Graphic Designer's Essential Reference

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BASIC TECHNIQUES

NEARLY ALL DESIGN problems share some fundamental aspects:

Typefaces will need to be selected or photographs arranged in an

interesting

way across a layout. Regardless of specifi c concerns that may need to be

addressed in a particular project, there are general strategies most designers

will use as foundations for more complex visual concepts, or to ensure

common notions of quality (e.g., that a layout is dynamic) are met in the

fi nal presentation.

In this preliminary section, you’ll fi nd a sampling of such essential

visual techniques: developing rich color palettes; reliably mixing type-

faces for contrast and style; using abstract forms to support other imagery

and customize visual experiences; achieving dynamic picture placement

within a column grid; and many more. Consider these strategies as build-

ing blocks—as you add each component to your repertoire, you’re one step

closer to becoming the most confi dent, assured designer in your studio.

Essential Visual Strategies

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DESIGNER’S GOUACHE

Rich, opaque fi nish in both color

and black and white; for the

old-school virtuoso.

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Basic Equipment, Tools,

and Supplies

Being able to conceptualize and com-

pose seamlessly, while effi ciently

working among various media, to ex-

plore different ideas means having all

the tools you need—and the best ones

for the job—on hand at all times. Here

are the items no well-appointed studio

can do without.

GUI COMPUTER

It’s the studio workhorse. When

comparison shopping, realize that

there are few roses among the

thorns—choose the best you

can afford.

SABLE BRUSHES

There’s nothing like Kolinsky hair

for precise handling. Two sizes

—

No. 4 and No. 6

—

are suffi cient, but

have three of each size on hand:

one for black, one for white, and

one for color.

SPOT- AND PROCESS-COLOR

SWATCH BOOKS

Don’t trust the computer screen

for color: See the real thing. They’re

an expensive, but ultimately

indispensable, investment.

HIGH-RESOLUTION

LOUPE

For examining serifs up close

or supervising registration on a

press sheet, 10X magnifi cation

or higher is best.

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r

but

CUTTING MAT

Self-healing is best, to prevent

making grooves that will misdirect

your blade in the future.

STEEL STRAIGHTEDGE

AND TRIANGLE

Avoid aluminum for these tools—

knife blades shred aluminum and,

after a short while, a true edge is

no longer a given. The triangle,

archaic as it may seem, helps ensure

90° angles.

STUDIO KNIFE

Get a good knife with a textured

gripping surface, and an array of

interchangeable blades. Replace

the blade every 6 to 8 cuts to keep

the slicing sharp and clean.

WHITE AND KNEADED

ERASERS

White is for serious erasing from

tough stocks. The kneaded version

is best for delicate papers, or for

slight tonal adjustments.

BONE FOLDER

At some point, you’ll need to make

mock-ups to show clients. This is

what you’ll use to fold pages and

covers.

LUCITE BRAYER

Unlike a rubber brayer, whose

porous surface may stain or

encourage peel-up, this rolls hard

and fast, and cleans up spotlessly.

PRECISION RULERS

The master designer measures

in 1/64” (0.396 mm) increments,

and it’s even better when the

measuring device is transparent

and fl exible

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