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One of the most difficult parts of talking about the principles of design is figuring out just how many principles there actually are (are there five? Seven? 10?). And once that’s been figured out, which of these supposed design fundamentals should be included?
Search for “principles of design” and Google will return results for articles that include from five to more than a dozen individual visual design principles. Even the articles that agree on the number don’t necessarily agree on which ones should be included in that number.
In reality, there are roughly a dozen basic principles of design that beginning and expert designers alike should keep in mind when working on their projects. In addition, there are another dozen or so “secondary” design principles that are sometimes included as basics (for example, the Gestalt Principles, typography, color, and framing). The main design principles are explained and illustrated below.
As already mentioned, there is no real consensus in the design community about what the main principles of design actually are. That said, the following twelve principles of visual design are those mentioned most often in articles and books on the subject.
One of the most common complaints designers have about client feedback often revolves around clients who say a design needs to “pop” more. While that sounds like a completely arbitrary term, what the client generally means is that the design needs more contrast.
Contrast refers to how different elements are in a design, particularly adjacent elements. These differences make various elements stand out. Contrast is also a very important aspect of creating accessible designs. Insufficient contrast can make text content in particular very difficult to read, especially for people with visual impairments.
All design elements and principles—typography, colors, images, shapes, patterns, etc.—carry a visual weight. Some elements are heavy and draw the eye, while other elements are lighter. The way these elements are laid out on a page should create a feeling of balance.
There are two basic types of balance: symmetrical and asymmetrical. Symmetrical designs layout elements of equal weight on either side of an imaginary center line. Asymmetrical balance uses elements of differing weights, often laid out in relation to a line that is not centered within the overall design.
Emphasis deals with the parts of a design that are meant to stand out. In most cases, this means the most important information the design is meant to convey.
Emphasis can also be used to reduce the impact of certain information. This is most apparent in instances where “fine print” is used for ancillary information in a design. Tiny typography tucked away at the bottom of a page carries much less weight than almost anything else in a design, and is therefore deemphasized.
Proportion is one of the easier principles of graphic design to understand. Simply put, it’s the size of elements in relation to one another. Proportion signals what’s important in a design and what isn’t. Larger elements are more important, smaller elements less.
Hierarchy is another principle of design that directly relates to how well content can be processed by people using a website. It refers to the importance of elements within a design. The most important elements (or content) should appear to be the most important.
Hierarchy is most easily illustrated through the use of titles and headings in a design. The title of a page should be given the most importance, and therefore should be immediately recognizable as the most important element on a page. Headings and subheadings should be formatted in a way that shows their importance in relation to each other as well as in relation to the title and body copy.
Repetition is a great way to reinforce an idea. It’s also a great way to unify a design that brings together a lot of different elements. Repetition can be done in a number of ways: via repeating the same colors, typefaces, shapes, or other elements of a design.
This article, for example, uses repetition in the format of the headings. Each design principle is formatted the same as the others in this section, signaling to readers that they’re all of equal importance and that they’re all related. Consistent headings unify these elements across the page.
The spaces between repeating elements can cause a sense of rhythm to form, similar to the way the space between notes in a musical composition create a rhythm. There are five basic types of visual rhythm that designers can create: random, regular, alternating, flowing, and progressive.
Random rhythms have no discernable pattern. Regular rhythms follow the same spacing between each element with no variation. Alternating rhythms follow a set pattern that repeats, but there is variation between the actual elements (such as a 1-2-3-1-2-3 pattern). Flowing rhythms follow bends and curves, similar to the way sand dunes undulate or waves flow. Progressive rhythms change as they go along, with each change adding to the previous iterations.
Rhythms can be used to create a number of feelings. They can create excitement (particularly flowing and progressive rhythms) or create reassurance and consistency. It all depends on the way they are implemented.
Patterns are nothing more than a repetition of multiple design elements working together. Wallpaper patterns are the most ubiquitous example of patterns that virtually everyone is familiar with.
In design, however, patterns can also refer to set standards for how certain elements are designed. For example, top navigation is a design pattern that the majority of internet users have interacted with.
White space—also referred to as “negative space”— is the areas of a design that do not include any design elements. The space is, effectively, empty.
Many beginning designers feel the need to pack every pixel with some type of “design” and overlook the value of white space. But white space serves many important purposes in a design, foremost being giving elements of the design room to breathe. Negative space can also help highlight specific content or specific parts of a design.
It can also make elements of a design easier to discern. This is why typography is more legible when upper and lowercase letters are used since negative space is more varied around lowercase letters, which allows people to interpret them more quickly.
In some cases, negative space is used to create secondary images that may not be immediately apparent to the viewer. This can be a valuable part of branding that can delight customers. Take the hidden arrow in the FedEx logo, for just one example.
Movement refers to the way the eye travels over a design. The most important element should lead to the next most important and so on. This is done through positioning (the eye naturally falls on certain areas of a design first), emphasis, and other design elements already mentioned.
Variety in design is used to create visual interest. Without variety, a design can very quickly become monotonous, causing the user to lose interest. Variety can be created in a variety of ways, through color, typography, images, shapes, and virtually any other design element.
However, variety for the sake of variety is pointless. Variety should reinforce the other elements of a design and be used alongside them to create a more interesting and aesthetically pleasing outcome that improves the user’s experience.
Everyone has seen a website or other design out there that seemed to just throw elements on a page with no regard for how they worked together. Newspaper ads that use ten different fonts come to mind almost immediately.
Unity refers to how well the elements of a design work together. Visual elements should have clear relationships with each other in a design. Unity also helps ensure concepts are being communicated in a clear, cohesive fashion. Designs with good unity also appear to be more organized and of higher quality and authority than designs with poor unity.
Other principles of design are also touched upon in various articles on the subject. These include typography, color, Gestalt Principles, grid and alignment, framing, and shape. Some definitely fit the definition of “principles” while others are more like elements of design.
Typography refers to the way text is arranged in a design. That includes the fonts used, their spacing, size, and weight, and the way different text elements relate to each other. Good typographic design is heavily influenced by all of the other design principles mentioned earlier in this article.
The use of color in design is one of the most psychologically important parts of a design and has a huge influence on user experience. Color psychology and theory heavily influences some of the other principles mentioned earlier.
Gestalt Principles include similarity, continuation, closure, proximity, figure/ground, and symmetry & order (also called prägnanz). Some of those principles are closely related to the principles mentioned above.
Grid and alignment are closely related to balance and refer to the way elements are arranged in relation to an invisible grid on the page.
Framing refers to how the primary subject of a design is placed in relation to other elements on the page. It’s most often heard referred to in cinematography or photography, with how the main focus of an image is placed within the overall image. But the principle carries over into design.
Shape is also a major part of any design, both in terms of specific shapes used as elements within the design, and the overall shape of the design itself. Different shapes can evoke different feelings, i.e circles are organic and fluid, while squares are more rigid and formal, and triangles give a sense of energy or movement.
Suggested reading:These design “principles” or elements are important aspects of good design and should be considered alongside the other basic principles to create the best user experiences.
What constitutes the “basic” principles of design is certainly up for debate. But understanding and implementing the principles covered above is vital to the success of any design project.
Designers should aim to understand how each of these design principles actually impact their work. Studying how other designers have implemented these ideas to structure their own designs is also an incredibly valuable tool in learning to create better designs.
It’s entirely possible to create a good design without a thorough understanding of these elements and principles of design. However, it’s typically done by “designer’s intuition” and may take a lot of trial and error in order to create something that actually looks good and creates an optimal user experience. Designers could save a lot of time and energy by practicing the principles we have discussed until they become second-nature.
Reading time: 8 minutes
A business card represents the next step in making your small business dream a reality. For many potential customers, it’s also the first interaction they’ll have with your brand, so make sure it’s a positive one.
A thoughtfully designed business card does more than just carry your contact information. It will make you look professional, build trust for customers and set your small business apart from others.
But before you start giving out business cards to everyone you meet, ask yourself: What makes a good business card design? How can you make it stand out?
The answer? By carefully considering the information you include, and how you present it. Here, we’ve put together 10 essential tips on how to design a card that best represents you and your business. And we’ll tell you what to avoid when designing a business card.
For extra advice, we spoke to Tristan Le Breton, Creative Director at 99designs by Vista, a global platform that makes it easy for small businesses to work with professional designers to create logos, websites and more.
Ready to get started? Here’s how to design a business card:
What to avoid when designing a business card
Your business card says a lot about you and your small business, so be sure to choose a design that reflects your brand. For example, if you’re an interior designer who specializes in modern styling and loves clean lines, create a card that’s clean and simple. Or maybe you’re a dog walker with an outgoing personality—reflect the fun nature of your business with a colorful, less formal card.
Ask a friend what they think your business card design communicates to see if they are getting the right message about your brand’s personality. When in doubt, talk to a designer. Or take a look at Vistaprint’s Design Services.
If there’s a specific font you’ve been using on your website or other marketing materials, bring that onto your business card.
The font you choose should always represent your brand. For example, consider an elegant script if you’re an etiquette coach, or a typewriter-inspired font if you’re a writer. It must also be easy to read. All of your text should be at least 8pt, but more important information (like your name or business name) can be printed in a larger size, a different typeface or in bold.
Tristan’s recommendation?
“A good rule of thumb is to make the company name larger than a 12pt font, and never use any font sizes smaller than 8pt.”
The size and orientation of your business card affects text size and the amount of information you can include, and also makes a statement about your brand.
Are you a conventional, no-frills company or a bold non-conformist?
Most business cards are rectangular, about the size of a credit card, and laid out horizontally. People are familiar with this format, so it’s a safe choice, but if you want your business card to stand out, consider using a square shape, rounded corners or vertical orientation.
Speaking of information, your business card should give customers everything they need to contact you, find you online or locate your shop or office. Aside from your name and job title, add your business name, telephone number, website, email address and social media handles. Make sure you include all of this information on your business card so customers can easily contact you in whatever way they feel most comfortable.
When you’re adding your information to your business card template, consider the way it’s laid out. Each piece of information should be clearly distinguishable, but flow nicely with the rest.
“A good visual flow for a business card design should start with the logo, then the name, then move on to secondary information like email addresses and phone numbers,” Tristan says. “You can always alter the visual flow by adjusting an element’s size, shifting its location or adding additional white space.”
Don’t waste all that printing space! Use the reverse side of your business card for appointment reminders, loyalty stamps or as a blank canvas to showcase something extra about your brand. For example, if you run a restaurant or cocktail bar, include a short recipe for a signature dish or drink. Do you sell handmade goods? Use business cards as tags for jewelry, clothing, accessories and other crafts.
Another way to make your business card stick is by turning it into a magnet. This technique works particularly well for businesses offering recurring services like plumbing, gardening, pet sitting, hairdressing, car services, restaurants and more. Customers will stick them on their fridges for easy access to your contact information.
The options for repurposing your business card are endless, and can ensure your card gets further, lasts longer and makes a stronger impression.
Tristan says, “Your card is more than just your contact information; it’s a representation of you and your brand. Before you think of creating new business cards, there are two crucial design components to consider: your finalized logo and your brand colors. These elements are the most important parts of your visual branding, and will help influence other areas of the card design process.”
A business card is *all* about the logo, so consider dedicating one side of your card solely to your logo. As a visual representation of your business, it deserves a prominent place that will instantly catch the eye of potential clients.
Once you have a logo, aim to create a complete identity for your brand: a collection of colors and fonts to use in all of your marketing materials (including business cards), a tone of voice to use in all communications and an idea of the overall “vibe” of your brand. If you need help, work with a professional designer — or check out VistaPrint’s Design Services — to create a logo, business card, website, marketing materials and more.
Don’t clutter your card with too much text. If there are too many elements on the card, they’ll all compete for the reader’s attention and nothing will stand out. (Remember, you can use both sides of the card!) Design-wise, a little white space is easier on the eyes, and it can help draw attention to the most important details.
Plus, you might want to add a note before you hand out your card to someone. Leaving a little room gives you space to jot down your new phone extension or give potential customers the name of a colleague.
“The fewer elements you have, the more impact each will make, so think about how you can clear the clutter to leave a lasting impression,” says Tristan.
There are a few creative ideas you can use for your business card design. One easy way to make your card stand out is to add an unusual design element or special print treatment. Foil accents add a touch of sophisticated shine, while embossed gloss creates a raised, glossy coating, giving your cards a stand-out 3D feel.
According to Tristan, “special finishes can go a long way in making a lasting impression on potential customers, partners and clients.”
Paper stock is another way to add something special to your business card. Extra-thick paper adds an instantly luxurious touch, while recycled kraft paper lends an organic feel.
Make sure these special features are appropriate for your branding. If you’re in an earthy, conservative or less glamorous line of work, it might feel odd to add a shimmery foil accent to your business card.
A CTA isn’t a business card requirement, but it can encourage potential clients to take that next step. Whether it’s a special offer, a useful tip or a discount code, create an incentive around your business to encourage customers.
Consider using a QR code as part of your call to action. As people are increasingly comfortable with scanning QR codes, adding one to your business card is a great, one-click way to send people to your website, subscribe them to your mailing list or give them a special offer. We suggest placing the code on the back of your business card because that makes it easy to scan, and won’t take away from your logo on the front.
Is there anything worse than opening a freshly printed box of business cards (or menus, or flyers) to see that there’s a typo?
Before you place your order, ask a colleague or friend to double-check your business card for spelling errors. If you want to be *extra* sure that your card is perfectly proofed, enlist the help of a professional copy editor.
Since there is such a small amount of text on a business card, it should be a relatively quick, low-cost task.
Borders: Business card borders might seem like a clever design element, but they can make printing and cutting a bulk order of business cards more complicated. Borders will accentuate any cutting mistakes in the printing process, so they’re best avoided.
Complicated typography: Choose a font that represents your brand’s personality, but try to steer clear of any typefaces that are so artistic, avant-garde or unusual that they’re hard to read. Legibility is the priority.
Using too many design elements: Your business card needs to communicate basic information in a relatively small amount of space, so avoid too many design elements that can make it look cluttered and distract from what’s important.
Choosing the best platform to design your business card depends on how much you want to invest in your branding. Like most things in life, you get what you pay for!
The most affordable way to get a business card is to design it yourself. DIY tools, like VistaCreate and Canva are great for testing out colors, typography and branding ideas, or if you’re looking for something ultra low-cost or temporary. Customize templates or, if you have a little design know-how, you can start from scratch.
Here’s a few platforms you can use to design your own business card:
Canva
VistaCreate
AdobeExpress
Need a design that wows? Working with a freelance graphic designer will help you create a business card that looks and feels professional, and they can be much more affordable than traditional design firms. People with design training are experts at using the power of design to communicate your brand’s unique message. You can choose a freelancer or start a logo contest, where designers compete to design your card for you.
99designs by Vista — A platform that makes it easy for you to start a design contest or work directly with a professional designer of your choosing.
Behance — Browse designer portfolios
Why have business cards when people can type your contact details into their mobile phones? Well, business cards do much more than list your information. They help represent your brand, and give potential customers something to remember you by (especially after quick interactions). So it’s important that you take care when designing your business card, and you’ll wind up with something that’s professional and memorable.
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