9 tips for designing awesome infographics

Have you notice how popular infographics have become?

Have you wondered how you can make your infographics stand out?

Present your info with them more efficiently?

If so keep reading!

Infographics is a way of presenting information using graphics. They tell a deeper and broader story than text alone, and usually take up less space as well. They can also communicate your information more quickly even If your audience can’t read well or doesn’t know the contained language that well.

Lemongraphic →Website simplified infographic design

Lemongraphic →Website simplified infographic design

Infographics is still design and need to abide by design rules (or at least break them consciously) in order to be efficient.

So you will need at least a basic knowledge of grids, layouts, elements and principles of design, color and typography. Also you will have to follow the same creative process as usually: understand the brief, research, ideate, sketch, refine. So in addition to the above let’s see what else we can do to make our infographics more efficient! Read more

Article publié pour la première fois le 25/11/2013


The important elements of visual communication

Being familiar with the elements and principles of design and visual communication in general will enable you to create more effective visual messages whether you are a designer a photographer or an artist. It can help you even if you are not any those, but want to able to talk about what you see in the visual culture using the visual vocabulary. In this post, I’ll be discussing about the elements. (**updated on 27/8/13**)


  • Space
What do you see by wdj(0) on Flickr

photo by wdj(0) on Flickr

When we discuss space we usually make the separation and describe it either as negative or positive space.

Positive is the space filled with elements, whereas negative is the empty space. Sometimes which is what can be confusing especially in optical illusions. But both of them are crucial of effective visual communication.

Common design mistakes where space is concerned is totally ignoring the negative space and filling up everything, or trapping the negative space in the center of the layout, leaving holes in the composition.

Remember that our purpose in any form of art is to communicate a message and not fill the canvas or page with unnecessary clutter.


  • Line
Are you caught in between the patterns of life By Vinoth Chandar

photo by Vinoth Chandar

Line is our most essential tool in filling up the negative space. They come in many variations, like straight, angular or curvy. And also many flavors like thick, thin, dashed, dotted, etc.

Negative space can also form lines like the lines of the margins in a page, or even our computer screens edge. Lines are used to construct boxes and borders, and also even more sophisticated things like typography.

Additionally they can be used to align, or arrange items in a layout. And control the viewer’s eye’s movement through our composition.

Common design mistake is the use of really thick and bulky borders. Remember that most probably we need to focus the viewer’s eyes inside border, not the border itself!

  • Shape

Shapes or form if you like, can either be organic or inorganic. Inorganic shapes and forms are precisely geometric, such as perfect squares, or circles, polygons etc. We call them thus because they rarely appear in nature.

Organic shapes and forms on the other hand are more easily found in nature. Both can trigger instant recognition, and evoke emotions.

Red door in the sunshine by Steve-h on Flickr

Red door in the sunshine by Steve-h on Flickr

  • Size

Size of elements can be used to emphasize or de-emphasize items in a layout.  Size can either be relatively measured or be of exact size.

  • Patterns

Like shapes patterns can either be organic or inorganic. But unlike shapes patterns are all about repetition. Inorganic patterns are repeated without variation.

Organic patterns are looking more “random” and natural but still the same elements are getting repeated over and over, only this time might be having different sizes or appear in varying distances.

Patterns create order and familiarity in layouts, and depending their usage can communicate a tactile quality.

  • Texture

Mixed media art, acrylic paint, thickly applied oil; the paper we use to print or draw all can provide texture. Texture makes things appear more organic and natural. Designers and artists have some times to create the illusion of a texture to make things more realistic either on screen or on paper.

Textures are also very often misused and overused in the design world. For example while adding a bevel or emboss might seem a good idea for an on-screen mockup, considering it for a print solution is not the best way to go. There are special techniques to achieve this effect in post-production.

Common design mistake is the over abuse of textures literally everywhere .

Remember just because we can do it, doesn’t mean we *really* have to!

Abandoned Mansion, Beirut By craigfinlay on Flickr

Abandoned Mansion, Beirut By craigfinlay on Flickr

  • Value

Value refers to the tones of light and dark. Unlike most people opinions there isn’t just black and white, in between there is a spectacular range of varying shades of gray.

In black and white photography, pictures with very little gray value, lack in variation and seem flat. The same is true in color compositions as well, where tonal values there range from light to dark colors.

Value can create the sense of depth, and also create variation and visual interest. It can be used to emphasize, highlight things and de-emphasize others.


If you enjoyed and found useful this article, feel free to comment and also don’t be shy to ask if you have any questions.

Article publié pour la première fois le 27/08/2013


Contemporary Poster Design #3

Hello and welcome to our contemporary poster design series!

Did you know?

Chéret developed a new lithographic technique that suited better the needs of advertisers: he added a lot more colour which, in conjunction with innovative typography, rendered the poster much more expressive. Not surprisingly, Chéret is said to have introduced sex in advertising or, at least, to have exploited the feminine image as an advertising ploy. In contrast with those previously painted by Toulouse-Lautrec, Chéret’s laughing and provocative feminine figures meant a new conception of art as being of service to advertising.

Posters soon transformed the thoroughfares of Paris into the “art galleries of the street.” Their commercial success was such that some of the artists were in great demand and theatre stars personally selected their own favorite artist to do the poster for an upcoming performance. The popularity of poster art was such that in 1884 a major exhibition was held in Paris.

For today we have a stunning selection of 20 posters coming to us from Josip Kelava & James White! Let’s enjoy their works!!

Hope you enjoyed today’s selection of posters as much as i did finding them! See you next time!

( Posters are presented here because they are licensed as Creative Commons – Attribution [CC BY-NC-ND 3.0] works and for the sole purpose of promoting design and the designer’s works)

Article publié pour la première fois le 25/08/2012

The Top 10 Typography Books

The Top 10 Typography Books for Summer

Many designer friends, that are beginning in the field, usually ask me how can they improve or how they can stand out in the modern competitive market. Especially on these days of a global economic crisis: Where your potential clients consider paying for design a luxury, and everyone has self-proclaimed themselves designers and ruin the market with under-priced 5-minute design “solutions”.

My answer and advice to anyone thinking in a similar manner, is: expand your skillset and practice as hell. Read as many books as you can. Watch as many video tutorials as your mental sanity allows. And of course practice constantly!

Make priority of your life becoming a bit better in what you do each passing day, and you will start seeing results almost immediately. Aside that, economic crisis won’t last for ever, and when this mess is cleared, you will have the competitive advantage. The fittest tend to survive.

So with the opportunity of summer around the corner, I compiled several nice reading lists concerning various aspects of design. Mostly with books I have read and found interesting or i have marked to get in the near future. And I think that they have something to offer whether you are a junior designer or a grizzled award winning designer.

Top 10 list with books on typography

1. Typography Workbook: A Real-World Guide to Using Type in Graphic Design

The Typography Workbook provides an at-a-glance reference book for designers on all aspects of type.
The book is part of Rockport’s popular Workbook series of practical and inspirational workbooks that cover all the fundamental areas of the graphic design business. This book presents an abundance of information on type – the cornerstone of graphic design – succinctly and to the point, so that designers can get the information they need quickly and easily.

Whereas many other books on type are either very technical or showcase oriented, this book offers ideas and inspiration through hundreds of real-life projects showing successful, well-crafted usage of type. The book also offers a variety of other content, including choosing fonts, sizes, and colors; incorporating text and illustrations; avoiding common mistakes in text usage; and teaching rules by which to live (and work) by.

2. Type, Volume 1: A Visual History of Typefaces and Graphic Styles

This book offers a novel overview of typeface design, exploring the most beautiful and remarkable examples of font catalogs from the history of publishing, with a special emphasis on the period from the mid-19th century to the mid-20th century, when color catalogs were at their height. Taken from a Dutch collection, this exuberant selection traverses the evolution of the printed letter in all its various incarnations via exquisitely designed catalogs displaying not only type specimens in roman, italic, bold, semi-bold, narrow, and broad, but also characters, borders, ornaments, initial letters and decorations as well as often spectacular examples of the use of the letters. The Victorian fonts, sumptuous and sometimes unbelievably outrageous, are accorded a prominent place in this book. In addition to lead letters, examples from lithography and letters by window-dressers, inscription carvers, and calligraphers are also displayed and described.

Featuring works by type designers including: William Caslon, Fritz Helmuth Ehmcke, Peter Behrens, Rudolf Koch, Eric Gill, Jan van Krimpen, Paul Renner, Jan Tschichold, A. M. Cassandre, Aldo Novarese, Adrian Frutiger

In order to include a vast amount of material, we have divided this text into two volumes. The first volume displays pre 20th Century type specimens, and the second covers the period from 1900 to the middle of the century. In the first volume, editor Cees de Jong and collector Jan Tholenaar write about single specimens and types; in the second, Alston Purvis outlines the history of types.

3. Designing with Type, 5th Edition: The Essential Guide to Typography

The classic Designing with Type has been completely redesigned, with an updated format and full color throughout. New information and new images make this perennial best-seller an even more valuable tool for anyone interested in learning about typography. The fifth edition has been integrated with a convenient website,, where students and teachers can examine hundreds of design solutions and explore a world of typographic information. First published more than thirty-five years ago, Designing with Type has sold more than 250,000 copies—and this fully updated edition, with its new online resource, will educate and inspire a new generation of designers.

4. Type Rules!: The Designer’s Guide to Professional Typography

Type Rules: The Designer’s Guide to Professional Typography, 3rd Edition is an up-to-date, thorough introduction to the principles and practices of typography. From the fundamentals to cutting-edge applications, this edition has everything today’s serious designer needs to use type effectively. Dozens of exercises reinforce authoritative coverage on such topics as how to select the appropriate type for the job, how to set type like a pro, how to avoid common mistakes, and how to design a typeface, as well as how to fully harness the power of major design packages such as InDesign? and QuarkXPress? — with new coverage of their latest versions.

This edition includes:

  • New information on OpenType, font management utilities, font web sites, and interactive typography.
  • An expanded?history of type and an updated glossary of key terms.
  • Exercises throughout to help reinforce the concepts presented in the book.
  • A wealth of tried-and-true as well as recently developed type tips.
  • More in-depth type issues, including scaling logos.

5. The Complete Manual of Typography: A Guide to Setting Perfect Type

This book is about how type should look and how to make it look that way; in other words, how to set type like a professional. It releases the craft knowledge that used to reside almost exclusively in the heads of people working in type shops. The shops are gone, the technologies have changed, but the goal remains the same. This book explains in very practical terms how to use today’s computerized tools to achieve that secret of good design: well-set type.

Beautifully designed and richly illustrated, The Complete Manual of Typography is an essential reference for anyone who works with type. Designers, print production professionals, and corporate communications managers can go straight to the index to find focused answers to specific questions, while educators and students can read it as a textbook from cover to cover. You’ll find:

  • History, basic concepts, and anatomy of good typography, concisely presented and indexed for quick reference by busy professionals.
  • Straight-ahead instructions for how to manage fonts, handle corrupted or missing fonts, and find the characters you need.
  • Clear, useful explanations of what makes good type good (and bad type bad) .
  • Detailed guidance on controlling the fundamentals of type, including measure, point size, leading, kerning, and hyphenation and justification.
  • Practical advice on how to fix and avoid composition problems such as loose lines, bad rags, widows and orphans.
  • Hard-to-find rules for managing indents and alignments, skews, wraps, expert-set characters, and tables.
  • Scores of workarounds that show how to wring good type out of uncooperative word-processing and layout programs.

6. Getting it Right with Type: The Dos and Don’ts of Typography

Typography is no longer the specialist domain of the typesetter: these days anyone who uses a computer has access to a wide range of typefaces and effects. This book offers an introduction to the basics of typography, including choosing which typeface to use; adjusting letter-, line-, and word-spacing for improved legibility; understanding kerning and leading; and mastering typographic details, such as italics, punctuation, and line endings. The book is illustrated throughout with practical examples demonstrating good and bad solutions. There are tips for specific design tasks, such as letters, charts, tables, and design for the screen, and a glossary explaining typographic terms.

7. Typographic Design: Form and Communication

For more than two decades, the type book of choice for design professionals and students

Typographic design has been a field in constant motion since Gutenberg first invented movable type. Staying abreast of recent developments in the field is imperative for both design professionals and students. Thoroughly updated to maintain its relevancy in today’s digital world, Typographic Design: Form and Communication, Fourth Edition continues to provide a compre-hensive overview of every aspect of designing with type, now in full color.

This Fourth Edition of the bestselling text in the field offers detailed coverage of such essential topics as the anatomy of letters and type families, visual communications and design aesthetics, and designing for legibility. Supplementing these essential topics are theoret-ical and structural problem-solving approaches by some of the leading design educators across the United States. Unwrapping the underlying concepts about typographic form and message, Typographic Design, Fourth Edition includes four pictorial timelines that illustrate the evolution of typography and writing within the context of world events – from the origins of writing more than 5,000 years ago to contemporary Web site and electronic page design.

New features include:

  • Full-color treatment throughout
  • A new ancillary Web site containing resources for self-learners, students and professors (
  • Two new chapters: The Typographic Grid and Typographic Design Process
  • An updated design education section that includes recent examples of projects assigned by leading design educators
  • New case studies that showcase design for Web sites and animated typography projects
  • Case studies detailing examples of visual identification systems, environmental graphics, book and magazine design, Web site design, type in motion, and wayfinding graphics
  • Updated coverage of digital type technology

8. Mastering Type: The Essential Guide to Typography for Print and Web Design

Good Design, Down to the Letter

Packages on store shelves, posters on building walls, pages of a website—all contain information that needs to be communicated. And at the heart of that communication is type: visually interesting, interactive, expressive and captivating. Each letter must come alive; therefore, each letter must be carefully crafted or chosen. A solid foundation in typography, as well as an understanding of its nuances, will help you optimize your visual communication—in whatever form it takes.

By breaking down the study of type into a systematic progression of relationships—letter, word, sentence, paragraph, page and screen—award-winning graphic designer and professor of communication design Denise Bosler provides a unique and illuminating perspective on typography for both print and digital media and for designers of all skill levels.

Through instruction, interviews and real-world inspiration, Mastering Type explores the power of each typographic element–both as it stands alone and as it works with other elements–to create successful design, to strengthen your skill set and to inspire your next project.

9. Typography, Referenced: A Comprehensive Visual Guide to the Language, History, and Practice of Typography

Typography, Referenced was named to the 2013 Outstanding Reference Sources List, an annual handpicked list from the Reference and User Services Association (RUSA, a division of the American Library Association) of the most noteworthy reference titles published in 2012.

Typography, Referenced is the single most comprehensive volume covering every aspect of typography that any design student, professional designer, or design aficionado needs to know today.

In these pages, you’ll find:

  • Thousands of illustrated examples of contemporary usage in design
  • Historical developments from Greek lapidary letters to the movie Helvetica
  • Landmark designs turning single letters into typefaces
  • Definitions of essential type-specific language, terms, ideas, principles, and processes
  • Ways technology has influenced and advanced type
  • The future of type on the web, mobile devices, tablets, and beyond

In short, Typography, Referenced is the ultimate source of typographic information and inspiration, documenting and chronicling the full scope of essential typographic knowledge and design from the beginnings of moveable type to the present “golden age” of typography.

10. New Vintage Type: Classic Fonts for the Digital Age

Choose, use, and understand great vintage type with this authoritative guide. Retro is the new modern. And nowhere is that fact more evident than in typography, which today uses vintage type in ads, book and magazine design, movies, and everywhere words convey meaning. Viewers may not even realize that the type itself conveys mood, information, and a sense of style, but graphic designers know the power of vintage type. Now the world’s foremost historian of graphic design presents New Vintage Type, a remarkable rethinking and rediscovery of old and classic typefaces for today’s modern needs.

Hundreds of amazing, astounding, and obscure examples from around the world are gathered here, organized into five historically and stylistically grouped sections: the Victorian Age, the Woodtype Era, Art Deco Style, Modern Movement, and the Eccentric Movement. With hundreds of lively and one-of-a-kind examples, plus informed, intriguing tex, New Vintage Type is the graphic designer’s guide to choosing and using vintage type for maximum impact.

Hope you found this list useful!

For further reading you can find some interesting articles about typography right here on our website as well, so you might want to check them out:

How To Choose The Right Typeface / Typography Practices For A More Pleasing Website

See you next time!


Article publié pour la première fois le 12/11/2013

The Typography of Business 1

The Typography of Business: Why Typography is Vital to your Marketing Strategy

Typography greatly determines the success or failure of any project or campaign that requires visual communication. Many professional designers consider typography as the most essential factor in design. It’s true that no matter how striking a campaign might seem, if the selected typefaces are not appropriate for the job, there’s a big chance that potential customers are going to treat it as just another ad that fails to leave a lasting impression on them. In short, without the right typefaces, your intention and effort of having your marketing strategy succeed will wasted.

Featured image – source

One simply needs to take a quick glimpse at logos and identities of several successful companies such as KFC, McDonald’s or Starbucks Coffee and see how they grab people’s attention, deliver their message across and get clear results. The same principle applies to your business cards, brochures and other print materials for marketing. Your choice of typefaces should trigger an emotional response from your target audience and make them potential customers.

Companies or businesses that use professional-looking typefaces in their identities, logos and printed materials tend to garner the trust of more people. Their typefaces make a strong and lasting emotional impact and they have a strong influence on the thoughts and actions of potential customers at a subconscious level. This is the crucial advantage companies are striving for.

So what would be the right typeface for your marketing strategy? It’s important for every effective designer to be very familiar with typefaces and their special characteristics before carrying out any marketing project. For example, serif typefaces such as Clarendon, Bembo and Courier are commonly used in brochures and printed documents, although they can also be effective as headers for websites and company identities. Some designers find serif typefaces difficult to read in smaller prints and tend to prefer sans-serif typefaces.

Sans-serif typefaces on the other hand don’t have the serif details and their appearance is regarded as more modern compared to serifs. The four main types of sans-serifs currently used by designers are Grotesque (Akzidenz Grotesk, Franklin Gothic), Neo-grotesque (Helvetica, Highway Gothic), Humanist (Calibri, Frutiger) and Geometric (Futura, Century Gothic). Most sans-serifs tend to have a greater line width variation. Sans-serifs are excellent for body text, but they are also effective in headers and logos if you’re striving for a minimal approach.

Having a wide array of options for typefaces can be a bit overwhelming for designers. Most designers feel that too much diversity can be detrimental to design and marketing, so most of the time they stick to one or two consistent typefaces when finishing the job at hand. They rely on particular typefaces to get the message across and see no point in trying out other options. While it is true that utilizing too many typefaces can make your project look less professional, thorough attention is integral in selecting the two or three typefaces that deliver the results you expect from your marketing efforts.

The Magic of Typography

The typography is a branch of Graphic Design. It provides the aesthetic and relevant use of different fonts. It cares about the individuality of each font, the way it looks, its impact and readability. Also is  responsible for the objective characteristics like size of the letters, length of lines and space between them, space between letters, distances and proportions between upper-case and lower-case letters, location and size of the squiggles.  Typography as a practice dates back to the invention of writing. Twentieth and twenty-first century are considered to be the developing graphic refinement of fonts. Massive penetration of computers and their generic use expands the field of typography. At the beginning of the twenty-first century there have been hundreds of professional and non-professional organizations, associations and groups that actively develop and promote typographical work. This work includes all aspects of letter’s design – font design, hand-writing and calligraphy, graffiti, signs and architectural print, poster design and other large scale fonts like those on billboards, business communications and printed promotional materials, advertising, trade marks and logotypes, typography in cinema and television. After the imposition of the digitise range of application of fonts extend. It now appears on clothing, dash, portable video games, pens and hand-watches, web sites.

Nevertheless, most typographic images follow the same format using repetition, contrast, proximity and alignment. These four principles are often used in typography.

Here are presented some basic tips to improve your web design typography.

– Lettering:

Have to respond to the content of the text and be relevant. Choose a readable and clear font. The titles can be written with decorative fonts but for the body it is most appropriate to use the traditional Helvetica, Arial or Times New Roman.

– Font size of the letters:

As a rule, the font size for the body text is between 12 and 16 pixels. Users can view the site from mobile devices so the text should be readable in different screen resolutions.

– Hierarchy:

According the font size of the body text it is recommended  to create a hierarchy for the fond size of the other text like for the remaining blocks of text and large titles and subtitles. Use the rule of the hierarchy for every other page of the site.

– Length of lines:

Usually the length of the lines is between 40 and 80 symbols. In the optimal case they are 65. This is important because if the line is too short the contend will seems desultory. In the other case, if they are too long, it will be harder to read and understood the meaning.

– Spacing between lines:

It is also important foe the readability and overall aesthetics of the site. Usually this space is twice to five times bigger than the font size of the body text.   The choice depends on the font used, of its size and style, and the length of the rows.

– Alignment:

Better alignment of the text is a prerequisite for the impression that the site will leave. Page should be divided into systems of columns, paragraphs, menus, headers and footers side.

– Empty spaces:

The empty spaces between different parts of the page permit the whole content to “breathe”. Generally speaking, the shape of the site with a smaller number of elements and more free space looks much more attractive than the pages that are packed contents.

– Accentuation:

Sometimes it is good to use some methods to make a word or phrase accentuated. The appropriate way to do such a thing is using italic, bold, underline, changing the font size or colours of the body text. Once selected a certain style to accentuate the words or phrases it is desirable to stick to it for all pages of the site.

The traditional advice in such an articles is to be free and calm to break the rules. Doing the design you have to know the main rules for effective typography, own innate talent and eye for the beauty. Being brave and determined will create you and your site unique. This way the innovations and unusual sites are born.

Featured Image: Creative Commons – Attribution by Jeremy Keith

Article by Brandon Bradshaw

Brandon Bradshaw is a writer and blogger passionate about graphics and web design. With over seven years of experience in web design, Brandon has lots of knowledge to share with her readers. Check his latest typography idea at

Bauhaus Typography

History of Modern Art: Bauhaus

Hello folks, and welcome back to our history of modern art series! Today we’ll be exploring Bauhaus!

Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally “house of construction” stood for “School of Building”.

Foyer of the Bauhaus-University Weimar

Foyer of the Bauhaus-University Weimar

The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a ‘total’ work of art in which all arts, including architecture would eventually be brought together.

The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.

The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime.

The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.