Status
Available
Call number
Collection
Publication
Peachpit Press (2003), Edition: 2nd, 192 pages
Description
A lot has happened in the world of digital design since the first edition of this title was published, but one thing remains true: There is an ever-growing number of people attempting to design pages with no formal training. This book is the one place they can turn to find quick, non-intimidating, excellent design help from trusted design instructor Robin Williams. This revised classic--now in full color--includes a new section on the hot topic of Color itself. In The Non-Designer's Design Book, 3rd Editio n, Robin turns her attention to the basic principles that govern good design. Readers who follow her clearly explained concepts will produce more sophisticated and professional pages immediately. Humor-infused, jargon-free prose interspersed with design exercises, quizzes, and illustrations make learning a snap--which is just what audiences have come to expect from this best-selling author.… (more)
User reviews
LibraryThing member brikis98
A delightful book full of concrete, actionable advice that is perfect for amateurs that want to improve their design skills. This book won't make you a professional designer, but it gives you a vocabulary for thinking about fundamental design principles, including colors, fonts, alignment,
The only downside is that the book is stronger in some areas than others. For example, the discussion of alignment and grouping is very well done, and has tons of examples to make the ideas stick. However, while the discussion of color theory is very clear, there aren't nearly as many examples, and it's not nearly as obvious how to use the information.
Overall, it's a very quick read that can really help the typical person.
Some good quotes from the book:
Lack of alignment is probably the biggest cause of unappealing documents. Our eyes like to see order; it creates a calm, secure feeling in its clarity. Plus it helps to communicate the information.
Nothing should be placed on the page arbitrarily. Every element should have some visual connection with another element on the page.
Avoid using more than one text alignment on the page (that is, don’t center some text and right-align other text). And please try very hard to break away from a centered alignment unless you are consciously trying to create a more formal, sedate presentation. Choose a centered alignment consciously, not by default.
The most practical thing to remember is that cool colors recede into the background, and warm colors come forward.
One of the most important features of an identity package or branding follows the Principle of Repetition: there must be some identifying image or style that carries throughout every piece.
Typography endows human language with visual form.
A design is in conflict when you set two or more typefaces on the same page that are similar—not really different but not really the same. I have seen countless students trying to match a typeface with one on the page, looking for a face that “looks similar.” Wrong. When you put two faces together that look too much alike without really being so, most of the time it looks like a mistake.
If you have trouble seeing what is wrong with a combination of typefaces, don’t look for what is different between the faces—look for what is similar. It is the similarities that are causing the problem.
The major rule to follow when contrasting type is this: Don’t be a wimp!
Start with the focal point. Decide what it is you want readers to see first.
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repetition, contrast, and proximity. The book includes many examples that show how you can use each of these principles to improve a design step by step. By the time you're done, you've trained your eye a bit, and won't be able to see designs the same way. In fact, within 10 minutes of reading, I was going back to some of my designs and making small improvements. The only downside is that the book is stronger in some areas than others. For example, the discussion of alignment and grouping is very well done, and has tons of examples to make the ideas stick. However, while the discussion of color theory is very clear, there aren't nearly as many examples, and it's not nearly as obvious how to use the information.
Overall, it's a very quick read that can really help the typical person.
Some good quotes from the book:
Lack of alignment is probably the biggest cause of unappealing documents. Our eyes like to see order; it creates a calm, secure feeling in its clarity. Plus it helps to communicate the information.
Nothing should be placed on the page arbitrarily. Every element should have some visual connection with another element on the page.
Avoid using more than one text alignment on the page (that is, don’t center some text and right-align other text). And please try very hard to break away from a centered alignment unless you are consciously trying to create a more formal, sedate presentation. Choose a centered alignment consciously, not by default.
The most practical thing to remember is that cool colors recede into the background, and warm colors come forward.
One of the most important features of an identity package or branding follows the Principle of Repetition: there must be some identifying image or style that carries throughout every piece.
Typography endows human language with visual form.
A design is in conflict when you set two or more typefaces on the same page that are similar—not really different but not really the same. I have seen countless students trying to match a typeface with one on the page, looking for a face that “looks similar.” Wrong. When you put two faces together that look too much alike without really being so, most of the time it looks like a mistake.
If you have trouble seeing what is wrong with a combination of typefaces, don’t look for what is different between the faces—look for what is similar. It is the similarities that are causing the problem.
The major rule to follow when contrasting type is this: Don’t be a wimp!
Start with the focal point. Decide what it is you want readers to see first.
Show Less
LibraryThing member ReadMeSeymour
What the other reviews don't tell you... is that Robin Williams not only boils the essentials of desktop design down to a handful of sensible and easy-to-grasp concepts, she does so in a most entertaining and engaging way. This is a book you could read and enjoy even if you weren't looking for
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beginner's design tips! Reading this book has absolutely helped me take my self-taught design skills to the next level. I recommend buying and not borrowing, however, since it has so many tips and tricks, you'll want to have it handy for future reference. Show Less
LibraryThing member msbluestocking
Excellent little book for beginners, and as a reference. May be worth just checking out at the library.... Especially as she seems to have published many books on similar topics, and is not afraid to promote them in her book.
LibraryThing member maryh10000
More visual design for dummies from my hero, Robin Williams. (No, not the comedian).
LibraryThing member irishkitsune
This is a great book if you never had a background in formal design. I came into web design from a programming background, so this was a great primer on style and common practices and principles. It focuses on print design, but a lot of the same principles apply to web design as well.
LibraryThing member dvf1976
Contrast,
Repetition,
Alignment,
Proximity
Leave it to the reader to make the acronym.
I think the author said "Don't be a wimp" that you can tell she really means it.
Repetition,
Alignment,
Proximity
Leave it to the reader to make the acronym.
I think the author said "Don't be a wimp" that you can tell she really means it.
LibraryThing member ragwaine
This is a great little book. I've got a certificate in web design and I've always considered myself very artistic. I know when something looks good or it doesn't. But what I didn't know was why it did or didn't look good. Also a lot of my work was more trial and error.
So I picked up some great tips
So I picked up some great tips
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from this book and now I get things done quicker (with less experimentation) and they look more professional. Plus I've got some fancy terms I can use when talking about design with my friends (or complete strangers). Show Less
LibraryThing member aethercowboy
Don't be a wimp.
At least, that's what Williams tells us just about every other page. You'd think it would get annoying, but it doesn't.
That's premise of the Non-Designer's Design Book, which was written to help us every-day average Joes not make ridiculous layouts that will be so horribly ugly that
I found this book to be a great help, explaining many things I didn't even learn when I was editing (and winning state-wide awards for editing, writing and laying out) a newspaper. Just don't tell anybody, okay?
This book, complimenting Williams' "The (computer system you're using) is Not a Typewriter" books, takes your through what makes layout work, and what makes it aesthetic. You know an ugly ad when you see it, and after reading this book, you'll not only know WHY it's hideous, but also what they could have done to make it better.
Do you need the Non-Designer's Design Book? Well, if you're a professional designer, you won't. Also, if no other person will ever see your design work, you also won't. But if you're anything less than a professional (or even a professional with some level of curiosity), and you're making things that the public will see, it would benefit you greatly to invest in this book (and for heaven's sake, stop using Comic Sans!).
At least, that's what Williams tells us just about every other page. You'd think it would get annoying, but it doesn't.
That's premise of the Non-Designer's Design Book, which was written to help us every-day average Joes not make ridiculous layouts that will be so horribly ugly that
Show More
they will blind passing children and puppies, or something.I found this book to be a great help, explaining many things I didn't even learn when I was editing (and winning state-wide awards for editing, writing and laying out) a newspaper. Just don't tell anybody, okay?
This book, complimenting Williams' "The (computer system you're using) is Not a Typewriter" books, takes your through what makes layout work, and what makes it aesthetic. You know an ugly ad when you see it, and after reading this book, you'll not only know WHY it's hideous, but also what they could have done to make it better.
Do you need the Non-Designer's Design Book? Well, if you're a professional designer, you won't. Also, if no other person will ever see your design work, you also won't. But if you're anything less than a professional (or even a professional with some level of curiosity), and you're making things that the public will see, it would benefit you greatly to invest in this book (and for heaven's sake, stop using Comic Sans!).
Show Less
LibraryThing member ocgreg34
Robin Willams' (the author, not the actor/comedian) "The Non-Designer's Design Book" provides a decent introduction to the design world for someone who, like me, has some idea of what good design is but doesn't know how to use that information. Her book presents four design principles that everyone
Typeface-thesis.jpgThe second section of the book deals with typefaces -- the Oldstyles, the Moderns, the Scripts, the differences between Serif and Sans Serif and Slab Serif -- and how to use them effectively to make a newsletter or invitation more eye-catching. Taking the image to the left as an example, those four typefaces look too much alike. Combining them onto a single page makes them almost indistinguishable from one another. Why not increase the size of one typeface to show how different it is? Or change the weight (or boldness)? Or how about a different color? The eye will be drawn to it and then want to read what comes immediately after.
It all seems pretty simple after reading Williams' book. Not that I'm going to drop everything to create a 20-page, 4-color catalog any time soon. But at least I can make my newsletters a cut above the rest.
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already uses subconsciously, giving them names and making them easier to understand and to identify. Contrast, making items or text that are different really stand out from one another on a page; Repetition, using a visual element over and over to create continuity; Alignment, connecting items and text visually on a page to create good flow; and Proximity, placing related items near each other on a page. And rather than simply stating that these are the principles, Williams includes dozens of everyday examples to re-enforce their usage.Typeface-thesis.jpgThe second section of the book deals with typefaces -- the Oldstyles, the Moderns, the Scripts, the differences between Serif and Sans Serif and Slab Serif -- and how to use them effectively to make a newsletter or invitation more eye-catching. Taking the image to the left as an example, those four typefaces look too much alike. Combining them onto a single page makes them almost indistinguishable from one another. Why not increase the size of one typeface to show how different it is? Or change the weight (or boldness)? Or how about a different color? The eye will be drawn to it and then want to read what comes immediately after.
It all seems pretty simple after reading Williams' book. Not that I'm going to drop everything to create a 20-page, 4-color catalog any time soon. But at least I can make my newsletters a cut above the rest.
Show Less
LibraryThing member spoko
I like this book, but I'm pretty sick of Robin Williams. How does she keep getting away with "writing" the same book over and over again? If I were going to recommend one of hers, it would be this one. In addition to which I'd recommend not bothering with any of her others.
LibraryThing member Murdocke23
A quick, enjoyable read. Practices what it preaches: great layout and concepts are illustrated by the book's content itself. 'Non-Designer's Type Book' has better focus on type, but this one touches on a few things.
LibraryThing member librarianbryan
A great book that serves its purpose well. Unlike some other design books, which shall remain nameless, everything is presented a clear and precise manner.
LibraryThing member raschneid
Please ignore all web design advice in this book, but otherwise, a really good resource for a beginner audience.
LibraryThing member wyvernfriend
while some of the design aesthetic may not be quite today, and the choice of type occasionally betrays it's age, the core messages, particularly CRAP, Contrast, Repetition, Alignment and Proximity and to understand how people look at things and to encourage them to follow the flow of information
A good starter book on the topic. The cover of my copy is quite dated and doesn't reflect a lot of the information inside, and isn't designed by the author.
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and how to make the information easier for people to grasp. A good starter book on the topic. The cover of my copy is quite dated and doesn't reflect a lot of the information inside, and isn't designed by the author.
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LibraryThing member csweder
This was a perfect introduction to design elements from everything from how to set up a newsletter to excel sheet--as well as flyers and invitations!!
It's full of examples and explanations, I am only worried that I wnat to keep it to use as a reference (rather than return it to my friend!).
It's full of examples and explanations, I am only worried that I wnat to keep it to use as a reference (rather than return it to my friend!).
LibraryThing member csweder
This was a perfect introduction to design elements from everything from how to set up a newsletter to excel sheet--as well as flyers and invitations!!
It's full of examples and explanations, I am only worried that I wnat to keep it to use as a reference (rather than return it to my friend!).
It's full of examples and explanations, I am only worried that I wnat to keep it to use as a reference (rather than return it to my friend!).
LibraryThing member cjrecordvt
I have taught out of this book for five years. It is a strong step-by-step to get people to start thinking about design principles.
LibraryThing member shadrachanki
This is an excellent reference work for those who want or need to design something, but who do not have the luxury of going to design school. The information is presented clearly and concisely, and there are many examples of the principles being discussed found throughout the book.
I first got this
I first got this
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book for one of my college editing courses, and I still reference it regularly. It's helped to give me more tools to use in explaining why something does or doesn't work from a design standpoint. Show Less
LibraryThing member parallax387
I used this book for a graduate education course toward my masters degree. THis book is a gold mine of tips to make your documents look better and have that quality that makes people want to read them. The author is obviously an authority in her field. I highly recommend this book for anyone
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wishing to add some visual flair to their documents, such as secretaries or especially teachers. Show Less
LibraryThing member gibbon
Good for content, but the design pays surprisingly little attention to its own principles - too much tiny and grey type.
LibraryThing member readbybrit
This is probably one of the most engaging things I've ever read for school. It was very visually pleasing and really expanded on why certain designs don't look good to the eye. I learned quite a few skills I had never even considered prior to picking up the book, such as how certain alignment can
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look unprofessional if done incorrectly and how to mix fonts properly. It was an interesting read for school as a reference text. Show Less
Subjects
Language
Original language
English
Original publication date
2008 (3rd Edition)
Physical description
192 p.; 6.9 inches
ISBN
0321193857 / 9780321193858
UPC
785342193855