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Design Basics Index
Design Basics Index is full of inspiration for those working in the graphics industry, or those seeking to find a way in. The book guides the reader through a progression of visual and conceptual theories to samples and exercises that will stretch the designer's imagination and creativity. Also included is a section of advice and strategies for gaining agency and freelance work in graphic design, one of the most popular and difficult industries to break into. The Index series has become successful and popular for its hard-working approach and its vigorous and inspiring exercises.
360 pages, Paperback
First published November 26, 2004
52 people are currently reading
1306 people want to read
About the author
Jim Krause
51 books24 followersJim Krause has worked as a designer in the Pacific Northwest since the 1980s. He has produced award-winning work for clients large and small, including Microsoft, McDonald's, Kodak, Cingular Wireless, Washington Apples, Levi Strauss, Paccar/Kenworth, and Seattle Public Schools. Jim Krause has written over 15 books on design, creativity, and digital photography. His books are widely popular and are on sale around the world. Several have been translated into multiple languages.
Krause's latest books are Color Index XL, Lessons in Typography, Visual Design and Color For Designers.
When Jim isn't working on books, he can usually be found riding or racing either a motorcycle or a bicycle, hiking, reading, roasting coffee beans in his back yard, drinking espresso, or doing an art project of some kind or another.
Krause's latest books are Color Index XL, Lessons in Typography, Visual Design and Color For Designers.
When Jim isn't working on books, he can usually be found riding or racing either a motorcycle or a bicycle, hiking, reading, roasting coffee beans in his back yard, drinking espresso, or doing an art project of some kind or another.
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Displaying 1 - 30 of 45 reviews
June 4, 2008
I have many design books recommended to me but I count my lucky stars when I stumbled across this book one day while wandering the book store. For me this book does a better job of teaching me design concepts because of all the examples and especially the "works" and "doesn't work" examples used in the book to visually demonstrate effective use of design. All the exercises in the book are wonderful tools to engage you further into exploring design concepts and how to make the most effective impact you can with your design selections.
August 14, 2010
It's the book I always recommend to anyone that wants to start learning about design. Touches most aspects, covers the most popular/important principles and is a pleasure to read.
January 9, 2012
This book was great for someone who is looking to get into design. It was easy to understand and follow the basic concepts provided. Not only that, it also offered plenty of excellant design exercises to help the reader put what they were learning into practice. I also found it extremely useful in helping me create a unique design for one of my blogs.
October 28, 2022
Even though this is outdated, the information provided is still of great importance. There are some rules or guidelines of design which will always be used in order to create great work. Replace the outdated images and examples with todays art and you get the same basic principles.
March 24, 2021
As titled—literal basics. Good for introduction to design for beginners.
Some good advice in the form of 'commentaries'. I didn't learn anything new from this but it was a good refresher, which I believe other intermediate creatives would benefit from as well.
Some good advice in the form of 'commentaries'. I didn't learn anything new from this but it was a good refresher, which I believe other intermediate creatives would benefit from as well.
April 29, 2021
Although this book was published back in 2004, it gave me some valuable tips on designing in general. Whether it be web design or graphic design, I found this to be a very useful guide.
August 6, 2022
It's a simple and well designed book covering the basics of design. It's easy to follow and understand and it covers almost all the basic concepts.
December 9, 2020
Snappy, simple and brimming with ideas.
Good stuff.
It's not very aesthetic itself, being a design book, and hence I sort-of ignored it when I bought it 6 years go. The other books I was ordering were way more eye-pleasing. Well, I was wrong.
It has great ideas, and is very accessible. Almost fun.
Covers a lot of breadth (justifying the 'index' in the name), - layout, color, typography. And while you won't find many "serious" insights on these topics, the information seems a great starting point to begin your own explorations - without the burden of jargon.
It's mostly geared towards print and logo/graphic design, most principles can be applied to digital interaction design as well.
Recommend to anyone who does any sort of visual design (and most of us don't realize that we do it a lot - presentation decks, anyone?)
PS - I haven't 'finished' this book because I have not done the exercises yet.
PPS - I love the binding of this book. This is some another kind of material which I don't recall viewing anytime earlier. It makes it a joy to touch. At the same time, it feels like I can (and I want to) carry it everywhere with me.
Good stuff.
It's not very aesthetic itself, being a design book, and hence I sort-of ignored it when I bought it 6 years go. The other books I was ordering were way more eye-pleasing. Well, I was wrong.
It has great ideas, and is very accessible. Almost fun.
Covers a lot of breadth (justifying the 'index' in the name), - layout, color, typography. And while you won't find many "serious" insights on these topics, the information seems a great starting point to begin your own explorations - without the burden of jargon.
It's mostly geared towards print and logo/graphic design, most principles can be applied to digital interaction design as well.
Recommend to anyone who does any sort of visual design (and most of us don't realize that we do it a lot - presentation decks, anyone?)
PS - I haven't 'finished' this book because I have not done the exercises yet.
PPS - I love the binding of this book. This is some another kind of material which I don't recall viewing anytime earlier. It makes it a joy to touch. At the same time, it feels like I can (and I want to) carry it everywhere with me.
December 3, 2018
Very elucidative book throughout.
I would challenge the aesthetic choice of some of the presented examples, but i believe it's more of a stylistic divergence. It's very light on text but definitely not a image-only design book, and i believe that's his high point. The author has keen eye towards the industry and gives some very on point advices, specially to starting designers.
As someone who is more close to the fine arts universe now, there were a few parts were i felt a bit unamused, but i definitely recommend it to starting designers and to people who were already curious about it.
I would challenge the aesthetic choice of some of the presented examples, but i believe it's more of a stylistic divergence. It's very light on text but definitely not a image-only design book, and i believe that's his high point. The author has keen eye towards the industry and gives some very on point advices, specially to starting designers.
As someone who is more close to the fine arts universe now, there were a few parts were i felt a bit unamused, but i definitely recommend it to starting designers and to people who were already curious about it.
April 12, 2023
This, along with Robin Williams' "The Non-Designers Design Book" comprises my just-about-getting-by graphic design toolkit. It's a good deal more advanced than the Williams book, but still accessible to the non-designer audience.
December 21, 2018
Less interesting/well organized than other design books I've read.
March 13, 2019
Good reference book. I skimmed a lot and made notes as needed. Features a lot of good exercises along with the concepts that it presents.
January 10, 2020
A reference that is equally good as a class. If you spend the time and work through the exercises as prescribed in the book, you will become a good designer.
July 1, 2020
Really great for design inspiration and reminders, definitely something to keep in the tool kit.
March 19, 2017
When it comes to understanding the design concepts, this book is definitely my favourite one.
On the other hand, I would give it 4,5 stars because most of the examples made my eyes hurt a bit. That's not a book full of beautiful and trendy designs. It's a book full of concepts, guidelines, rules and playful exercises.
I would recommend it for all designers, including beginners as well as advanced as it teaches, encourages, opens your mind & eyes and inspires.
On the other hand, I would give it 4,5 stars because most of the examples made my eyes hurt a bit. That's not a book full of beautiful and trendy designs. It's a book full of concepts, guidelines, rules and playful exercises.
I would recommend it for all designers, including beginners as well as advanced as it teaches, encourages, opens your mind & eyes and inspires.
July 22, 2015
Helpful before and after designs (i.e., how to fix a design). Encourages exploration of different layouts. Provides definitions of all elements of design.
"Effective grouping streamlines the viewer's search for meaning and information. The designer helps the viewer by deciding which (and how) elements should visually relate to each other." (p. 43)
"A lack of clear visual ranking between elements is perhaps the single most common failing of design. When this happens, the piece either fails to attract interest, or loses the interest of a viewer after it has been gained." (p. 61) "Avoid a fainthearted approach when making these decisions. Be decisive." (p. 64) "Visual indecision weakens structure; avoid it!" (p. 81)
"Even an artist of modest ability can consistently create work of impact and effect if they have cultivated a precise and honest sense of evaluation. An inaccurate set of evaluation skills undermine the creative efforts of even the most (otherwise) capable designer." (p. 97)
"Just as a person might feel uncomfortable in a confined space, the eye also feels uneasy when it finds itself presented with no way out. Many viewers, when confronted with trapped visual space [white space - especially in the center of the layout], feel a distinct, though difficult to define, sense of unease." (p. 114) [unless it's done intentionally for effect]
"Typographically speaking, it is generally best to avoid placing flush-left (ragged right) text next to a strong vertical division such as an image or block of color." (p. 115)
"The next time you begin to put ideas and thumbnail sketches together for a project, consider this approach: adopt the alter-ego of a brilliant wildman or wildwoman of design and lay siege to your book with a take-no-prisoners creative onslaught. (Go big or go home, as they say.) Save quality-control and finalization until several hard-earned pages of the sketchbook have been filled... Remember: it's far easier to scale back a far-out concept or composition than it is to bolster the personality of a lackluster solution." (p. 153)
"Styles between images should be either identical, or noticeably different." For example: "Contract in style, agreement in theme." (p. 200)
"The art of rationalization, applied to the retionalization of our art: it's the slow, slinking slide into creative oblivion that cools the original spark that first fired our imagination toward the manifestation of an artistic goal... Designers sometimes do similar things when choosing spot colors, typefaces or deciding on the cropping of an image - accepting easily the readily available solutions without comparing those choices against the look or feel that they were aiming for when they began the project. Hold true to your original creative impulses. Avoid the temptations of shortcut and convenience as you journey toward their realization." (p. 205)
"A well-chosen color of ink can be flooded over a surface, featured in any number of lighter tints or combined with one or two other inks for cost-effective impact." (p. 220) "Never underestimate the power of a simple palette." (p. 225)
"Obscurity can be used as a theme and as way of delivering theme. Most people find it hard to resist a well-presented puzzle, actual or thematic... Juxtaposition (a combination of objects that seem to be at cross purposes or without an obvious reasons for their association) can be used to generate intrigue, ambiguity and humor. Juxtaposition, when used effectively, takes advantage of people's natural tendency to investigate the deliciously obscure." (p. 310)
"Use instinct and logic to tell you whether each aspect and element of a design are working toward the delivery of the same message. Avoid adding elements that have a separate agenda, no matter how attractive they might be on their own." (p. 321)
"Fill your creative reservoir by training your eyes to SEE and your brain to ABSORB... Read. Read the classics, read pulp fiction, read a variety of magazines. Read before bed, read during lunch, read on the weekend. Read solo or as part of a group... Learn a musical instrument, borrow or buy a digital video camera, become a better cook, act. Creativity gained in one medium invariably spills over into others." (p. 326)
"Create a savings account of images - one that is always available for reference and use in personal and professional projects. A suggestion: purchase a camera and get in the habit of taking it with you wherever you go... Over time, you will build up a stock of banked images that can be used as featured photos, backdrops, visual textures and reference material for your work." (p. 202)
"Effective grouping streamlines the viewer's search for meaning and information. The designer helps the viewer by deciding which (and how) elements should visually relate to each other." (p. 43)
"A lack of clear visual ranking between elements is perhaps the single most common failing of design. When this happens, the piece either fails to attract interest, or loses the interest of a viewer after it has been gained." (p. 61) "Avoid a fainthearted approach when making these decisions. Be decisive." (p. 64) "Visual indecision weakens structure; avoid it!" (p. 81)
"Even an artist of modest ability can consistently create work of impact and effect if they have cultivated a precise and honest sense of evaluation. An inaccurate set of evaluation skills undermine the creative efforts of even the most (otherwise) capable designer." (p. 97)
"Just as a person might feel uncomfortable in a confined space, the eye also feels uneasy when it finds itself presented with no way out. Many viewers, when confronted with trapped visual space [white space - especially in the center of the layout], feel a distinct, though difficult to define, sense of unease." (p. 114) [unless it's done intentionally for effect]
"Typographically speaking, it is generally best to avoid placing flush-left (ragged right) text next to a strong vertical division such as an image or block of color." (p. 115)
"The next time you begin to put ideas and thumbnail sketches together for a project, consider this approach: adopt the alter-ego of a brilliant wildman or wildwoman of design and lay siege to your book with a take-no-prisoners creative onslaught. (Go big or go home, as they say.) Save quality-control and finalization until several hard-earned pages of the sketchbook have been filled... Remember: it's far easier to scale back a far-out concept or composition than it is to bolster the personality of a lackluster solution." (p. 153)
"Styles between images should be either identical, or noticeably different." For example: "Contract in style, agreement in theme." (p. 200)
"The art of rationalization, applied to the retionalization of our art: it's the slow, slinking slide into creative oblivion that cools the original spark that first fired our imagination toward the manifestation of an artistic goal... Designers sometimes do similar things when choosing spot colors, typefaces or deciding on the cropping of an image - accepting easily the readily available solutions without comparing those choices against the look or feel that they were aiming for when they began the project. Hold true to your original creative impulses. Avoid the temptations of shortcut and convenience as you journey toward their realization." (p. 205)
"A well-chosen color of ink can be flooded over a surface, featured in any number of lighter tints or combined with one or two other inks for cost-effective impact." (p. 220) "Never underestimate the power of a simple palette." (p. 225)
"Obscurity can be used as a theme and as way of delivering theme. Most people find it hard to resist a well-presented puzzle, actual or thematic... Juxtaposition (a combination of objects that seem to be at cross purposes or without an obvious reasons for their association) can be used to generate intrigue, ambiguity and humor. Juxtaposition, when used effectively, takes advantage of people's natural tendency to investigate the deliciously obscure." (p. 310)
"Use instinct and logic to tell you whether each aspect and element of a design are working toward the delivery of the same message. Avoid adding elements that have a separate agenda, no matter how attractive they might be on their own." (p. 321)
"Fill your creative reservoir by training your eyes to SEE and your brain to ABSORB... Read. Read the classics, read pulp fiction, read a variety of magazines. Read before bed, read during lunch, read on the weekend. Read solo or as part of a group... Learn a musical instrument, borrow or buy a digital video camera, become a better cook, act. Creativity gained in one medium invariably spills over into others." (p. 326)
"Create a savings account of images - one that is always available for reference and use in personal and professional projects. A suggestion: purchase a camera and get in the habit of taking it with you wherever you go... Over time, you will build up a stock of banked images that can be used as featured photos, backdrops, visual textures and reference material for your work." (p. 202)
May 27, 2017
My wife took a chance and bought this for me as a Father's Day gift, and I really liked it! It's written for graphic designers to help with designing compositions and with selecting and appropriately placing components for their projects. Problem is, I'm just a wanna-be graphic designer, and even that's probably an overstatement. But I do like playing with desktop publishing projects and this gave me lots of input on how to do that better.
January 25, 2015
More likely a 3.5... This book could be gold and almost a solid 5. What sets it back - A LOT - are the garishly ugly and unbecoming examples. They do convey the point and the "right" ones do look better as those highlighting design mistakes, but damn, I would scorn them "good" designs if I had seen one IRL. Otherwise, the points are valid, the mental cataloging the writer has done is really great, but oh, the examples made my eyes hurt... Still a very solid index!
July 3, 2008
An excellent overview of the "Three Cs" of good design: concept, components, and composition. The principles in this book can be applied to a variety of situations: media, advertisement, GUI/usability work (for websites) and provide a good starting point for any design work.
This book is visually based, with "do's" and "dont's" clearly marked on the numerous examples.
This book is visually based, with "do's" and "dont's" clearly marked on the numerous examples.
March 6, 2014
The copy I read was a library book, but now I will be purchasing this for my own library. I find it to be an extremely useful with all kinds of examples and exercises that go along with each chapter, for those who wish to apply what they read. Which is what I'll do when the book is mine. A book I would recommend.
June 17, 2010
A required text for our Web Page Layout & Design class at school. I love this book! It makes discovering design techniques creative! The whole book is laid out in a unique and creative fashion. Very inspiring!
February 16, 2011
I'm reading it at library in my campus, and like it a lot!!! I want to buy it but haven't found it yet (except in online store). Is there anyone know where I can buy this book (don't have to be new one) in Bandung?
Want to read
June 22, 2015Looks like a great introduction to graphic design thinking. Contains a ton of very concrete exercises---I can imagine learning a lot by working through them all. Sadly it's in the library's reference section, so I can't take it home to savor and read all the way through at the moment.
August 17, 2015
As someone who is not a designer, but is fascinated by design, this is a masterpiece. Page after page of useful design principles, commentaries and exercises. If nothing else I certainly appreciate design far more than I did before reading this. I love it.
February 18, 2016
Clear, thorough and beautiful. An amazing book for learning all the basic stuff about designing. Great for beginners and for advanced designers, as it opens your mind and your eyes to the essential endevours of this trade. Highly recommended.
June 21, 2007
i dont have a sweet tooth. but this is like candy to a graphic designer. just great to keep going back to and taking another lick for a little jolt of tastey inspiration.
March 9, 2008
Great reference book!
December 10, 2008
A great reference for the layman. A toe-dip in the world of graphic design that lets the reader get the sense of how much he/she doesn't know.
January 16, 2009
A great compilation of design basics. The book is such a beautiful compilation and obeys the simple rules of design it speaks freely about.
Read
January 23, 2009I learned how to design diffrent kind of websites
Displaying 1 - 30 of 45 reviews