1. THE 20 RULES FOR MAKING GOOD DESIGN

2.  Rules can be broken-but never ignored  Rules exist as guidelines, based on accumulation of experience  Breaking the rules often leads to true innovation  It is beneficial to know which rules are considered important and why  Rules ≠ law REMINDER

3.  A design can be incredibly beautiful, but if there is no message, it is just an empty shell  A design without a message, story, idea, narrative, or concept is not a design at all RULE #1: HAVE A CONCEPT

4.  Remember that form carries meaning, no matter how simple or abstract  Eye candy does not qualify as design  If the form ain’t right, get rid of it! RULE #2: COMMUNICATE- DON’T DECORATE

5.  Design so that anyone can understand what is happening in your art  Speak to the world at large  Draw upon humanity’s shared narrative of form and metaphor  If you are unsure people will “get” it or not, simply show it to people and ask their opinion RULE #3: BE UNIVERSAL

6.  Make sure all of the elements in your design “talk” to each other  Good design has internal logic and is resolved  If one element is out of place, it disconnects the totality and the message is weakened RULE #4: SPEAK WITH ONE VISUAL VOICE

7.  Less is more  Don’t add more to a design just because you think it needs more decoration  True power lies in creativity applied to very little  The more stuff on the page, the more cluttered the design becomes  Just because something is “complicated” does not mean it is “complex” RULE #5: IF YOU CAN DO IT WITH LESS, THEN DO IT

8.  Negative space is critical to good design  Calls our attention to the content and gives the eyes a place to rest  Negative space is as much a shape as any positive space or form in the design RULE #6: CREATE SPACE-DON’T FILL IT

9.  Establish visual hierarchy  Focus the viewer’s attention on one important thing first  a big shape, startling image, type treatment, bold colors, etc.  Next lead the viewer’s eye to the less important elements in a logical way RULE #7: GIVE ‘EM THE ONE-TWO PUNCH

10.  Symmetry can be quite effective, but in design symmetry can make a design seem flat or static.  In design, symmetry is often seen as lazy and uninventive.  Asymmetry leads to a more dynamic piece RULE #8: BEWARE OF SYMMETRY

11.  Although design is a two- dimensional format, your design should impart a sense of depth and movement  Don’t make everything the same size, color, weight, or distance as everything else  Try to create a three- dimensional “window” into the design  Exploit changes in size and transparency  Apply color so that some elements recede and others advance RULE #9: FIGHT THE FLATNESS

12.  Know what your colors will do when you combine them and what those colors may mean to your audience  Color carries abundant meaning  Color affects visual hierarchy  You don’t always need to choose expected colors RULE #10: PICK COLORS ON PURPOSE

13.  Color is exciting, but too many colors can overwhelm the viewer  A simple color palette is often more effective  A use of a single color can be dramatic and make a big impact RULE #11: LESS COLOR IS MORE

14.  Make sure you use a range of dark and light  Concentrate on areas of extreme dark and light; create explosions of luminosity  Make noticeable distinctions in value RULE #12: MASTER THE DARK AND THE LIGHT

15.  Type that cannot be read has no purpose  Typography should be expressive, visually inventive and work within your piece, but it still must transmit information  Choose typefaces that aid legibility, use text size your grandmother could read, and watch out for weird colors that may make the type illegible RULE #13: TYPE IS ONLY TYPE WHEN IT’S FRIENDLY

16.  Choose typefaces for a specific purpose  A change in typeface usually indicates a change in function  Too many typefaces are distracting RULE #14: USE TWO (OR THREE) TYPEFACE FAMILIES MAXIMUM

17.  Type is visual material as much as images are  The type must relate to the other elements of your design and further the tone, message, or narrative of the design  Don’t blandly separate type from image, work it into your design RULE #15: TREAT TYPE AS YOU WOULD IMAGE

18.  Be conscious of how much information is conveyed by the text. You don’t need to show the same information. Instead, show what the text is relaying in a creative way  Text and image should complement one another and push one another to a greater meaning and understanding. RULE #16: AVOID REDUNDANT REDUNDANCIES

19.  If your options are limited, consider them all  Try not to rely on whatever exists even though it may be cheaper  Beware of stock images, very often an original solution is no further away then dots, lines, or an abstract shape  Inventing images from scratch will help you connect your unique message to your audience RULE #17: CREATE IMAGES-DON’T SCAVENGE

20.  It is great to be inspired by past design, but do not reproduce a particular period style just because it looks cool  Learn from others, but ultimately do your own work  Remember that all great designers work within the context of their era but push the boundaries as well. Those designers you admire were not merely copying older designers. If you really want to be like your favorite designer, stick to your own unique style so that one day, someone will want to copy your work, just like you want to copy theirs. RULE #18: LOOK TO HISTORY BUT DON’T REPEAT IT

21.  People in the present respond to what is cool and hip right now.  Forget being trendy. Design around meaning, not current styles  Who knows, maybe your design style could be the next big thing! RULE #19: IGNORE FASHION

22.  Place material on the page with confidence, using your eye as your guide  Make things look the way you intend  Decisiveness makes for a convincing impression RULE #20: BE DECISIVE: DO IT ON PURPOSE, OR NOT AT ALL