Mockup Design Techniques

2.

Foundational Principles of Visual Design

2.1.

Layout and Composition

2.1.1.

2.1.1.1.

Purpose and Benefits of Grids

2.1.1.2.

2.1.1.2.1.

Multi-Column Layouts

2.1.1.2.2.

Gutter Management

2.1.1.2.3.

Column Spanning

2.1.1.3.

2.1.1.3.1.

Uniform Module Creation

2.1.1.3.2.

Flexible Content Placement

2.1.1.3.3.

Proportional Relationships

2.1.1.4.

Hierarchical Grids

2.1.1.4.1.

Asymmetrical Layouts

2.1.1.4.2.

Content Priority Zones

2.1.1.4.3.

Dynamic Compositions

2.1.1.5.

2.1.1.5.1.

Vertical Rhythm

2.1.1.5.2.

2.1.1.5.3.

Consistent Spacing

2.1.2.

Visual Hierarchy

2.1.2.1.

Establishing Information Priority

2.1.2.2.

Size and Scale Relationships

2.1.2.3.

Contrast and Emphasis

2.1.2.4.

Guiding User Attention Flow

2.1.3.

Proximity and Grouping

2.1.3.1.

Related Element Clustering

2.1.3.2.

Visual Relationship Creation

2.1.3.3.

Information Organization

2.1.3.4.

Reducing Cognitive Load

2.1.4.

White Space Management

2.1.4.1.

Active vs. Passive White Space

2.1.4.2.

Breathing Room Creation

2.1.4.3.

Focus Enhancement

2.1.4.4.

Content Separation

2.1.5.

Alignment Principles

2.1.5.1.

2.1.5.2.

Center Alignment

2.1.5.3.

Right Alignment

2.1.5.4.

Justified Alignment

2.1.5.5.

2.1.5.6.

Maintaining Visual Order

2.1.6.

Balance and Weight

2.1.6.1.

Symmetrical Balance

2.1.6.1.1.

2.1.6.1.2.

Mirrored Compositions

2.1.6.1.3.

Classical Stability

2.1.6.2.

Asymmetrical Balance

2.1.6.2.1.

Dynamic Tension

2.1.6.2.2.

Visual Interest

2.1.6.2.3.

Modern Aesthetics

2.1.6.3.

2.1.6.4.

Visual Weight Distribution

2.1.7.

Repetition and Rhythm

2.1.7.1.

Pattern Creation

2.1.7.2.

Consistency Reinforcement

2.1.7.3.

2.1.7.4.

2.2.

Color Theory and Application

2.2.1.

Color Fundamentals

2.2.1.1.

The Color Wheel

2.2.1.1.1.

2.2.1.1.2.

Secondary Colors

2.2.1.1.3.

Tertiary Colors

2.2.1.1.4.

Color Relationships

2.2.1.2.

Color Properties

2.2.1.2.1.

2.2.1.2.2.

2.2.1.2.3.

2.2.1.2.4.

2.2.2.

Color Models and Systems

2.2.2.1.

RGB Color Model

2.2.2.1.1.

Additive Color System

2.2.2.1.2.

Digital Display Applications

2.2.2.1.3.

Color Value Ranges

2.2.2.2.

CMYK Color Model

2.2.2.2.1.

Subtractive Color System

2.2.2.2.2.

Print Applications

2.2.2.2.3.

Color Conversion Considerations

2.2.2.3.

HSL Color Model

2.2.2.3.1.

Intuitive Color Adjustment

2.2.2.3.2.

Hue-Based Selection

2.2.2.3.3.

Lightness and Saturation Control

2.2.2.4.

Hex Color Codes

2.2.2.5.

Color Space Considerations

2.2.3.

Color Harmony and Schemes

2.2.3.1.

Monochromatic Schemes

2.2.3.1.1.

Single Hue Variations

2.2.3.1.2.

Tonal Relationships

2.2.3.1.3.

Subtle Sophistication

2.2.3.2.

Analogous Schemes

2.2.3.2.1.

Adjacent Color Combinations

2.2.3.2.2.

Natural Harmony

2.2.3.2.3.

Smooth Transitions

2.2.3.3.

Complementary Schemes

2.2.3.3.1.

Opposite Color Pairings

2.2.3.3.2.

2.2.3.3.3.

Dynamic Tension

2.2.3.4.

Split-Complementary Schemes

2.2.3.5.

Triadic Schemes

2.2.3.5.1.

Three-Color Balance

2.2.3.5.2.

Vibrant Combinations

2.2.3.5.3.

2.2.3.6.

Tetradic Schemes

2.2.4.

Color Psychology and Meaning

2.2.4.1.

Emotional Color Associations

2.2.4.2.

Cultural Color Significance

2.2.4.3.

Brand Color Strategy

2.2.4.4.

User Response Considerations

2.2.5.

Color Accessibility

2.2.5.1.

Contrast Ratio Requirements

2.2.5.1.1.

WCAG Guidelines

2.2.5.1.2.

AA and AAA Standards

2.2.5.1.3.

Text and Background Contrast

2.2.5.2.

Color Blindness Considerations

2.2.5.2.1.

2.2.5.2.2.

2.2.5.2.3.

2.2.5.2.4.

Color-Independent Design

2.2.5.3.

Contrast Testing Tools

2.2.5.4.

Alternative Visual Cues

2.3.

Typography and Text Design

2.3.1.

Type Anatomy and Structure

2.3.1.1.

2.3.1.2.

2.3.1.3.

2.3.1.4.

2.3.1.5.

2.3.1.6.

Serifs and Sans-Serifs

2.3.1.7.

Counters and Bowls

2.3.1.8.

Stems and Strokes

2.3.2.

Typeface Classification

2.3.2.1.

Serif Typefaces

2.3.2.1.1.

2.3.2.1.2.

2.3.2.1.3.

2.3.2.1.4.

2.3.2.2.

Sans-Serif Typefaces

2.3.2.2.1.

2.3.2.2.2.

2.3.2.2.3.

2.3.2.2.4.

2.3.2.3.

Script Typefaces

2.3.2.3.1.

2.3.2.3.2.

2.3.2.3.3.

2.3.2.4.

Display Typefaces

2.3.2.4.1.

Decorative Fonts

2.3.2.4.2.

Specialty Applications

2.3.2.4.3.

Attention-Grabbing Designs

2.3.2.5.

Monospace Typefaces

2.3.3.

Typographic Hierarchy

2.3.3.1.

2.3.3.1.1.

Primary Headings

2.3.3.1.2.

Secondary Headings

2.3.3.1.3.

Tertiary Headings

2.3.3.1.4.

2.3.3.2.

Body Text Styling

2.3.3.2.1.

2.3.3.2.2.

Reading Optimization

2.3.3.2.3.

Line Length Considerations

2.3.3.3.

Supporting Text Elements

2.3.3.3.1.

2.3.3.3.2.

2.3.3.3.3.

2.3.3.3.4.

2.3.4.

Font Pairing Strategies

2.3.4.1.

Contrast Principles

2.3.4.2.

Complementary Relationships

2.3.4.3.

Avoiding Font Conflicts

2.3.4.4.

Limiting Font Combinations

2.3.4.5.

Testing Readability

2.3.5.

Text Readability and Legibility

2.3.5.1.

Font Size Guidelines

2.3.5.1.1.

Minimum Readable Sizes

2.3.5.1.2.

Optimal Reading Sizes

2.3.5.1.3.

Scaling for Different Devices

2.3.5.2.

Line Length Optimization

2.3.5.2.1.

Characters per Line

2.3.5.2.2.

Reading Comfort

2.3.5.2.3.

Column Width Guidelines

2.3.5.3.

Line Spacing Adjustment

2.3.5.3.1.

Leading Considerations

2.3.5.3.2.

Paragraph Spacing

2.3.5.3.3.

Vertical Rhythm

2.3.6.

Advanced Typography

2.3.6.1.

Kerning Adjustments

2.3.6.1.1.

Letter Spacing Fine-Tuning

2.3.6.1.2.

Character Pair Optimization

2.3.6.1.3.

2.3.6.2.

Tracking Modifications

2.3.6.2.1.

Overall Letter Spacing

2.3.6.2.2.

Text Density Control

2.3.6.2.3.

Stylistic Effects

2.3.6.3.

Leading Control

2.3.6.3.1.

Line-to-Line Spacing

2.3.6.3.2.

Paragraph Rhythm

2.3.6.3.3.

2.4.

Imagery and Visual Elements

2.4.1.

Image Selection and Sourcing

2.4.1.1.

Stock Photography

2.4.1.1.1.

Licensing Types

2.4.1.1.2.

Quality Considerations

2.4.1.1.3.

Brand Alignment

2.4.1.2.

Custom Photography

2.4.1.2.1.

Original Content Creation

2.4.1.2.2.

Brand Consistency

2.4.1.2.3.

Unique Visual Identity

2.4.1.3.

Illustration Integration

2.4.1.3.1.

Custom Illustrations

2.4.1.3.2.

2.4.1.3.3.

Graphic Elements

2.4.2.

Image Formats and Optimization

2.4.2.1.

2.4.2.1.1.

2.4.2.1.2.

2.4.2.1.3.

2.4.2.1.4.

Compression Techniques

2.4.2.2.

Vector Graphics

2.4.2.2.1.

2.4.2.2.2.

Scalability Benefits

2.4.2.2.3.

File Size Efficiency

2.4.2.3.

Image Resolution

2.4.2.3.1.

Screen Resolution Matching

2.4.2.3.2.

Retina Display Considerations

2.4.2.3.3.

Export Settings

2.4.3.

Icon Design and Implementation

2.4.3.1.

Icon Style Consistency

2.4.3.1.1.

2.4.3.1.2.

2.4.3.1.3.

2.4.3.2.

Icon Sizing and Scaling

2.4.3.2.1.

Pixel Grid Alignment

2.4.3.2.2.

Multiple Size Variants

2.4.3.2.3.

Scalability Testing

2.4.3.3.

Icon Clarity and Recognition

2.4.3.3.1.

Universal Symbols

2.4.3.3.2.

Cultural Considerations

2.4.3.3.3.

Context-Appropriate Design

2.4.3.4.

2.4.3.4.1.

Accessibility Requirements

2.4.3.4.2.

Tooltip Integration

2.4.3.4.3.

Text Alternatives

2.4.4.

Visual Hierarchy with Images

2.4.4.1.

2.4.4.2.

Supporting Imagery

2.4.4.3.

Decorative Elements

2.4.4.4.

Image-Text Relationships

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1. Introduction to Mockup Design

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3. The Mockup Creation Process