The Design Process

This course has discussed the design process from start to finish: from a blank page to a finished typographic design. We’ve looked at everything in great detail, which might make you lose sight on the bigger picture. I

n this chapter I want to lay out a step-by-step plan for designs. To summarize what has been discussed. Of course, you’re not required to strictly follow the plan. This is simply my method and my summary. Do steps in a different order or to a different extent whenever you feel like it.

The Plan

1. Look to the Past: Look at existing typographic designs and fonts that you like. If you can find out what is so good about a design, or why it is able to stand the test of time, you can transfer those elements to your own design. Don’t directly copy other people’s work. But be inspired, and always look at the history of typefaces and layouts for ideas.
2. Body Text: Most of your project will be body text. Start with it, and most other elements will fall into place. Pick a workhorse font. Body text requires a careful look at the font, point size, measure, and leading.
3. Create Hierarchy: Establish the hierarchy of your design. If you’re stuck, it’s often wise to start with a general distinction between foreground and background. The foreground contains the most important elements that need attention (such as body text), while the background contains everything else that doesn’t require immediate attention (it’s not necessarily empty). First try to establish hierarchy with only one typeface and a limited amount of tools. Only include more typefaces or visual cues if all else fails. If you do so, at least make sure the x-heights align.
4. Use (White) Space: Let the white space flow through the design. Leave large amounts of blank space to bring more attention to the really important parts. Don’t clutter the page, don’t make things too large or spread out. Work outward from the (body) text, not inward from the page edges. Use grids, margins and gutters to your advantage. Beware of accidental grouping or messaging through space.
5. Connect the Elements: Every element within the design should be there for a reason. It needs to have a relationship with the rest. Show this relationship in the way you typeset every element, and don’t let anything hang loose. An incoherent design is never good.
6. Be Consistent: Elements with a different meaning should always look different. Elements that are very similar should always look (nearly) the same. Whatever style you choose to apply, be consistent and don’t arbitrarily switch between styles. If you’ve decided on a set of style rules for the body text, transfer the majority of those to other text blocks.
7. Keep it Simple: Don’t use more than three fonts, don’t use more than five colours in a palette, don’t place information on every page that could just as well have been stated only once. Highlighting nearly every word destroys the effect of highlighting, while making everything big, bold and beautiful destroys the effects of contrast and balance. Before you add anything, think about whether it’s really necessary.
8. Make Small Adjustments: Placing the bulk of the matter is easy with some knowledge about typography and usage of a grid. The secret to success, however, is in the fine-tuning. Start by applying changes in an extreme fashion, then slowly decrease until you find the sweet spot. In most cases, the difference between not enough and too much is almost zero.
9. Experiment: Logical and calculated decisions can kickstart your design and help you when you’re stuck. You can never completely predict how something will look, though, and experimenting will add just that little bit extra to any design. Maybe you find an amazing new way to separate paragraphs, maybe you find the perfect but weird solution to a problem you were having. Don’t be afraid to try things out. You can always undo it or create the next draft.