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Example of Part Schedule and Criteiron D (Testing)

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Click Here

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Essential Questions 2

1. Read our assignment introduction and brief and determine the "who, what and why" involved. If you are unsure, please read here... (Aiv - Design Brief)
Copy the info and paste it below.

Role:

Constraint:

Design brief:

1. Read about design spec. here.

2. What acronym is used and what does it stand for? Explain.
Create a design spec. for our project.

3. Analyze a set of posters to determine the characteristics that makes them similar.

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Please create a set of visual notes in your notebook, which showcase each typography element.

Additional (and good) Link: Here

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Choose a font from the typical font lists we see everyday in programs like MS Word, PowerPoint etc. Discover it's origins, explain why you chose it and annotate it's parts and finally where you would typically use this style of font.

Discuss and note down the…   on a PPT slide

1.History of chosen font

2.Explain why you chose it

3.Annotate the elements. Type out the font's proper name and annotate. eg. Times New Roman... and change the font to Times New Roman.

4.Explain where you would use the type

Combine all information to one PPT slide and upload to your Padlet.

Check out these examples mistakes

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Write out your hand written script on the Calligraphr template and follow the directions on the website to create your own font. We will need this process in the future when creating our custom fonts. Calligraphr

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Write out each term and create an icon to remember each one. Also write a sentence definition for each term.

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After you have completed your research you will need to identify what is valuable or useful from your research so that it influences our design ideas. I have included a previous students work, note the final column, where she states what she will do in the project.

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Here are some examples of historical propaganda, mainly from WW2.
Another link: Power to the Pictures: The evolution of Propaganda.
Another Link: Propaganda Imagery

As you look at these ads, please consider their effectiveness. How powerful are they?

Propaganda Research:
Before you start, think of a number of questions to guide your understanding of the topic. Think about questions on three levels. Factual, Conceptual and Debatable.

What...
How / Why...
To what extent...
Example Questions:
What is propaganda?

How is propaganda used today?

To what extent are historical examples of propaganda similar to modern examples of propaganda?

Research and understand the use of propaganda within contexts (WW1, WW2, Ukraine, Japan, Spain, China, etc.)  Historical and Modern.

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3. Questions before you start your "5 A's". 

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3. Questions before you start your "5 A's". 

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1. Will your font be project specific, or have a broad application?

2. Will that application require a large or small font size?

3. Do you want the basic font type be Serif or Sans Serif?

4. Have you come across any fonts you could use for inspiration?

Once you have the answers to these questions, you can then move onto planning out your font’s design.

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Search package die lines for reference.

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Link 1 - in relation to UI Design
Link 2 - in Graphic Design

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1.

What are the elements and principles of design?

2.

How can we generate original ideas through the use of other artists’ work?

3. How is pattern (or another principle) represented in an advertisement?  (Post a picture of that principle in a real advertisement and explain.)

4. How can you achieve your desired effect using minimal tool usage within Photoshop? (This is your V1 poster). - Upload the picture as your answer

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1. Read our assignment introduction and brief and determine the "who, what and why" involved. If you are unsure, please read here... (Aiv - Design Brief)

Role: You are a graphic designer hired to create one part of a series of posters, which represent the Design principles.

Constraint: You may only use the selection tools and paint bucket in order to create your work.

Design brief: These posters need to be aesthetically appealing and must clearly display the principle. The posters need to be consistent in their appearance. Therefore, you will need to discuss as a team to figure out how to accomplish this. All posters must have the Design principle in text form, as well as your design.

Read about design spec. here.

2. What acronym is used and what does it stand for? Explain.
Create a design spec. for our project.

3. Analyze a set of posters to determine the characteristics that makes them similar.

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You can also watch many Youtube tutorials (after you have played or during playing)

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Information on the Hope poster.
Information on Hope poster lawsuit.

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Take a look at some Design in action.

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Design is an intricate, complicated, fun and exciting business.

There's always a lot to learn, a lot to do, and a lot to consider when you're a beginner-not to mention the fact that technology is constantly evolving, new software is being released, and new trends are coming at you rapid-fire. Truth be told, it can get a little overwhelming.

So, let's slow things down a little bit. This article will take you through 20 principles of design to hopefully give you a headstart in this creative environment. So, stay tuned, get comfy, and let's discuss some principles.

1. Line

I'm sure we're all aware of what lines are, but just to be sure, lines can be defined as any linear marks. So, when you think about it, lines make up just about everything. Even these words and letters you're reading now are made up of thousands of curved, angled and straight lines.

Lines can channel certain ideas too. Straight ones can evoke order and neatness, wavy lines can create movement, and zig-zagged lines can imply tension or excitement.

A technique applied a lot in photography is the use of 'leading lines' which do just what they claim-they lead the eye. Finding and emphasizing strong leading lines in your piece can allow you to direct the eye through the entire piece or to certain focal points.

Strong use of line is a great way to stylize your illustrations. Check out these poster illustrations by Ksenia Stavrøva for apparel brand SNDCT. By using simple white lines to execute each illustration, the design as a whole is given cohesivity and a recognizable style. Consider emphasizing your use of line in illustrations to create an intriguing effect.
Lines are versatile, simple and effective graphic elements that you certainly should not take for granted. Photos, like the one in the Photographic Church Seminar Flyer template, is also a great way to use lines.
2. Scale

Scale is a large part of design, sometimes literally. In a very basic definition, scale is the deliberate sizing of individual elements.

Scale can help us make sense of designs and images. Think about if you were to draw a mouse next to an elephant, you'd probably draw the mouse much smaller than the elephant, which would help viewers instantly understand your drawing.

In this way, scale helps us make sense of things. But, scale doesn't always have to be based on realism. You can size your elements dramatically large or small to create stunning effects and to signal which parts of your design are more important and which are less.

For example, check out this poster by Gabz Grzegorz Domaradzki for the movie Drive. In this poster, the lead character has been scaled up dramatically, drawing attention to him first, and the other faces second.

While this scale is not technically based on realism as people's faces are generally the same size in real life (and Ryan Gosling is not a giant to my knowledge), the dramatic scaling up and down of faces helps viewers to get a quick grasp on each character's level of importance in the film, as well as making for an effective design.

This scaling of elements to signal importance is often called 'hierarchy' which we'll discuss more in-depth later on, fear not! But, for the meantime, let's look at an example that uses scale to signify importance.

This publication design by The Consult scales up certain statistics, information, and numbers a lot to draw attention to those pieces of data over others.
Want some more tips and tricks for mastering scale in your designs? Check out these 5 creative ways to use scale in your designs.
3. Color

Colour is paramount. Colour creates specific moods, atmospheres, channels emotions, and each shade has certain specific connotations associated with it. In short, color can make or break your design.

Let's look at two branding examples. First up, we have a design by Smack Bang Designs for women's skin rejuvenation service 'Lite Luxe'. This design has opted for light, soft and pastel colors. Whites, light greys, soft blush tones and a copper/gold foiling, these chosen colors complement each other gently to create a calm, elegant and feminine design.

On the other hand, we have this branding for juice brand Frooti by Sagmeister & Walsh. Unlike the previous example which chose a palette that gently complemented itself, this branding has chosen a color palette that sharply contrasts, creating a much more vibrant, energetic and playful design.

Colour isn't a principle simply limited to branding elements though, color expands into everything, even photographs. Filters and image adjustors have given us the unlimited ability to adjust our photographs' coloring and tones.

Are you designing a sleek and sophisticated poster? Why not run a sharp, noir-inspired monochromatic filter over your image, like Canva's 'Street' filter. Or perhaps you're going for a whimsical look? Consider dropping the contrast on your image a little to mute your images' colors a bit and make it softer and calmer.
Don't be afraid to play around with colors on your design. Try the Colorful Strokes Art Postcard template.
4. Repetition

Think about any big name brand, Coca-Cola, Google, Apple, Nike, I'm sure you can all think of their logo, their general tone of voice and their general color schemes used. Why are these things so memorable at the drop of a hat? Yep, you guessed it - repetition.

Repetition is a crucial element when it comes to branding design, both in terms of keeping your branding consistent and in terms of tying your items together.

Let's have a look at a branding example by Michelle Wang. As you can see, this identity uses a consistent color palette and consistent logo application, right down to consistent margin spacing.

Repetition is a key element when it comes to branding, but it can also make for beautiful one-off designs. For example, repetition is a key ingredient when it comes to creating patterns and textures.

Check out this packaging design by Nastya Chamkina that uses repetition to create a beautiful pattern. Patterns don't have to be dull and floral like dusty old curtains, they can be fun and effective. So, why not implement repetitive patterns into your next design?
Want some more inspiration like the beautiful pattern-based branding below? Be sure to swing by this article of 50 gorgeous geometric patterns designs in graphic design!
5. Negative Space

negative space is the 'space inbetween', the area between or around other elements that form its own shape

The widely regarded king and path-forger of negative space was artist M.C. Escher, whose work I'm sure you've seen and been baffled by before. Escher did a number of tessellations that focussed on one shape leading into the next via negative and positive space, like this woodcut print "Sky & Water I".

See how Escher has used the space in between the birds to create the shape of fish? This is negative space at work-considering everything around and in between your physical design, and manipulating that space to form something new.

Negative space when used strategically and cleverly can help create truly stunning and clever designs. Have a look at these simple animal icons by designer George Bokhua that use simple, clean shapes to render clear depictions of each animal.
See how negative space plays into the design of the Gold & White Modern Company Corporate Annual Report template.
6. Symmetry

As species, human beings are scientifically proven to be drawn to symmetry. We find symmetrical faces, patterns and designs generally more attractive, effective and beautiful.

Symmetry is used a lot in logos in order to create a harmonious and balanced design. Some examples of large brands with symmetrical logos are Target, McDonald's, Chanel, Starbucks, etc.

Of course, symmetry is not always an option for every design, and nor should it be.

There's a fine line between a design looking balanced and symmetrical, and looking like one side was copied, flipped and pasted to the left. So instead of trying to achieve perfect symmetry, instead try to introduce subtle elements of symmetry into your design.

For example, this wedding invitation uses a high degree of symmetry, but it's not perfectly mirrored. Instead, the designer has chosen to adjust the illustrations to fit the type and the message in subtle ways that keep the design symmetrically balanced and ordered, but not too blatantly mirrored, creating a delicate, romantic and balanced design.

Check out this annual report spread design by Brighten the Corners and Anish Kapoor that draws attention to the symmetrically of the text columns by mirroring them on either side of the spread.

By using a bit of symmetry in your layout, you can create a sense of balance and order. So, next time you're designing a publication design, or a design with a lot of type, pay attention to how much (or how little) symmetry you're using. If your design doesn't look quite right, have a go at toying with your symmetry, whether this be increasing it or decreasing it.

7. Transparency

Also occasionally known as 'opacity', transparency refers to how 'see-through' an element is. The lower your opacity, the lighter and less noticeable your element is, and the higher it is, the more solid the element is.

Let's look at an example that uses transparency. This stunning example by Jack Crossing layers various shapes of different colors, sizes, and opacities to create a truly beautiful graphic. In this way, adjusting and toying with transparency and transparency effects can allow you to emphasize your layers and shapes in a unique and striking way.

Transparency is also a great technique for generating a sense of movement in static images. For example, check out this poster by Filippo Baraccani, Mikko Gärtner, and Lorenz Potthast that layers various images with different levels of transparency to create an engrossing effect and sense of movement.

Transparency isn't just limited to digital graphics either. Check out how this invitation card for the New York Museum of Glass has aptly been printed onto transparent glass, giving the design a unique and engaging effect. Consider what mediums your design will be printed on, what opacity and finish they can/will have, and don't be afraid to get creative with it.
Create an illusion of transparency by layering images, colors, and type together. Check out the Blue and White Graph General Report template.
8. Texture

Clean, sharp and sleek graphic designs can be wonderful, but sometimes, roughing it up a little with some texture can be even better. Texture can add tactility, depth and can add some pretty interesting effects to your design.

However, as with many things, be sure to use this technique in moderation, as too much texture can quickly overwhelm your design. Remember: there's a fine line between shabby-chic and just plain old shabby.

See how too many textures can create a muddy effect? The more textures applied, the harder type and other elements are to see without a stroke effect around each letter.

Of course, if you're going for the muddier look stylistically, then layering textures might bode well for you, but if you're looking for a way to incorporate texture in a less imposing way, stay tuned.

Let's have a look at an example that uses texture in a way that enhances the piece. This beautiful typographic design by Dan Cassaro creates a vintage-inspired effect by using texture. Notice that the use of the rough texture isn't distracting but rather nicely enhances the piece as a whole, giving it a more handcrafted, authentically-vintage feel.

Check out this business card design by Inkdot for Foremost Wine Company that takes texturing to a whole new level by embossing the topography-inspired texture directly into the business card. By considering texture and how your design literally and tangibly feels, you can create a memorable piece for your design that is sure to stand out from the crowd.

9. Balance

Balance is a pretty important thing in most of life, and it's equally as important in the world of design.

One way to master balance is to think of each of your elements as having a 'weight' behind it. From text boxes, to images, to blocks of color, consider each of their sizes, shapes, and what 'weight' they have in relation to other elements on the page.

A good technique is to imagine if your design were to be printed out as a 3D model. Would it stand, or would it tip to one side?

Check out this cat logo by George Bokhua that is beautifully balanced. If it were to be printed, chances are it would sit upright.

One type of balance is 'asymmetrical balance', which is less about mirroring left and right/top and bottom, and more about distributing, sizing and aligning elements so that their 'weights' are even. Let's look at an example.

This vibrant piece uses scale and a clever distribution of elements to make for a balanced design. Note how this piece achieves balance from left to right and top to bottom through the sizing of elements. By balancing the cluster of images out with the cluster of type.

10. Hierarchy

Hierarchy in design is a lot like hierarchy in culture, as both are built on very similar ideas. At the top of a hierarchical scale, we have the most important things, the kings. These elements are to be 'dressed' the most extravagantly and command the most attention.

Check out these examples from A2 Magazine that showcase three different ways to signal your title/heading's importance, from the more subtle examples right through to the big and bold examples. Whatever your choice of avenue, be sure that consumers can instantly point to the title without thinking.

The next tier of hierarchy we have the noblemen, the elements that are still important, but that don't command quite as much attention as the kings. These are things like subheadings, pull quotes, additional information. Make sure to keep these eye-catching and noticeable, but not anywhere near as noticeable as your headings.

Check out this save the date card by Southern Fried Paper. Notice how the date (a very important part of a save the date card) is made larger, bolder and more noticeable than the type below it. And yet it doesn't outshine the obvious "Audrey and Grant" title.

And on the final rung of the hierarchical scale are the peasants, the humble elements of your design that are given the least amount of visual pizazz, usually things like body copy, less important information, links, etc.

Have a look at this poster for The Night Market by Mary Galloway. You can easily point out the title, the subheading/date, and then down the bottom, the smallest type of additional information that isn't as crucial to the communication.
Hierarchy plays a big role in the design of the White Minimalist Photo Father/Dad Appreciation Pinterest Graphic template. Check it out!

Of course, hierarchy isn't just limited to type. Images also have a hierarchy-think back a little to when we talked about scale. The larger, more colorful, or more central elements of your image are going to have a higher hierarchy than those smaller, duller, less detailed elements.

11. Contrast

Contrast is often the magical key ingredient to making your designs 'pop', which is a (sometimes frustrating) demand from many design clients.

In a very basic definition, contrast is the degree of difference between the two elements of your design.

Some common forms of contrast are dark vs. light, thick vs. thin, large vs. small, etc.

Contrast has a great effect on readability and legibility as well, it's a big reason why you see novels and many other publications printing in black text on a white background. Imagine if they printed using light grey on a white background. The contrast would be very low and the type hard to read. So, if you're using type, make sure you bump up that contrast.

For example, check out this poster by Jonathan Correira and the way it ensures there's adequate contrast against the type and image. Since this image is split in half, one side being dominantly green and the other dark grey, the type of color has been adjusted accordingly to ensure each side is legible.

Imagine if the "New York" was executed in the same color as "Bike Expo", the contrast would be lowered greatly and it would be much harder to read.

Another great example of a high-contrast design is this piece by Robbie Cobb that not only contrasts dark and light, but also thick and thin to make for a striking and engaging design.

Contrast isn't just a stylistic element or a legibility-enhancer, it can also act to draw the eye to certain elements of your design. This technique is used a lot in website design, let's look at an example from Audible 's landing page.

See how this landing page design has darkened and muted the image to allow for the bright red box to contrast sharply against the background. This deliberate contrast helps to draw instant attention to the main call of action (which links directly to a signup page).

This is also a common practice some websites do with pop-ups or call-to-action buttons.

So, use contrast to make your designs visually 'pop', draw attention to certain elements of your design.
The contrast of the image's dark filter against the bright text makes the Yellow and Black Swiss Design Corporate Flyer template striking.
12. Framing

Just like you do with your photographs and pieces of art, framing your designs correctly is an important aspect. We usually think of framing in terms of photography - what you include, what you don't, etc. But, framing is equally as important in design.

Physical frames such as box outlines or graphic elements can enhance or draw attention to specific elements of your design.

For example, let's check out this menu design by Trevor Finnegan that chooses to frame one of the specials as well as the business' mission statement to draw attention to these two elements that the eye may have otherwise just passed over. Such a simple way of highlighting certain elements of your design can have a big impact.

Frames don't have to be graphic either. If you're working with photographic elements, why not consider using them to frame your designs? Check out this poster that uses random objects to create a frame for the superimposed type. This way, you draw attention to the piece by the frame and direct the eye to the really important bits.
In the Red and Black Painting Art Postcard template, the frames are the illustrations and the red line on the side. Be creative in making frames; don't just stick to lines and shapes.
13. Grid

Think of a design grid like the foundation to a house - it's a crucial first step in allowing for you to build a functional, and beautiful final product. It signals to the builder/designer where certain elements should be placed, what should align with what, and provides a general outline for construction.

Grids are important, usually invisible elements to just about any design. They are comprised of a certain number of rows and columns that you can align your elements against. Grids can help to keep your content in order, neat, legible and looking good.

Let's look at some examples of different grid systems.

This example by Nikola from Magazine Designing shows a five-column grid at work. Note how some elements are contained to one column, while others stretch over two, sometimes three columns, and yet the design as a whole appears neat, clean and well-aligned.

For a bit more flexibility, consider adding in some more columns, like this example below.

Once again from Nikola from Magazine Designing, this image shows how a twelve-column grid can give you a lot of flexibility when it comes to aligning your elements. Once again, note how some elements span many columns, while others sit over just two. Don't think of your grid as lines you have to color inside of, but rather a set of simple guidelines used to help you create a stunning design.

So, find a grid that suits you and your design, and move from there.

Now we've established what a grid is, what it looks like, and how it works, let's look at some real-world examples of grids at work. Check out this example below by Matt Willey, and try to figure out how many columns he used in this design's grid.

Did you estimate three? Or perhaps six? Either way, this example has a clear and identifiable grid system to which each element has been aligned, making for a striking, neat and attractive design.

Grids are flexible, adaptable and infinitely handy, so consider using one for your next design and see what it can do for you!

14. Randomness

Up until now, we've been preaching about alignment and order. But, what about the more organic, rough, and random designs? Randomness plays a large part in design, but it is a specific kind of randomness. Let's call it 'design randomness'.

The difference between 'design randomness' and other forms of randomness is purpose and execution. With design, your main goal should be communication - what does this piece need to say to consumers? Is it saying it in a clear way? How can I make communication stronger?

For example, let's have a look at a design that uses type in a way that could easily be deemed 'random' but that has purpose and intention. This poster by Heath Killen for the film 'The Killer Inside Me' mostly uses scratchy, hand-rendered type, and where it uses typefaces, the letters and words are kerned and spaced sporadically and irregularly.

This piece layers the hand-type and positions it in a very random way that some people would say hinders the legibility. But, this was done with purpose - the intent being to represent a scrambled and warped psyche.

Herein lies the difference between 'randomness' and 'design randomness'. If this design were applied to a poster for a children's movie about cheerful talking animals, it would seem random, and wouldn't communicate the right thing at all. But, in this case, the random design communicates the movie's themes perfectly.

Also have a look at this design by Laura Berglund that uses a degree of randomness to create an organic-looking, collage-like effect. While this piece looks like it was slapped down onto a page and instantly looked stylishly rough and disheveled, have a bit of a look at it and note how many design conventions it actually does use.

Look at how each element has actually been strategically positioned, leading lines have been implemented to guide the eye around the piece, and there has been a selective balance between flat color, texture, and photography.

Check out this design by Juan Camilo Corredor. This design has opted to represent randomness, with strange shapes, textures, illustrations, all cropped unusually and arranged in interesting ways.

This design appears random, but if you dissect its elements, you'll notice that certain parts of the design have been aligned (bottom left blue shape perfectly aligns with the green pointed shape next to it, etc.), the layout helps the eye flow across the page, and there are even some hints of a grid at work.

The point being-things don't have to be neat and orderly to be classed as design. Representing 'randomness' and playing with a few avant-garde designs can be effective and super fun.

Take a leaf from Juan Camilo Corredor's book and resize elements in strange ways, throw in a tail of an 'a', crop a chicken's head off, but try to do it while being aware of design conventions and your overall purpose.
The Green Border Variety of Fruits Raffle Flyer template looks like the illustrations have been thrown in haphazardly-but not really.
15. Direction

An important aspect of many designs is how the eye moves over the page, and the direction it takes - this is also sometimes referred to as 'flow'. How does your eye move across the page? Do your readers know exactly where to look next? Is the direction that their eye takes logical?

Studies have dissected the exact nature of our eye movement habits and the patterns our eyes trace over when viewing specific things. Have a look at this eye-tracking study by Nielsen Norman Group that tracked people's eyes while viewing web pages to see their pattern of consumption. Check out the heatmap results below.

The studies proved that a common pattern for the eye to take is an "E" or "F" shape when it comes to web pages, so placing your top content to the left of your page, or along the top is your best bet. Another common pattern that the eye traces over is a "Z" shape, as shown below.

Overall, the general idea is that the eye naturally travels from the top left corner to the bottom right corner, in a 'sweeping' motion. This theory is best explained in depth by The Gutenberg Diagram, and you can read up about the nitty-gritty of it here.

Rather than designing 100% by these patterns, though, try to adapt your designs' flow and direction on a case-by-case basis. Just keep in mind that the eye gravitates to the top left of a page and winds its way down from there.

Let's look at an example that has a distinct and effective use of direction.

This design by Atelier Martino & Jaña directs the eye in a very fluid and organic way, by weaving the text along the curves and shapes of the image. The title and date stand out to us first (thanks to a little hierarchy) and then our eyes are left to flow through the piece as we read the information and take in the photograph.

So, in short, this piece's flow and direction encourages viewers to read and consume the type while simultaneously taking in the image.

16. Rules

This is a point sure to spark a lot of debate and to divide any room of designers - half proclaiming that there are no rules in design, the other protesting that there are many. And technically, they're both right.

As with any skill, there are things you have to learn, and this comes with general rules. Things like: make sure your type is legible, learn to kern, don't use pixelated images, etc. These are the foundations of design, the things that help you make a basic design.

But, as many argue, once you've learned these rules, it's definitely time to break them.

Let's look at an example that deliberately breaks the rules big time. This poster by Shahir Zag deliberately breaks some cardinal typographical rules in order to make a (very true) joke.

Another example of a rule breaker that you'll certainly come across during your design adventures is David Carson. Carson was an avant-garde grunge designer for publications such as Ray Gun Magazine where he produced shocking, dynamic, and rule-bending spread designs that are still admired today.

One of the beloved anecdotes about Carson is his layout for an interview with musician Bryan Ferry. Having read over the content and deciding that the interview was pretty dull, Carson chose to execute the entire interview in Zapf Dingbats (a Wingdings-like, symbol-based font) rendering it totally unreadable. Check out the spread below.

Carson's basic ethos when it came to design was 'don't mistake legibility for communication'.

Carson and other rule-breaking designers are often choosing to communicate different ideas to you by breaking the rules. The 'migraine' poster by Shahir Zag we previously discussed breaks the rules in order to make a joke and Carson's spread breaks the rules in order to make a point about that interview.

So, while the legibility is a little compromised, the communication definitely is not.

Following the rules and breaking them each has their own places in the world of design. Take everything with a grain of salt and learn as much as you can so that you can break and bend the rules the right way and make a memorable splash.

17. Movement

Have you ever heard or seen somebody describe a painting or piece of art as having "a lot of movement to it"? You might have first been baffled by that explanation-after all, how does a static painting move? But, movement is a big part of the visual arts, including graphic design.

Earlier we discussed the direction and flow of your design, these factors play a big part in the movement of your design. If your final piece has a good flow from top to bottom, left to right, corner A to corner B, etc., your piece will 'move' smoothly.

But, what about the cases where you want to give an element a literal sense of movement? Maybe you have a ball that you want to show in motion or a car that you want to depict zooming down a highway. There's a lot of ways you can depict this kind of movement, so let's run over a few examples.

First, we have transparency. We briefly touched on how transparency/opacity can create motion for your designs earlier, but let's look a little deeper.

This logo example by Vladimir Mirzoyan layers sharp geometric shapes of various opacities over each other to replicate a hummingbird's wings in flight. The simple effect of overlaying these elements creates a clean, clever and sophisticated sense of movement.

Similarly, check out this proposed poster design by Alan Clarke for the 2012 Olympic Games. By layering simple shapes of varying opacities, this poster creates a strong sense of speed and motion.

Movement can also be achieved through a blur effect. Check out this example that applies motion blur effects to a typically static design element - type.

This example, a book cover by German designers Anzinger, Wüschner, Rasp, applies an intriguing blur to the edges and corners of the letter to create an illusion of movement.

And finally, movement can also be captured through motion lines. These are common in comics and illustrations, when a character is running away or moving swiftly. So, channel your inner comic book illustrator and make the most of motion lines. Let's look at an example.

This example below by Matt Chase uses motion lines subtly on the 'future' to indicate movement. A subtle but effective way of giving the design a dynamic edge and indicating movement.

18. Depth

Depth is an important and exciting principle in the world of design. Even with the flattest of mediums, you are able to create a sense of depth and an illusion that your design expands beyond the second dimension.

So, how do we create an illusion of depth in our designs? There are many techniques you can use to communicate depth in your design, let's run over a few.

First, we have what is probably the most commonly known technique-shadows. Now, shadows can be tricky little devils, as they aren't always linearly shaped, sometimes they stretch, bend, warp and skew. So, a good technique when exploring shadow-usage is to observe real-world shadows, see how the light hits various objects at different points and try to replicate that.

Let's look at an example that showcases the effective use of shadows to create depth. This poster for a book fair by Dominique Schmitz uses a lot of shadows in a lot of different and challenging, but very realistic ways. Have a look at the way each shadow is rendered differently and appropriately for each element. Realism takes work, but the payoff is often worth it!

Another technique is overlapping certain elements. This reduces the flat appearance and makes things seem more layered and on different levels and tiers. Check out this design by Fabian De Lange that overlaps illustrative elements, type and graphic elements (the white border) to create a layered look with plenty of depth.

Another technique is to play with perspective, which is a technique that often gives elements a "3D effect". By adjusting the perspective of certain elements, you can give the illusion of raising them up off of the page, creating instant depth. Let's look at an example.

This electronica-inspired poster by Neil Stevens skews each letter to the right a little bit and gives them distinct shape and depth. This simple way of illustrating, shading and adjusting the perspective of each element helps to create a dynamic and engaging design.

Of course, on the other end of the spectrum is reducing the amount of depth in your design. This is a popular style as of late, often referred to as 'flat design'.

A well-known user of the flat design technique is Apple. In September 2013 Apple launched a new operating system that came jam-packed with a whole new design upheaval that basically took away all of the bevel effects and drops shadows that created the appearance of depth and replaced them with flatter app icons, screens, etc.

19. Typography

Typography is arguably one of the biggest foundations of design. Type says a lot (sometimes literally) and the way you choose to execute your type, whether a heading or somebody copy says even more.

For a thorough rundown of all things typography and font-related, be sure to check out this cheat-sheet full of tips, tricks, and links to help you master the written word!

Let's look at an example of display typography. For those of you not familiar, display type basically refers to the fancier, more stylistic typographical designs. Think of movie poster titles, magazine headings, etc.

Check out these magazine spread designs by Benjamin Bours, each which have had their titles custom-designed intricately and effectively. This showy and detailed typography is display type at work.

Next, we have body copy. Now, there's an ongoing debate amongst the world of body copy between those who favor serif and those who favor sans-serif in terms of readability and legibility.

So what is the answer? Well, it's down to preference and each situation, but generally speaking, serif is best for print and sans-serif is best for the web. Check out the infographic below by Urban Fonts, or read more about Serif vs. Sans Serif fonts here.

Once you've decided between serif or sans-serif, then comes the detailed and sometimes time-consuming step of setting your type.
For a much more thorough rundown of the basics of mastering type, be sure to check out this article of 20 typography mistakes every beginner makes-and how you can avoid them.
However, for the mean time, let me impart these few basic pieces of wisdom to you:

Kern your titles

Make sure your body copy isn't too big or too small for the medium you are printing onto

Try to avoid using too many typefaces at once

Left-alignment is easiest to read for large bodies of type

If in doubt, print it out (you can often pick up on awkward typesetting much easier when it's on page)

When it comes to typography, another hurdle to leap over is the art of combining typefaces. While it sounds easy, and sometimes it is, it can also be challenging at times. Let's look at an example that combines typefaces well.

This magazine design for 99U Magazine uses only a few different typefaces but manages to combine them in a whole array of different ways. Effective and stylish! Check it out.

Type by itself can bring character to your design. Check out the Mountain Landscape Church Flyer template. For more advice on combining your typefaces, check out the Ultimate guide to font pairing.
20. Composition

Composition is a nice point to end on as it is the bringing together of every other principle we've discussed.

'Composition' refers to the overall arrangement of elements in your design, which sounds a bit dull when explained that way, I know, but it's actually one of the more fun elements of design. This is where you can play, experiment and make a good design look great.

Composition is basically where all the previous 19 elements we've discussed come together. You can use scale, repetition, typography, line, randomness, etc. to create unique, effective and suitable layouts.

Let's look at some designs and pick apart their composition. First, we have this email newsletter for J.Crew. This design puts the focus on the "30" by using scale and depth to highlight it. It also draws attention to the title by using hierarchy and placing it at the top center of the page, making it larger than the other type, and framing it.

These are just a few techniques implemented in this simple design. Note how they all come together in this specific way to create a strong, attractive and effective design.

Here's another random example-this time, a poster by Lab B Design Office. This design uses similar techniques and design principles as the previous one but producing a very different result. This piece uses scale and depth by varying the scaling of the blocks of type and positioning them around and behind the photograph to create depth. It also uses hierarchy heavily and frames the type inside boxes and the image with the type.

Overall, by using different combinations, techniques, and content you are able to create an infinite amount of layouts.

Think of it like learning 'do re mi'. Once you have that part down-pat, you can then use different combinations of those notes to create just about any song you want to sing.

Sound Of Music metaphors aside, let's run over some quick tips and tricks for mastering your composition. Here are some important things to consider when it comes to composition:

Is the design balanced?

Does the design have a logical hierarchy?

Does the eye follow over the page/s easily and logically?

Is my main communication clear to audiences?

Conclusion

Design is a complicated business full of principles, tricks, and techniques, some of which you can learn from others, and some of which you have to learn on your own.

Take every 'rule' you read about with a grain of salt and apply it where it feels appropriate, and abandon the rules whenever you feel they aren't. Design is a constantly evolving and changing field and each situation is different, unique and exciting.

But, for the beginners amongst us, keep these 20 principles in mind. Whenever you're out and about, take note of posters, menus, and signs you see, and try to identify which principles it uses and how it uses them. Develop a 'design eye' and keep a mental (or physical) record of interesting ways to use these techniques and store that away for a rainy day.

Overall, have fun with it. Play, experiment, but do it with purpose and care. Good luck!

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Design is an intricate, complicated, fun and exciting business. There's always a lot to learn, a lot to do, and a lot to consider when you're a beginner-not to mention the fact that technology is constantly evolving, new software is being released, and new trends are coming at you rapid-fire.

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NOW (Blocked)

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My design and application process of creating sticker set from the beginning to the end.

It all started from a flash of thought, "Why not try something new?"

Being as a heavy user on WeChat, I am sending and receiving stickers every single day. And I started to think, what if I could create my own stickers on WeChat?

To be honest, I am not good at drawing. I began to draw earlier this year, along with the launch of the new iPad with Apple Pencil supported. But I do see myself as a creator, who is passionate about bringing ideas into reality, helping people live better, happier. So I decided to give it a shot.

1. Create the Character

Before I designed the character, I did some research on what's trending in China. A buzzword caught my attention: Buddha-like Youngsters (佛系青年). This went viral among post-90s generation, with the concept of being average and going with the flow. With the influence of One Child Policy, our generation were given high expectations. We set high standards for ourselves. But sometimes, we have to accept the fact that we are just ordinary. This concept came in and spoke up our attitude towards life and career. So I decided to create something around it.

I named her Hulasha. This name randomly came to mind, with no underlying meaning. But there is a strong feeling from thebottom of my heart, that she is Hulasha.

菩提树下，紫影婆娑。若花女子，悠悠念佛。柳眉凤眼，娉婷袅娜。头顶生草，蜂蝶萦绕。不知其所从来，但闻芳名何许。此女名曰Hulasha。佛系女子，亦有喜怒哀乐。

The Chinese above is my description of the character: There is a girl in purple chanting under a Pipal Tree. She is elegant and sophisticated with classical asian eyes and a pair of arched eyebrow. No one knows where she came from, but we know she is called Hulasha. She is a female buddhist, yet she has all the emotions like everyone else.

2. Brainstorm Key Messages

As a sticker collection shall contain at least 16 stickers with different facial expressions and gestures, Step 2 is to gather all the key messages of each sticker. There are three thumb of rules around that:

‧ Easy to use in daily conversations

‧ Interesting or trendy key messages

‧ Suitable for your character

As my character is defined as a Buddhist, all the messages from her can be a bit poetic. At the same time, I wanna show that she also has emotions like everyone else. So there can be messages like laughters, angers, sorrows and happiness. So we can add a little fun to it.

3. Draw the Character Set

After building up the ket messages in the sticker set, I started to draw the sticker one by one.

During the process of drawing the character with different gestures, it is quite hard for me to maintain the same style of the person. When the gesture changes, the distance among all the body parts changes at the same time. This requires more learning and practice.

Also, Hulasha has a bud growing on her head. The bud changes to other forms along with the mood of the character. For example, if Hulasha is happy, the bud will transform to be a flower; if Hulasha is sad, the bud will have drooping leaves.

If you are curious on which app I am using to draw on iPad, it is called "Linea Sketch". I am not promoting this app here. Also, I found out that the app has some serious bugs and limitations: First, sometimes after you erase something from one layer, that stuff comes out again when you reopen the sketch file. This occurs quite often to me; Second, you can only have 5 layers. This is a huge limitation to me as often times, I need to have more layers; Third, there are only few options of ink pens and brushes, also for the thickness.

Next time, I might go for Procreate for sticker drawing.

1. Sign Up

To start with, I need to sign up on WeChat Creators Market. I can either sign up as a personal account or a corporate account. Here I choose the former.

As for personal account, I am asked to fill in my email address and phone number, upload my Mainland ID Card Copy, and have my WeChat account bound with my bank account.

Up to this time, it only allows people from mainland China to sign up. If you are not from mainland China, you can try to upload your stickers in other places, such as LINE Creators Market.

2. Set Up a Profile

Next, I need to create my profile. It requires me to upload a profile photo, a banner, and a short description of myself.

Having your contact information in the description is quite necessary, as if someone likes your work and want to have you work on certain projects, they can contact you through email.

3. Upload Stickers

After I finished the design part, it is time for me to submit my stickers. There are certain rules on formats and sizes. And there are some extra design work, other than the sticker set, such as banners, sticker icon, sticker profile...

Besides that, I need to write some descriptions about this character; choose a character style in the dropdown list; decide whether to accept tipping or not. After filling in all these fields, it is good to go.

4. Get Rejected

It is normal to receive rejection. It roughly takes 3-5 working days to get the result once your submit. During this period of time, I feel a little frustrated, as every time it rejected me with different reasons;

As for the first-time rejection, it says that the cover photo and the chatroom icon are not allowed to have white border. Usually we add white border on stickers, in order to have some contrasts against the background. But not for the cover photo and the icon though. Besides, the topic that I have chosen for this sticker set is not relevant. So I have to choose other topics. Overall, the first-time rejection is easy fix.

As for the second-time rejection, it says this particular sticker has strong religious elements, which needs to be adjusted. This also reminds us that before we start to draw, we should check out the guidelines, making sure that any of our design concept is not violating any rules.

I started to wonder, could they point out all the unacceptable items in one time, then I can update in one go. It saves time on both sides. Anyway, I might be a bit demanding on this. We should be more patient and empathetic.

5. Land on

Finally, Hulasha made her debut on WeChat Sticker Market. I feel so happy and grateful, which is not just attributed to the success; it is about the days and nights of brainstorming, drawing, submitting and fine-tuning. Finally, I can download and use the stickers which are created by myself.

I started this project on Apr. 29th 2018. It takes nearly 3 months to go through every step and finally make it happen. More than half of the people in my class dropped out in the middle, as this project takes after-class time and efforts. People can't just create everything during the class hour.

Beautiful work is not an accident.

Through out this journey, I also thought about giving up. But if I just stopped, Hulasha would never be able to make a debut in public. It needs patience and perseverance to deliver good art pieces. Beautiful work is not an accident. This is a good start for me and I wish to bring more interesting ideas to life.

On WeChat, the sticker creator is called artist (艺术家).

Hence, I am an artist.

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Journey to Landing my Stickers on WeChat Creators Market

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My design and application process of creating sticker set from the beginning to the end. It all started from a flash of thought, "Why not try something new?" Being as a heavy user on WeChat, I am sending and receiving stickers every single day.

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#nature #trees #real #food #green #camping #food #blue #repetition etc..

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Write out each element and principle of design, and any new words which I tell you to record during the lessons.

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Insert picture of your sketches here and explain how it relates to your inspiration (mood board)

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Find the similarities.

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Step 1: Open Your Frames

Once you have your character's frames drawn, open all of your animation frames in Gimp. They will most likely all be in separate windows if they're separate files. This specific animation consists of 8 frames but yours can be as simple or complex as you'd like as long as the filesize remains under 200kb.

Step 2: Arrange The Frames

Now, we'll place all of the individual frames into the same 360x360px image. Your layer palette should look something kinda like our layer palette to the right, and your image should look somewhat like the window below.

Step 3: Set Up The Animation

Once you have all the frames in the same document, take a look back over at the layer palette. See the layer names in the palette above? In Photoshop, you have a separate Timeline for formatting the animation. In Gimp, the layer palette is your Timeline. The first frame is the bottom layer and the last frame is the top layer.

Formatting the animation requires writing the information in place of the layer names.

The syntax for that looks a little something like this...

There are three aspects to animating in Gimp. First, you must name your layers with different names. Gimp may do weird things if the layers have the same names. Using Frame 1, Frame 2, Frame 3, etc. should suffice. Second, you must specify a frame delay, or how long each frame shows up for. I've used 1000 milliseconds here (one second), but you can use any timing, provided it's written in milliseconds as shown above. Third, there's the frame visibility mode. This determines whether the animation throws out frames as it goes through them, or keeps them in the background throughout the animation. I've chosen "(replace)" so each frame is just the layer I want to see. If you need to make an animation where certain parts stay in place from frame to frame, make sure those are included in each frame, or use the "(combine)" method instead.

Let's go back to our layer palette and get those values in there...

Here, you can see the animation playing back in the Playback window. Once you're satisfied with your animation, you can then optimize the frames and colors.

Step 4: Optimize Frames & Colors

Optimizing an animation in Gimp is a little different from Photoshop - you can do it before saving the file. In the "Filters" menu, under "Animation" (the same place the Playback option is), you'll find "Optimize (for GIF)". This will build a completely new document that is optimized for the smallest filesize possible based upon animation data only. This step does nothing to the color data.

We do however, need to do something about the colors. The maximum amount of colors the .GIF format supports is 256 (including transparency) and at this point, your character could have millions!

We need to set the image's color mode to "Indexed". You will find that option in the "Image" menu under "Mode" (RGB will be selected by default). When you select "Indexed..." this window will appear. This is where you can choose how the colors are treated in your animation.

At this point, you can choose any color options you'd like, but they, just like Photoshop's settings, have the power to greatly impact the color presentation in your final file. For the purposes of this tutorial, I've used the "Generate optimum palette" option. Once you have your options set, hit the "Convert" button in the bottom right corner of the window. This will update the colors in your previously optimized file. Now we're ready to export.

Step 5: Export The Animation

Select the "File" menu, and click on "Export". Once you've named the file and set a location for it to be saved, you'll be presented with the "Export Image as GIF" window shown below.

This is where you finally tell Gimp that you're making an animation and how long it should be. Make sure As animation and Loop Forever are selected. You also have control over some of the parameters we'd previously edited. If you want to update any of that at this point, you can do that as well. When you're ready, click "Export". This will save your animation - you're all done!

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Once you have your character's frames drawn, open all of your animation frames in Gimp. They will most likely all be in separate windows if they're separate files. This specific animation consists of 8 frames but yours can be as simple or complex as you'd like as long as the filesize remains under 200kb.

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Think about these categories when thinking about how well the artist conveyed their message and how visually appealing it looks. In addition, think about the Design principles when viewing these examples.

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Here is ONE way that someone analyzed a monogram logo.

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How to block out sections for PS painting.

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Once you are finished your alphabet you will create a poster which showcases all the letters and has a background to match the style.

In addition, you will create a poster using just one letter, look to this designer for inspiration. (This should be quick and you should use illustrator to create the majority)

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Please open this in PS and upload your letters in the appropriate places.

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More information

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Packaging of the World Examples

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Where design thinking can have an impact:

Domestic violence

Gentrification

Homelessness

Poverty

Public health

Race & gender equality

Recycling and conservation

Support for artists

Water access and safety

Any reality that is unmet or needs clarity, advocacy, and/or a voice

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What a real designer charged for their Designs

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Read about what to consider before designing.

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Please remember the constraints for the assignment:
- Must have custom font used for the main message
- Can be paired (properly) with another font
-Must have the feel of a propaganda poster in terms of aesthetics (colors, imagery, text)
- Must use a propaganda technique
- Must convey a positive message about the topic of your choice

Here is an example of a section of the ACCESS FM (Please see other website if needed.) B1.

You WILL need to use your own Design Brief to create your spec. The details from your spec. will be derived from your own brief in combination with my requirements (or constraints)

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1. Using a font of your choice type the letters A-Z in all CAPS.
2. Use the guides to determine patterns within the font, for example, does the x-height play a role for standardizing anything in a capital letter?
3. Write down what you noticed in sentences below.

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Inspired by the Artist above.

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How will you use the research and analysis to ensure that your final product meets the requirement of the task?

Answer this in the form of a design specification. You will need to use your research answers and poster analysis in order to ensure the authenticity of your poster.

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| 0 |   No work submitted.
| 1 |  Featured Custom Font
| 2 |  Imagery resembles past propaganda
| 3 |  Colours match past propaganda style
| 4 |  Design elements resemble past propaganda styles
| 5 | Vintage feel to poster (Could be created through painting, brushes, etc.)
| 6 | Well balanced
| 7 | Makes use of propaganda techniques
| 8 | Clear inspiration from analyzed posters
| 9 |  Clear message
| 10 | Appropriate message for target audience
| 11 | Could influence target audience
| 12 | Creative use of imagery and text

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Check out this website to view some social awareness posters that go from sketch form to digital.

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Take a famous logo you enjoy and try a variety of different colour combinations, just like the above "commandments" poster. Use your knowledge of colour theory and colours that work well together. Try some complimentary, split complimentary or triad colours, etc.

Choose your favorite design and explain why you like it. Explain how the colour choice affected the brand identity.

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Find a famous painting and an interesting photography and create color pallets from the image. This can be a useful practice to figure out what colors work together so that they can be applied to a project.

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Adding Research or extra supplementary images to your work. Check out the example below and here (Research Portfolio Example).

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Please watch and answer the question on your padlet. 

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Please watch and answer the question on your padlet. 

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1. How did the designer come up with a number of ideas for her challenge?

2. How does this process compare or differ from your previous propaganda process?

3. What surprised you?

4. How can you apply this to your next project?

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Check out the infographics on colour and colour theory.

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Click here

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According to FMI (Food Marketing Institute), the average supermarket in the USA holds around 40,000 different items. This nearly $600 billion industry relies heavily on consumers, distributors, manufacturers and... graphic designers.

Product packaging, as a graphic design discipline, is an industry itself. Multinational design agencies like Landor, CBA'a and Coley Porter Bell employ hundreds of designers who focus almost entirely on creating strong brands through packaging design and branding.

Here at 99designs, product packaging is a growing category waiting for great designers to enter and build their portfolio. But this demanding design area requires more than a good eye, so let's see what makes and breaks good packaging design.

1. Clarity and simplicity

Next time you go to a supermarket, pick a random shelf and browse through some products. Glance at each and ask yourself two very simple questions:

1. What's this product for?

2. What's the brand behind it?

A great example of simple, clear yet highly distinctive packaging design.
You will be amazed how hard it is to find answers to some of these essential questions in less than 4 seconds, which is the maximum time average consumer will dedicate to any particular product on the shelf.

You'll find products listing dozen of benefits with no clear brand name. You'll find products that look great on the outside yet fail to explain what's in the box. You might even find cleaning products in packaging more appropriate for kids juices.

This is a BAD example! This cleaning-product looks dangerously tasty, don't you think? This packaging design might confuse consumers and fail to deliver on clarity.
Although some product categories allow for a bit of mystery (think perfumes and luxuries), failing to identify the product in terms of content, usage or brand identity is a horrible practice which usually results in a packaging design which doesn't perform well in stores.

So remember rule number one: be clear about the product, be clear about the brand.

2. Honesty

Beginners in packaging design, and I'm talking both clients and designers, often strive to depict the product in the most perfect way imaginable. They will show a cookie drenched in chocolate, when in fact you're buying a simple chocolate flavored biscuit. They'll show rich, fresh cherries on fruit yogurt with little fruit content.

By depicting a product ten times better than it actually is, you're misleading and ultimately disappointing the consumer, which only leads to poor sales performance and very bad brand image.

This product might taste good, but the packaging is clearly misleading. More packaging v.s. real food comparisons on this site.
This is where honesty comes in. Consumers have nothing against simple, inexpensive products, as long as they know what they're buying! Of course they expect "face lifting" to some degree but not to a point where product appears to be something entirely different.

As a designer, your task is to represent the product in the best way possible but keep in mind that consumers - you included - deserve to be treated right.

3. Authenticity

Originality, character and memorability are at the heart of great brands and of course, great packaging designs.

It's easy to understand why - there are hundreds of products out there, all competing for consumers' attention. The only way to set your brand apart is to be different, to be authentic.

Because this is truly a matter of creativity and exploration, it's impossible to give advice on how to "be authentic,"especially nowadays when people are faced with myriad of brands, looks and appeals.

This packaging design from Colin Porter Bell is a great example of authentic and memorable packaging design.
If you're stuck with a generic looking packaging design then apply an uncommon design style with strong "visual standards."

For example, if everybody is going for product photography, use illustration or type-based design. If everybody is using a horizontal layout, reach for vertical. If most designs are rather contemporary, try introducing something retro with focus on quality appeal.

Be bold, be different and look into other product categories for unexpected sources of inspiration - spirit label designs can be a great way to brainstorm ideas for that new chocolate packaging project.

4. Shelf impact

From a shopper's point of view, a product is never seen alone and never in great detail. Because of the viewing distance from shelves and the fact that products are arranged in rows and columns, all we see are veritable patterns made of various products. It's not until a certain pattern attracts our attention that we decide to take a closer look.

This distinctiveness and appeal of the product when placed on an actual shelf is something retailers call "shelf impact," and it makes a huge difference in product sales.

This is what you actually see in a supermarket. Which product caught your attention first?
Shelf impact is something you need to test and explore in your designs. You can do this by imitating the placement of your design on an actual shelf and surround it by other products (for best results, use several rows and columns of each product). The more distinctive it looks, the better it sells.

Note: you will be amazed at the results - sometimes the best looking design will simply blend in and become invisible, while more simple designs "pop" in this environment.

5. Extensibility

A product packaging design concept should allow for an easy introduction of a new line extension (product variation) or a sub-brand.

For example, imagine you're creating a packaging for new brand of apple juice. You and your client opt for a certain design featuring apples which looks really great. However, a few months later, the client decides to launch a cherry flavor under the same brand name.

Good packaging design allows for easy variations without loosing visual appeal.
To your dismay, you understand that the initial design concept you created heavily relies on apples to work and that cherries will not look nearly as good. Plus, cherries have some benefits to be communicated on the front panel, which works against your idea. You have a problem with extensibility.

To avoid this, you should always design product packaging with the future in mind. This means creating a visually systematic design which allows for easy changes of product visual or other information, so you get a fine looking family of products in the end.

6. Practicality

Practicality deals with the actual shape, size and functionality of the product container, not just the label or wrap. The more practical the product, the more sales it gets - when Heinz turned the ketchup bottle upside down, sales skyrocketed.

Turning things on their head helped Heinz sell more ketchup when ketchup industry was in growth crisis.
Practicality is the most overlooked aspect of packaging design, simply because clients often pick the "tried and true" route which is a lost opportunity for innovation.

But if you get lucky and do get a chance to design the next bottle, box or a cup, always think practicality first - or in most cases, how you can make the product easier to use, carry or store.

Practicality alone can solve many of the packaging design challenges.

To wrap up

Packaging design is a large and demanding design field always looking for designers who can deliver both product originality and sales performance. Packaging is the last message a consumer sees and a last chance to convince him to buy the product. Clarity, honesty, authenticity and other rules described above play an important rule in this process but are by no means the final word on the subject.

If you're just starting out, I definitely recommend to follow the work of great packaging design agencies, blogs like Dieline, and build your portfolio through packaging contests on 99designs.

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6 rules for packaging design that dive off the shelf -

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According to FMI (Food Marketing Institute), the average supermarket in the USA holds around 40,000 different items. This nearly $600 billion industry relies heavily on consumers, distributors, manufacturers and... graphic designers. Product packaging, as a graphic design discipline, is an industry itself.

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10 Key Tips for Effective Packaging | Design Resources | Shape Products

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Packaging should be a true reflection of your brand. Here are 10 essential tips to be successful with your next packaging design project.

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Please read about color theory in "U3: Package Design" For your holiday homework, you will need to read, and understand about color theory and Gestalt principles. You will also need to take photos to prepare for the color wheel of photography. (Colour Theory Project) - you can also see this in the package design column.

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Please read.
Please read 2

If both of these links don't work at home, you may always research a website on your own.

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Animated Gif

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Once you have your character, it can be useful to create what they will look like from the side, 3/4 angle and behind.
Check it out here.

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How to Draw a Character Turnaround, Graphic Design Tutorial, 4 Different Poses