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The toolkit

Visual basics for non-designers

You will learn the small set of decisions that separate clean work from work that looks broken: hierarchy, alignment, contrast, spacing, type, colour, images and exports. You will learn to work inside someone else's brand without changing it, to license images properly, and to build a fast, free Canva workflow. By the end you can produce a layout, name the reason behind every choice, and hand it over cleanly.

9
lessons
~60
minutes
12
exam questions

Free · No paid tier · No certificate fee

After this course

Everything, and what is in it.

Design decisions, not design taste

~6 min

You will touch design work

Most of the work you do is not design. But a lot of it lands in front of someone's eyes: a slide deck for a board meeting, a one page summary, a formatted proposal, a simple social graphic, a cleaned up report. Nobody is asking you to be a designer. They are asking for work that does not look broken. Broken means the title collides with the logo, three fonts fight each other, the photo is stretched, the colours are almost the brand colours. A client rarely writes that down as a complaint. They just stop trusting the file. This course gives you enough judgement to avoid that, and to explain your choices when someone asks why you did it that way.

Four decisions, every time

Almost everything that reads as good design comes from four decisions. What should be seen first, and is it clearly bigger or bolder than the rest. What lines up with what, and are there fewer edges than you started with. What stands apart enough to be read without effort. How much empty space sits between things, and is it consistent. That is hierarchy, alignment, contrast and spacing. You can apply all four without knowing any theory, without taste, and without an eye. When a layout feels wrong and you cannot say why, walk the four questions in order. In our experience one of them is always the answer, and it is usually spacing.

Read the brief before opening Canva

Before you touch a tool, get four things from the brief. Where does this end up: a printed page, a phone screen, a projector, an email. What exact size or aspect ratio that destination needs. Which brand assets exist: a logo file, hex codes, named fonts, an existing template. What done looks like, and by when. If something is missing, do not invent it quietly. On a AfterDesk task you never contact the client, so we are the route: state the gap and the assumption you made in the note you send with your delivery. A named assumption is easy for us to correct. A silent one turns into a revision.

What never leaves the task

Client material is theirs, not yours. Their logo files, photos, customer lists and unpublished documents stay inside the task. Do not upload them to a free online converter, an image enhancer, an AI tool or your personal drive to make life easier. Those services keep copies, and you cannot promise what happens next. Use the tools the brief allows, work in your own account, and when the task is approved, delete the working files. You also do not keep the finished piece as a portfolio sample, even a beautiful one, and even with the name blurred. If you want work to show, build your own practice pieces with your own content. That is what this course is designed to help you do.

Remember

  • Nobody expects a designer. They expect a file that does not look broken.
  • Hierarchy, alignment, contrast, spacing. Four questions answer almost every layout problem.
  • Get destination, size, brand assets and deadline before opening any tool.
  • Name your assumptions in the delivery note instead of guessing silently.
  • Client files never leave the task, and finished client work is not your portfolio.

Hierarchy: what gets seen first

~6 min

One element has to win

Open any layout you are asked to make and ask what a person should take away if they look for one second. The event name. The number. The headline. That element wins, and everything else is arranged to lose gracefully. Beginners emphasise everything: bold title, bold subtitle, bold call to action, a bright box around the date. When every part shouts, the eye has nowhere to land and the piece reads as noise. Rank the content before you design. One primary message, one or two secondary lines, then supporting detail like a website address or a date. If the client insists three things matter equally, pick the one that would still matter if the reader saw nothing else, and treat the rest as secondary.

Four levers of emphasis

You create hierarchy with size, weight, position and space, in that order of power. Size is the bluntest: a headline around two to three times the body text reads instantly as the headline. Weight comes next: bold for the primary line, regular for everything else, and resist bolding whole paragraphs. Position matters because most readers start at the top left of a page and at the centre of a social graphic. Space is the quiet lever: an element with room around it looks important even at the same size as its neighbours. Colour is a fifth lever but the weakest one to lean on, because it fails in greyscale printing and for readers with colour blindness. If your hierarchy only works in colour, it does not work.

The squint test

Before you deliver anything, shrink it. Zoom the page out to about a quarter size, or look at it on your phone, or blur your eyes until the text becomes grey shapes. Whatever you can still identify is your real hierarchy. If the logo survives and the headline does not, you have a problem the client will notice in one second. This takes fifteen seconds and catches more errors than any other habit in this course. Do it again after the last edit, because late changes are where hierarchy usually breaks: someone adds a line, you shrink the headline to fit, and the piece quietly flattens. If nothing stands out at thumbnail size, make the winner bigger rather than making everything else smaller.

Documents and slides need it too

Hierarchy is not only for graphics. A ten page report needs a reader to find a section without reading every line. In Google Docs, use the built in Heading 1 and Heading 2 styles rather than manually enlarging and bolding text. Real styles keep sizes consistent, build the outline panel, and let you generate a table of contents that updates. On slides, one idea per slide, and a title that states the point rather than naming the topic. Sales grew forty percent in Q3 tells the room something. Q3 results does not. Keep every slide title in the same position and size, because a title that jumps two centimetres between slides is visible to everyone watching the deck.

Remember

  • Decide the one message that wins before you open the tool.
  • Size, weight, position and space create emphasis. Colour alone is not enough.
  • Zoom to thumbnail size before delivering. What survives is your real hierarchy.
  • Use real heading styles in documents instead of manual bolding.

Alignment, spacing and grouping

~7 min

Fewer edges is cleaner

Alignment means every element sits on a line shared with something else. Those lines are invisible, but the eye finds them, and a page with three invisible lines looks calm while the same page with eleven looks accidental. Default to left alignment for text. It gives every line a hard edge to start from and it is the easiest thing to read in long form. Centre alignment is fine for a short headline, a title slide or a certificate, and painful for a paragraph, because the reader hunts for the start of each line. Whatever you choose, be consistent: do not centre the heading and left align the text beneath it unless you are doing it deliberately across the whole piece. Mixed alignment is the most common reason work looks amateur.

Margins and safe areas

Give the whole layout a margin and keep it equal on every side unless the design says otherwise. Nothing except a deliberate full bleed background should touch the edge of the canvas. For anything going to print, keep important content well inside the trim, because printers cut with a small tolerance and text near the edge can lose a few millimetres. For social posts, remember the platform adds its own furniture: profile pictures, captions and buttons sit over the corners and the lower band of the frame, so keep your headline and logo away from those zones. When you are unsure, more margin is safer than less. Crowded edges read as cheap, and they are the first thing a brand manager points at.

Space says what belongs together

Space groups things more strongly than boxes or lines do. A caption placed close under its image belongs to the image. Move it down a few millimetres so the gap matches the gap to the next paragraph, and the reader no longer knows what it describes. Use this deliberately: small gaps inside a group, larger gaps between groups. The practical trick is to pick a small set of spacing values and reuse them, for example eight, sixteen, twenty four and thirty two pixels, instead of typing a different number each time. Consistent spacing is most of what people mean when they say a design looks professional. When something feels crowded, do not shrink the text. Increase the gap between the groups and leave the text alone.

Let the tool align for you

Nudging by eye is where errors creep in, because two pixels of misalignment is invisible while you work and obvious in the finished file. In Canva, drag an element until the smart guides appear, select several elements and use the align tools, or open the position panel and type exact coordinates. Tidy up spreads selected items evenly. In Google Slides and Docs, use the ruler, guides and the align and distribute menus. The habit worth building is to duplicate rather than redraw: copy a card you already positioned, move it with the arrow keys, and its size and spacing come along unchanged. Then check the corners at full zoom before you export, because a half aligned grid is worse than an obviously loose one.

Empty space is doing work

New designers fill space because filling feels like effort. Empty space is not waste. It is what makes the rest readable, and it is free. If a client sends more content than fits, the answer is rarely a smaller font. It is fewer words, a second page, or a second slide. Say that plainly in your note rather than shrinking body text to eight points to force a fit, because at that size nobody reads it and everyone can see it was forced. There is a limit in the other direction too: a lonely headline floating in an enormous white page looks unfinished rather than elegant. Aim for space that is generous and even, not dramatic, and let the margins be the biggest empty areas on the page.

Remember

  • Left align by default. Mixed alignment is the fastest way to look amateur.
  • Keep an equal margin. Nothing important sits near a trimmed or covered edge.
  • Small gaps inside a group, bigger gaps between groups.
  • Use smart guides, align tools and typed coordinates instead of nudging by eye.
  • Too much content is a content problem, not a font size problem.

Contrast and readability

~6 min

Contrast means it can be read

Contrast has two jobs. The first is legibility: dark text on a light background, or light text on a dark background, with enough difference that a tired person on a phone in daylight can read it. Grey text on a slightly lighter grey looks refined on your screen and disappears on everyone else's. The second job is emphasis: a difference big enough to signal that two things are not the same. Half differences are the trap. A heading two points larger than the body text does not look intentional, it looks like a mistake. If two elements are different, make them clearly different in size, weight or colour. If they are the same kind of thing, make them identical. Nearly the same is the only wrong answer.

Text over photographs

Placing text directly on a photograph is where most amateur work falls apart, because a photo is not one colour. Your white headline is readable over the dark trees and vanishes over the sky. Three fixes work, in order of quality. Choose or crop the image so the text sits over a calm, even area. Add a dark overlay across the whole image, or a gradient that is dark where the text sits, then place light text on top. Or put the text on a solid block beside the image rather than over it. What does not work is a drop shadow doing all the labour, or an outline around every letter. Always check the result at the size it will actually be seen, not at full screen in the editor.

Check contrast, do not guess

Your monitor lies to you. It is brighter than the phone your work will be read on, and you already know what the text says, so your brain fills in what your eye cannot resolve. Use the free WebAIM Contrast Checker: paste the text colour and the background colour as hex codes and it returns a ratio. The widely used accessibility guideline, WCAG AA, asks for at least four and a half to one for normal body text, and three to one for large or heavy text. Brand colours often fail this, especially yellow, light green and pale grey on white. When that happens, do not change the brand colour. Darken the text, put the brand colour behind large type only, or use it as a background with a colour that passes on top.

Colour alone is not a signal

Around one man in twelve has some form of colour blindness, and red and green are the pair most often confused. Documents also get printed in black and white far more often than anyone plans for. So never let colour be the only thing carrying meaning. If a chart has a red line and a green line, label the lines directly or use different dash patterns as well. If a table marks overdue rows in red, add the word overdue in a column. If a form marks required fields in orange, add the word required. A quick test: turn the file to greyscale, or screenshot it and desaturate the screenshot. If any information disappears, your design is carrying meaning in a channel some readers do not have.

Remember

  • Make things clearly different or exactly the same. Nearly the same looks like a mistake.
  • Text over photos needs a calm area, an overlay, or a solid block.
  • Check hex pairs in the free WebAIM checker instead of trusting your monitor.
  • Never let colour be the only carrier of meaning.

Type: pairing and safe defaults

~7 min

Two typefaces, maximum

One typeface used across a whole piece is never wrong. Two is the practical maximum: one for headings, one for body text. Three is almost always a sign that someone kept adding. When you pair two, pair them for contrast rather than similarity. A serif heading over a sans serif body works because the two are clearly doing different jobs. Two similar sans serifs sitting next to each other just look like a mistake. The easy alternative is a superfamily: one typeface that ships with many weights, where you use the bold weight for headings and the regular weight for the body. Avoid decorative, script and handwriting faces for anything longer than a few words. They are hard to read at small sizes and they date badly.

Pairings that always work

Google Fonts is free, and the files can be downloaded and installed on your own machine as well as used inside Canva and Google Docs. Four pairings that hold up in almost any business context: Lora for headings with Source Sans for body, Playfair Display with Lato, Merriweather with Open Sans, and Inter used alone across both roles in different weights. If you are working in a plain document that has to open cleanly on a stranger's computer, use what is already installed everywhere: Arial, Helvetica, Calibri, Georgia or Times New Roman. Boring is a feature in a contract or a report. Keep a short list of your own defaults so you are not choosing fonts at eleven at night with a deadline in an hour.

Size, spacing and line length

Three numbers make text comfortable. Body text sits around ten to twelve points in a printed document, and around sixteen pixels on screen, which is larger than most people expect. Line spacing sits around one point four to one point six times the text size, because lines packed tightly become a grey block and lines spread far apart stop reading as a paragraph. Line length sits around fifty to seventy five characters, roughly ten to twelve words, which is why a full width paragraph across a wide slide is uncomfortable and a two column layout often is not. On slides, treat about twenty four points as the floor for anything the room needs to read. If the text will not fit at those numbers, the problem is the amount of text.

Small habits that ruin text

A few things quietly mark work as unprofessional. Long passages in capitals, which slow reading by removing word shapes, are fine for a three word label and painful for a sentence. Faux bold and faux italic, produced by clicking the B button on a font that has no bold weight, look smeared next to a real bold. Underlining anything that is not a link, since underline now reads as clickable. Justified text in a narrow column, which opens rivers of white space between words. Five different text sizes on one page, when two or three would do. And a heading left alone at the bottom of a page while its paragraph starts on the next one. Fix that by pushing the heading over rather than stretching what sits above it.

When the brand font is not free

Brand guidelines often name a font you do not have. Check Google Fonts first, because a large share of brand fonts live there and are free to install and use commercially. If it is a paid or custom licensed font, do not download it from a font sharing site. Those files are usually pirated, sometimes carry malware, and using them puts the client at legal risk as well as you. The professional move is to use the nearest free substitute, keep everything else in the layout faithful to the brand, and state plainly in your delivery note which font you substituted and why. On a AfterDesk task, we pass that to the client. Silent substitution is what causes a revision three days later.

Remember

  • One typeface is safe, two is the maximum, three is a mistake.
  • Keep four go to pairings from Google Fonts so you never improvise.
  • Sixteen pixels on screen, line spacing near one and a half, short lines.
  • Never install a pirated font. Substitute, then say what you substituted.

Colour and the brand kit

~7 min

Brand colours are not yours

A brand colour is a specific value, not an approximate mood. If the guideline says the blue is hex zero zero five two nine nine, that is the blue, not the one that looked better against your photograph. Clients spend real money making that colour consistent across a website, a shopfront and a business card, and a version that is slightly off is more damaging than an obviously different colour, because it reads as sloppy rather than deliberate. So copy hex codes, never pick colours with the eyedropper from a compressed screenshot, and never adjust brightness to taste. If a brand colour genuinely does not work in a particular place, say so in your note and propose an option. Changing it quietly is the version that gets caught.

Building a palette that holds

A simple ratio keeps palettes calm: roughly sixty percent of the surface in a dominant colour, usually a neutral like white or a light grey, thirty percent in a secondary, and ten percent in an accent used for the one thing you want noticed. Most brand palettes give you more colours than you need for a single piece. Using all of them is a choice, and usually the wrong one. Two colours plus a neutral is enough for almost any layout. Keep your accent rare, because an accent used on six elements is no longer an accent. Beware large areas of fully saturated colour: a page of pure bright red is exhausting to look at, while the same red on a button and a rule line looks confident.

Screen colour and print colour

Screens make colour with light and print makes it with ink, so they cannot match perfectly. Hex codes and RGB are for screens. Print work uses CMYK, and some vivid screen colours, especially bright oranges, greens and blues, come out noticeably duller on paper. That is normal and not your error. If a task is going to a professional printer, ask through your note what the printer wants: colour mode, resolution, bleed and file type. Do not guess, because a file that has to be remade costs the client a day. For everyday office printing a normal PDF is fine. Also check the piece in greyscale before print, since plenty of clients print colour documents on the office black and white machine.

Working inside a brand kit

A brand kit is a set of decisions already made for you: logo files, hex codes, named fonts, sometimes ready made templates. Your job is to apply them, not improve them. The logo rules are the ones people break most. Keep clear space around it, roughly the height of one letter of the logo on every side. Never stretch it, and hold shift while resizing so the proportions lock. Never recolour it, add a shadow to it, rotate it or place it on a busy photo. Use the version made for dark backgrounds when the background is dark, which is usually the white or reversed file. If the only logo you were given is a small blurry image pulled from a website, ask for the real file before you build anything around it.

When there is no brand kit

Many small clients have no kit at all. Then you build the minimum yourself and state it. Take the two or three colours already used on their website or existing materials, pick a neutral, choose one heading and one body typeface, and write those choices down in your delivery note so the next person can repeat them. Consistency you invented is still consistency, and it is far better than a piece that matches nothing. Do not sample colours from a low quality screenshot or a photo, since compression shifts them. If they have a website, the real hex codes are visible in the page source or through a free browser colour picker extension. When you are guessing, say you are guessing.

Remember

  • Copy hex codes exactly. A slightly wrong brand colour reads as sloppy.
  • Two colours plus a neutral is enough. Keep the accent rare.
  • Screens use hex and RGB, print uses CMYK. Ask the printer for specs.
  • Never stretch, recolour or crowd a logo. Hold shift when resizing.
  • No brand kit means you define one and write it down.

Images, resolution and aspect ratios

~7 min

Resolution is pixel count

An image has a fixed number of pixels, for example two thousand by fifteen hundred. That number is all the detail that exists. Making the image bigger in a layout does not create detail, it spreads the same pixels wider, which is why an enlarged logo goes soft and blocky. For screen work, the image should be at least as many pixels as the space it fills, and about twice that if it must stay sharp on high density phone screens. For print, the rule of thumb is three hundred pixels per inch of printed size, so a photo printed ten centimetres wide needs roughly twelve hundred pixels across. Shrinking a large image is always safe. Enlarging a small one is not, and no setting in any tool changes that.

Crop, never stretch

Aspect ratio is the relationship between width and height. When you drag a corner handle without holding shift, most tools change that relationship and the image is stretched: faces widen, circles become eggs, logos look wrong in a way people notice without being able to name it. Hold shift, or use the tool's lock proportions option, every single time. When an image has to fit a different shape, crop it rather than squashing it. Crop with intent: keep the subject and the space they are looking into, keep eyes near the upper third, and do not slice a person off at the neck or the ankles. If the crop destroys the picture, the honest answer is that this image is the wrong shape here, and a different image is needed.

Common sizes by destination

Match the canvas to the destination before you start. Square social posts are usually one thousand and eighty by one thousand and eighty pixels. Portrait posts are one thousand and eighty by one thousand three hundred and fifty. Full screen stories and vertical video are one thousand and eighty by one thousand nine hundred and twenty, a nine by sixteen shape. Standard slides are sixteen by nine, which exports well at nineteen twenty by ten eighty. Email headers are commonly six hundred pixels wide. Documents are A4 or US Letter depending on the client's country, and mixing those up causes reprinting. Platforms change their specifications, so confirm the current number when the brief names a platform rather than trusting a size you memorised last year.

Prepare images in the right order

Work in one order: crop first, then resize down to the size you need, then export once. Repeatedly opening and saving a JPG degrades it a little each time, so keep the original untouched and export new copies from it. Watch file weight as well as looks. An email attachment full of eight megabyte photos annoys everyone, and a web image over about three hundred kilobytes usually means it was never resized. Free tools cover all of this: Canva for cropping and resizing, GIMP for anything more detailed, and Squoosh for compressing an image while you watch the quality live. Whatever you use, remember the rule from lesson one. Client photos do not get uploaded to random online services, however convenient the free enhancer looks.

Remember

  • Pixels are detail. Enlarging a small image never adds any.
  • Hold shift or lock proportions. Crop to fit, never stretch.
  • Set the canvas to the destination size before you start designing.
  • Crop, resize, export once. Keep the original file untouched.

File formats and clean exports

~6 min

Four formats cover everything

JPG is for photographs. It compresses well, has no transparency, and loses a little quality each time it is saved. PNG is for graphics with flat colour, screenshots, and anything that needs a transparent background. It is sharper on text and edges than JPG, and heavier on photographs. SVG is a vector format: it is drawn from instructions rather than pixels, so it stays perfectly sharp at any size and is the right format for a logo used on the web. PDF is for anything that must print or be read exactly as laid out, because it carries fonts and layout with it. Those four cover almost every task you will be given. GIF is only for short simple animations, and WEBP is a modern web format some older software still refuses to open.

Transparency and logo files

A transparent background lets a logo sit on any colour. That is why a logo delivered as a JPG is a problem: it always arrives with a white box around it, which shows the moment it is placed on a coloured header. Ask for PNG or SVG. If a client only has a logo inside a PDF, the shapes inside are often still vector and can be exported cleanly rather than screenshotted. Keep both a full colour version and a white or reversed version, and use the reversed one on dark backgrounds instead of putting a white rectangle behind the colour logo. When you check transparency, place the file over a bright colour for a moment. A faint white halo means it was cut out badly.

Export for where it is going

The destination decides the export. Web and social get PNG or JPG at the exact pixel size, compressed enough to load quickly. Slides that someone will edit get the native file, plus a PDF if they only need to present it. Anything printed gets a PDF, with the settings the printer asked for, and fonts embedded so the layout does not reflow on another machine. Editable source stays with you until the task is approved. In Canva, the download menu lets you choose the type, the size multiplier, and whether to flatten the file or keep PDF text selectable. If a brief says print ready, that is a specific request: ask what the printer requires rather than exporting a screen quality PNG and hoping.

File names are part of the work

A file called final version two updated is a small insult to the person opening it. Name files so a stranger can sort them: client or project, what the thing is, the size or version, and a date written year first so files sort in order. Use hyphens or underscores rather than spaces, keep names short, and never put anything confidential in a file name. Deliver exactly what was asked for, with no extra drafts or working files unless the brief wants them. On a AfterDesk task, upload the files and use the note to tell us what is inside, which decisions you made, and anything the client needs to know. That note is what makes review fast.

Remember

  • JPG for photos, PNG for flat graphics and transparency, SVG for logos, PDF for print.
  • A logo supplied as a JPG brings a white box with it.
  • Export at the exact destination size, and ask before making print files.
  • Name files so a stranger can sort them, and keep names clean.

Canva, templates and licensing

~8 min

A Canva workflow that holds

Start by creating the design at the exact final size rather than resizing later, because the free plan does not resize an existing design for you. Upload the logo and any client photos into the uploads panel so they are one click away. Build the first page completely, then duplicate it for variations so spacing and positions carry over. Lock the background and any element you have finished positioning, which stops the accidental drag that moves a photo four pixels while you edit text. Rename pages so page three is not a mystery. Use the position panel to type coordinates instead of nudging. Before exporting, click through every page at full zoom and look at the corners, because that is where stray elements hide.

Templates without the template smell

Templates are a legitimate shortcut and using one is not cheating. Choose one for its structure, not its picture, then replace everything: text, images, colours and fonts. Work that still carries the template's stock photo and its default typeface looks generic because it is. Two traps on the free plan. First, many elements, fonts and templates belong to the paid tier and are marked as such. Filter to free assets before you build, because discovering it at export time means either a watermark or an hour of rework. Second, elements often sit just outside the canvas edge, invisible while you work but present in the file. Scroll around the canvas edges and delete anything you are not using before you export.

Brand assets without a paid plan

The built in brand kit is a paid feature, so build the free equivalent. Make a folder for each client holding the logo files, and keep one plain document listing the hex codes, the fonts and the sizes you use. In Canva, type the hex code into the colour field rather than picking from the palette, and once used it stays available in the recently used row for that design. Save your finished layout as your own reusable starting point by duplicating the design instead of starting from scratch each month. Consistency comes from writing choices down, not from remembering them. If someone else takes over the task next month, that one document is what lets the second version match the first.

Stock images and licences

You cannot use an image just because you found it. Pictures pulled from a search engine, a news article or another company's website belong to someone. Use free libraries with clear terms, such as Unsplash, Pexels, Pixabay or Openverse, and read the licence on the actual asset rather than assuming it matches the site, because terms change and some items are marked editorial use only, which excludes advertising. Watch the content inside the photo as well: recognisable faces used in a way that implies endorsement, visible brand logos, artwork and famous buildings all carry their own restrictions. Keep a short record of where each image came from and under which licence, and put that in your delivery note. If the client is asked later, that record is the answer.

Delivering and letting go

Deliver the exact files requested, at the right sizes and formats, with names a stranger can sort. In your note to us, say what you made, which decisions you took and why, which fonts or colours you substituted, and where any stock images came from. If you were unsure about something, say so there instead of hoping. When the task is approved, remove the client's material from your machine and your cloud storage, including the uploads panel of the design tool. Do not keep the piece as a portfolio sample, do not post it, and do not describe the client publicly. If you want work to show, redo the same exercise with invented content of your own. That version is yours, and it demonstrates the same skill.

Remember

  • Set the exact canvas size first. The free plan will not resize it later.
  • Filter to free assets and clear elements hiding outside the canvas.
  • Write brand choices in one document so the next version matches.
  • Read the licence on the asset itself and record where images came from.
  • Delete client material after approval. Finished client work is not your portfolio.

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Everything, and what is in it.