding colour theory can be achieved by first comprehending the significance of colour placement on the colour wheel and how it affects colour harmony. Warm colours, such as red, orange, and yellow, are associated with heat, fire, the sun, and blood. They are energizing in nature and create a feeling of excitement, movement, or passion. On the other hand, cool colours, such as blue, green, and purple, are associated with cold, night, stillness, despair, and sadness. They evoke feelings of peace or serenity and can be calming. It is important to note that the use of warm and cool colours can greatly impact your visual product.
Colour Schemes
Complementary Colours
Opposite colours on the colour wheel are known as complementary colours. Because they are far away from each other, they create a dissonant relationship. When placed side-by-side, complementary colours can produce a lot of contrast, but we need to be cautious because it can be overwhelming to the viewer if used excessively. Additionally, complementary colours can easily compete with each other and create visual chaos. Therefore, it’s best to use one colour as a dominant shade and the other as an accent colour.
Alice in Wonderland movie poster using this color scheme
Analogous Colours
On the colour wheel, a combination of two to four colours that sit adjacent to each other is known as an analogous colour scheme. These colours have a harmonious relationship due to their close proximity. Even though they are considered to be a calm and relaxed combination, it is still recommended to choose one colour as the dominant and use the others as accents.
Gobble packaging box using this color scheme
Triadic Colour scheme
To follow the triadic colour scheme, one needs to pick three colours that are equally spaced on the colour wheel. Despite their even distance, the colours may not always create a harmonious effect if not used properly. Therefore, it is still recommended to use one colour as the dominant and the other two colours as accents. This will help to create a visually appealing and balanced colour scheme.
The Burger King logo is great example of how to use this color scheme effectively
Square Colour Scheme
For this colour scheme, we’ve used four colours that are equally spaced around the colour wheel, similar to the previous one. However, it’s important to note that the proximity of the colours can create patterns, but the use of more than one can cause dissonance. Therefore, we recommend you handle the colours with care and stick to the one dominant colour rule.
The colours used in this outfit are striking, an effective example of how to use the square color scheme. (Image AI generated)
Tetradic (rectangle) Scheme
When it comes to utilizing colours in a painting, there are various methods that a painter can follow. One such method is the use of four hues, just like a square, where the colours are arranged in a manner that creates two complementary colours. While this method may be tricky to implement, it offers a lot of variety to the painter. However, it is recommended to follow the one dominant colour rule, which guarantees the best results. Additionally, when using the tetradic colour scheme, one should always consider the colour temperature.
Living room designed and furnished using this color scheme. (Image AI generated)
Split Complementary Colours
When using a three-colour scheme, it is recommended to have one base colour and two additional colours that are adjacent to the base’s complementary colour. However, it is important to be careful with the proximity of these colours to avoid unwanted dissonance. Therefore, it is recommended to follow the one dominant rule.
The New Yorker Magazine cover using this color scheme
The Monochromatic Colour Scheme
This scheme is based on one colour and its variations, achieved by adjusting saturation and brightness through addition of white, black, or gray.
A scene from the 2014 film The Grand Budapest Hotel by Wes Anderson
Colour Temperature
Colour Temperature
Colour temperature, in the context of colour theory, refers to the warmth or coolness of a colour. Warm colours, such as red, yellow, and orange, are generally bold and vivid. They tend to appear closer to the viewer, while cool colours, such as green, blue, purple, white, and gray, are considered calm and soothing in nature.
Cool colours tend to recede in space and create a sense of depth. For example, distant mountains might appear a cooler blue or purple, while objects in the foreground might have warmer notes. Artists can use warm and cool colours to create realistic and exciting works by understanding the temperature of a colour in the subject and using it accordingly in their paintings.
Warm Colours
Warm colours, in the realm of art, are those hues that impart a sense of warmth, such as red, orange, and yellow. These colours are often associated with fire, the sun, and heat. They can create an atmosphere of intimacy and excitement and make an area feel closer.
Colours: Red, orange, red orange, yellow, yellow-green, and red-violet. Mood: Excitement, liveliness, joy, anger, love or passion. Association: Summer, fall, fire, anger, and blood. Property: They have a tendency to be more dynamic and colorful, thus attracting the attention of the viewer.
Cool Colours
In art and design, cool colours refer to hues that create a sense of coolness. These colours include blue, green, and pale purple. They are often associated with water, grass, and sky. The use of these colours can create a sense of distance and make an area appear further away. They are also capable of making a space feel more serene and calming, although they might also be associated with sadness and depression.
Colours: Blue, green, blue-green, violet, and blue-violet. Mood: calm, serenity, sadness, stillness, death, and shadow, . Association: Water, Ice, Sky, and Winter Property: They create a calming effect on the viewer due to their receding and relaxing nature.
How to use warm and cool colours in art and design
Now that we know all about warm and cool colours let’s look at how to use them.
Use warm colours to attract attention – The most important part of a piece is the focal point, where you want the viewer’s eye to be drawn. Warm colours can be used to attract attention to this area.
Use cool colours to create a sense of space – If you want to create the illusion of depth or distance, use cool colours as they tend to recede, while warm colors come forward.
Use warm and cool colours to create contrast – This will add visual interest. Warm colours create contrast in cool palettes.
Be careful to consider the relative colour temperature. – The colours around a particular colour can affect the way it looks. So, when choosing a warm tone, you don’t necessarily have to stick to reds, oranges, and yellows. Even a blue with a slight tint of violet can be the warmest colour in your design, while still having all the warm tone properties.
Colour and the environment we live in
We have covered various aspects of colour including its definition, different characteristics, colour schemes and psychology. However, sticking to these guidelines can sometimes become tedious. Even the most skilled designers can face a creative block when it comes to selecting a new and exciting colour scheme for a project.
One way to find unique and creative colour combinations is by looking at the natural world around us. Nature offers some of the most fascinating colour combinations. Therefore, go outside, explore, and get inspired!
Notice the analogous colour of the plum blossoms, the complementary colours of the peacock’s plumage. Nature is indeed amazing!
Colour Blindness in Design
source: https://www.aoa.org
Did you know that 1 in 12 men and 1 in 200 of women worldwide are colour blind? If you have students who have this condition and wants to pursue a career in design, there are tons of information that you can share with them to make their journey easier, visit the website below for further information:
Colour Blindness should also be one of the considerations when designing visuals and making colour choices.
Here are some design tips to consider to make your design inclusive:
Many color blind individuals can’t perceive red, which is often used for danger. Consider incorporating textual or shape cues to reinforce the message.
Color blind individuals struggle with certain hues but can discern differences in saturation and shade. This influences how you blend marketing colors.You can avoid fully saturated complementary colors like red-green. Instead, use lighter shades for better differentiation.
Adding texture to similar colors helps, especially in charts and graphs. Consider using a different tone or adding a border.
Other helpful websites about Color blindness in Design
How To Use Color Blind Friendly Palettes in Your Design – https://venngage.com/blog/color-blind-friendly-palette/
A Designer’s Guide for the Color Blind – https://medium.com/kubo/seeing-the-unseen-a-designers-guide-for-the-color-blind-8a6da64fe14c
Technical References
Although design softwares, such as Adobe Indesign or open source ones like Affinity Publisher or Gimp can be an option to complete the suggested learning outcomes for this lesson, there are a lot of resourceful ways for your students to complete the activity. The important thing is the actual application of the concepts that is taught. Here are a few suggestions:
Hand drawn Illustration
Collage or cutting and pasting of illustrations or photos from magazines or newspapers
Read/Watch 1. Watch this video to learn more about the basics of using color in graphic design
In this video, you will learn about the color wheel and color harmony concepts, which are crucial for selecting colors that are visually pleasing, coherent, and impactful, resulting in an effective design. Additionally, the video covers common color mistakes and provides instructions on how to choose the right color and find inspiration.
2. Read this blog to learn more about colour psychology https://visme.co/blog/color-psychology-in-marketing-the-ultimate-guide/
Color tools for color palette, schemes, combinations and even gradients https://www.sitejet.io/en/article/15-of-the-best-color-tools-for-designers
Color Tools And Resources https://www.smashingmagazine.com/2021/07/color-tools-resources/
13 Useful Resources for Color Palette Inspiration https://glorify.com/learn/10-helpful-resources-for-color-palette-inspiration
Reflection and guiding questions
The Starry night by Vincent Van Gogh
Find one well-known Painting or Take a look at the brand logos of well-known brands. Try to identify the colors used by the designer or artist.
Here are a few guiding questions to help your students reflect on their observations: – What colors did the artist or designer use? – Can you identify the color scheme used by the designer or artist? – Based on the lesson about color psychology, why do you think they used that particular color combination? – What emotions or reactions do you think the artist or designer is trying to evoke?
Learning Activities to support this lesson
When teaching secondary students about colour in graphic design, it’s important to engage them actively and creatively. Here are some activities you could consider:
Hands-on Colour Mixing: Provide students with paint or digital tools to physically mix colours and observe the results. This hands-on approach helps them understand the principles of colour theory firsthand.
Materials – Goauche paint, Poster Colour
Colour Wheel Exploration: Have students create their version of the colour wheel, either digitally or using physical materials. Encourage them to experiment with primary, secondary, and tertiary colours, and discuss the relationships between them.
Practical examples: Show students examples of effective graphic designs that use colour well. Analyze advertisements, posters, and other visual materials to identify how colour contributes to the overall message and impact.
Materials – Magazines, Websites, actual samples of posters, flyers, brochures
Colour Psychology Discussions: Discuss the psychological effects of different colours and how they can influence perception and mood. Encourage students to consider the emotional impact of colour choices in their designs.
Technology Integration: Integrate digital tools such as graphic design software or online colour palette generators into the curriculum. This allows students to explore colour theory concepts in a contemporary context and develop practical skills for digital design.
By incorporating a variety of instructional strategies, you can create a dynamic and engaging learning experience that effectively teaches secondary students about colour in graphic design.
Typography is the skillful arrangement of text to create a visually pleasing and easy-to-read composition, serving as a fundamental component of design. Designers utilize typography to organize typefaces within a user interface, ensuring readability, scalability, and aesthetic appeal. Effective typography enhances a product’s visual appeal, improves user-friendliness, and positively impacts brand perception.
Typography is fundamental to every form of design, and choosing the right typeface and font is critical to the success of any project. While you may excel in colour selection, creating balanced layouts, and perfecting composition, neglecting font choice can undermine all your efforts and hinder your objectives.
Reflecting on my early days as a designer, I recall how typography often took a backseat in my process. Many designers, especially beginners, tend to prioritize visuals and imagery over typography. However, this shouldn’t be the case. The ability to select the right typeface and font is a skill in itself, as not all fonts are created equal, as the saying goes.
To delve into this topic, let’s explore common typographical terms and discuss strategies for selecting and pairing fonts. By continuously experimenting and learning, we uncover one of the most crucial aspects of design: typography.
Lesson Outline
Definitions and terms
How to select and combine Typefaces
Other relevant terminologies to remember
Use and application of typography
Inclusive typography
IndigenousTypography
Technical References
Reflection and guiding questions
Suggested Learning Activities to support this lesson
Learning outcomes:
At the end of the lesson educators shall be able to teach their students to:
• Recognize how typography affects readability, scalability, aesthetics, and brand perception, and how effective typography enhances product visuals and user-friendliness.
• Identify key typographical terms and their importance in text appearance and readability, including typeface, font, size, weight, width, italics, kerning, tracking, leading, and hierarchy.
• Explore typeface classifications and variations. Identify and explain uses for serif, sans-serif, and display fonts. Recognize variations within typefaces, such as size, weight, width, and italics, and explain their impact on text presentation.
• Learn how to effectively utilize typography to enhance brand recognition, user engagement, and decision-making. Acquire strategies for organizing elements, establishing hierarchies, and guiding reader attention through font selection.
• Apply typography principles in design: Implement best practices for combining and pairing typefaces to create visually appealing compositions. Develop practical skills in selecting fonts tailored to specific design purposes, considering tone, readability, and legibility.
• Develop critical thinking and design skills: Analyze and evaluate typography’s effectiveness in diverse design contexts. Apply knowledge and skills to make informed decisions regarding font selection and typography in design projects.
Definitions and terms
Typeface VS Fonts
The distinction between font and typeface lies in their relationship. A typeface encompasses a set of characters with a shared design, like Helvetica. However, within the typeface, there are different fonts, each varying in weight, style, and size, such as Helvetica Regular in a specific size.
Typeface
Typeface encompasses the entire family of fonts, each varying in size and weight. Confusion often arises because it is often used interchangeably with the word font. While this might not be a major concern it matters especially when discussing design projects. For instance you’d have to communicate to someone about the font used, you will likely seek specific details, such as the exact font like “Roboto Medium 9 point,” rather than just the typeface “Roboto.”
Therefore, what we commonly call a font is typically a typeface, such as Times New Roman or Montserrat.
There are several different typeface classifications, including:
Serif – Serif typefaces feature small lines or embellishments at the ends of letter strokes, whereas sans-serif fonts lack these additions. Serif examples include Times New Roman, Georgia, and Baskerville, while sans-serif examples include Arial, Helvetica, and Calibri.
Examples of Serif typefaces
San Serif – Sans serif typefaces are viewed as more contemporary compared to serif typefaces. They lack the distinguishing strokes of serif typefaces, hence the use of the French word “sans,” meaning “without.” Sans serif typefaces are frequently chosen to convey cleanliness, minimalism, friendliness, or modernity.
Examples of Sans Serif typefaces
Display Typefaces – Display typefaces come in various styles, such as script, blackletter, all caps, and decorative variants. They are best used for limited text, such as titles, headers, and designs that need a strong visual emphasis. Display fonts are ornamental and not intended for use as body text.
Examples of Display typefaces
What is a font?
A font provides a more precise definition of the text style by specifying both its size and weight within a typeface. For instance, consider the typeface Helvetica Neue:
• Helvetica is a typeface • Helvetica Regular and Helvetica Bold are two distinct fonts under the typeface Helvetica
Here are ways that fonts of the same typeface can vary from one another:
Size – Font size is the height of a typeface and is measured in points, where one point equals 1/72nd of an inch. It determines the visual prominence of text on digital platforms like computers and websites. Technically, a font in two different sizes are different, even when the typeface is identical. That’s right—Gotham 12 pt and Gotham 16 pt are two distinct fonts.
Weight – Weight refers to the thickness of a typeface’s stroke in a particular font. While regular and bold are commonly known weights, the range can extend from very light to very heavy.
Letterform width – Spacing further highlights the difference between typefaces versus fonts. There’s a whole range of letterform widths: compressed, condensed, semi-condensed, narrow, normal, extended, extra extended, and expanded. Just like font weights, different widths indicate different fonts.
Italics – Italic is a font style characterized by a slanted appearance to the right. It’s commonly utilized by writers to emphasize specific words or phrases. Additionally, it can denote a character’s speech or highlight stressed words. Italic type is also suitable for foreign language words or the titles of longer works such as novels or films.
How to select and combine fonts
When to use Serif Fonts Serif fonts are often chosen for their authoritative and professional appearance, suggesting a sense of history or experience. They are reminiscent of typewriters and are still used by longstanding institutions like The New York Times. These fonts can give a vintage feel and are used to evoke earlier eras. Additionally, serif fonts enhance legibility, especially in small text sizes, making them ideal for body copy in printed materials.
When to use Sans Serif Fonts Sans-serif fonts are typically associated with modern typefaces, with Futura being one of the first popular sans-serif fonts, followed by Helvetica. Sans-serif fonts are often preferred for situations where space is limited, such as signs, apps, and map labels. However, certain sans-serif fonts, like Arial and Helvetica, are also suitable for longer passages of text known as body copy, although there are some exceptions.
When to use Display Fonts The primary purpose of this typeface is aesthetics rather than readability, making it commonly used in brand names, logos, and short titles. Decorative typefaces are ideal for expressing additional personality, emotion, and uniqueness through font selection.
Font Selection Best Practices:
Identify Purpose and Message – Determine the intended use of the font. Select a typeface that reflects the desired message and tone.
Prioritize Legibility – Choose a body font that is easy to read and legible.
Effective Pairing – Avoid pairing similar fonts; opt for complementary styles like pairing a Sans Serif with a Serif font. Experiment with tracking to alter font appearance.
Understand Typeface Usage – Understand the appropriate usage scenarios for the selected typeface. Tailor font choice to match the message being conveyed.
Simplicity and Clarity -Limit the number of fonts used per project; aim for two fonts for clarity.
Organization for Efficiency – Create a collection of typefaces categorized by suitability and industry. Maintain collections for headline, subheading, and body copy fonts, and categorize fonts based on industry suitability for efficient access and use.
Other relevant terminologies to remember
Kerning – Kerning refers to the spacing between letters or characters. Adequate kerning ensures that letters or characters don’t appear too close together. Insufficient kerning can lead to misinterpretation of text by readers.
Tracking – The adjustment of spacing between letters is known as tracking or letter spacing. Typically, positive tracking is applied to create a more open and spacious layout. As text size increases, letter spacing also increases, necessitating a decrease in tracking. Conversely, for smaller text sizes, tracking needs to be increased.
Leading – The space between two lines of text is referred to as line spacing or leading. By adjusting the leading of a paragraph, we can add visual appeal and establish hierarchy.
Hierarchy – Hierarchy guides readers by using different levels of emphasis to show them where to start and where to go next. To establish hierarchy, make the most important items stand out by using larger, bolder, or different styles. Keeping it simple with just a few complementary styles is key.
Use and application of Typography principles
Here are a few examples of design output where effective font selection and pairing are put into practice:
Magazine Cover – Display Typeface for the Magazine Title, Serif font for the headers and Sans serif font for the short description of the articles
Menu – Display Typeface for the header and simple sans serif for the body copy
Fashion Poster – Bold Serif font to highlight the promotion and thin sans serif for the details
Inclusive Typography
We can educate our students to design with empathy, promoting inclusivity and accessibility in their designs. Similarly, as educators, we can tailor our learning resources to create an inclusive and welcoming environment for all learners.
By teaching aspiring designers to be able to carefully choose the right font, we can make sure that everyone, regardless of their neurodiversity, can access and benefit from the material.
Here are ways where we can practice inclusivity and empathy through typography:
Research shows that fonts with more natural and easy-to-read shapes, like those with unique forms for letters like ‘b’ and ‘d’, such as Century Gothic, Trebuchet, Calibri, Open Sans, and Tahoma, can be helpful for individuals with dyslexia.
2. Fonts with small decorative strokes, known as serifs, can be harder to read for neurodiverse people. They tend to prefer simpler, sans-serif fonts like Arial. Roboto or Helvetica which have cleaner lines and shapes.
3. Some individuals with neurodiverse conditions may find fonts that resemble handwriting, such as Comic Sans, appealing. However, these fonts can cause confusion between certain letter combinations. Fonts where each character occupies the same amount of space, such as Consolas or Courier New, are more suitable for neurodiverse readers as they can minimize confusion between letters.
4. Specific fonts, like Open Dyslexic and Dyslexie, are designed to be easier for dyslexic individuals to read.
5. The size of letters, especially the parts that stick up or down (called ascenders and descenders), is also important. Since dyslexic readers often rely on recognizing the shapes of words, shorter ascenders and descenders can make words harder to decipher and slow down reading.
6. Text size matters as well. Neurodivergent individuals should be able to adjust text size to suit their needs. Having a line spacing of at least 1.2 and sometimes increasing the space between characters can make reading easier for neurodivergent students.
Did you know that the province of British Columbia has its own custom typeface? BC Sans (2.0) is an open-source font created specifically for government use to enhance the legibility and accessibility of digital services. It was crafted to accommodate unique characters and syllabics present in Indigenous languages within British Columbia. BC Sans is mandated for implementation across all existing and future government webpages on gov.bc.ca, as well as on government services not hosted within the gov.bc.ca domain.
Similarly, The Philippines also have their own indigenous script called Baybayin, also previously referred to as alibata. It falls under the category of Brahmic scripts, specifically an abugida. Historically, it was extensively utilized in Luzon and various regions across the Philippines from the 16th to the 17th centuries until it was supplanted by the Latin alphabet during the era of Spanish colonization.
Efforts to promote Baybayin, the indigenous script of the Philippines, are gaining momentum nationwide. The National Museum and Commission on Culture and Arts have dedicated spaces to display various written forms of the script. In previous congressional sessions, the House of Representatives took steps to revive Baybayin and other traditional writing systems, aiming to promote, protect, and preserve them as vital cultural assets. The Department of Education and the Commission on Higher Education have likewise incorporated Baybayin into their educational curricula, ensuring that students learn about its historical and cultural importance.
A digital art I made with the Babybayin inscription meaning Malakas at Maganda (Strong and Beautiful)
Technical Resources
Although it is best to have industry recommended software to practice typography, softwares like Microsoft word or any word processing software can be used as well. Newspapers and Magazines and anything with printed words can also be useful tools for students to appreciate the art of typography.
Below are a few useful resources that you and your students can check out:
Kerning and Tracking game – This is a fun game that can provide students with an opportunity to practice identifying the optimal spacing between characters. The objective of the game is to attain text that is both readable and visually pleasing.
Link – https://type.method.ac
2. Shape type game – Shape Type is an HTML5 typography game where players must utilize curve-adjustment tools to refine letterforms across different font styles. The more accurately you match the letter’s shape, the higher your score will be.
Link – https://shape.method.ac
Read/Watch
1. Watch this video to learn more about the basics of typography This video covers key aspects of typography, including using and combining different fonts to enhance visual impact, avoiding fonts that compromise design integrity, and explaining typography terminology like hierarchy, leading, tracking, and kerning.
2. Read these blogs to learn more about Typography in graphic design and font pairing:
• Why Is Typography Important in Graphic Design? – https://www.flux-academy.com/blog/why-is-typography-important-in-graphic-design#:~:text=Typography%20has%20two%20main%20purposes,and%20easy%20on%20the%20eyes
• How to combine fonts – rules, tips and tricks –https://sketchdeck.com/blog/combining-fonts/
• 5 Common Typography Applications and Use Cases (and How To Design for Them) – https://www.andacademy.com/resources/blog/graphic-design/common-typography-applications/
Reflection and guiding questions
Typography is a powerful communicator; it establishes tone and pervades our surroundings, from signage to street signs. It holds the ability to shape the identity of spaces and even entire cities. Consider iconic examples like “I heart New York” or the typography of the London subway system.
Ask your students to capture photographs of fonts they admire while exploring their neighborhoods, downtown areas, or even within your school. Prompt them to document at least five distinct typefaces. To further explore their choices, consider asking these questions such as:
1. What drew you to this particular font? How does it complement its surroundings? What is the tone of the font?
2. What characteristics of the font that you particular like? Is it a serif, a sans serif or a display font?
3. Think about what kind of businesses or places the font might fit best. Do you think it’s being used in the right way, or could it work better somewhere else? How flexible do you think this font is for different situations?
4. Ask students to find out the name of the font and do a bit of digging into its history
5. Consider what feelings or vibes the font gives off to people who see it. Does it grab your attention, feel understated, or make you curious about something?
Encouraging thoughtful reflection can deepen their appreciation for typography.
Suggested Learning Activities to support this lesson
Design your own typefaces – Encourage your students to create their own fonts using various methods. They can opt for freehand illustration on graphing paper or utilize online platforms like FontStruct. Through FontStruct, students can effortlessly design a comprehensive alphabet for downloading and practical use.
2. Creative word play – One interesting creative exercise is to compile a list of words and ask each student to choose one from the list. The task is to create an illustration that represents the meaning of the chosen word through typography. This exercise can be done digitally, by sketching, or by copying illustrations from magazines. The objective is to craft the typography in a way that visually reflects the meaning of the word itself.
3. Encourage students to have their own typeface collection in order to streamline the design process and save time. By listing and organizing fonts suitable for different text types – such as headlines, subheadings, and body copy – they can easily find the right options. Additionally, it is helpful to categorize fonts by industry; for instance, formal fonts would be suitable for Real Estate, Banking, and Insurance, while others may be more fitting for retail, restaurants, or resorts. Having these collections organized and readily available can greatly facilitate a designer’s work.
