Branding : 3 I ; : Common Design Jobs Corporate Identity Design for Commu ‘The Design Process 2Complete Graphic Designer Ryan Hembree ] A Guide to Understanding Graphics and Visual Communication ee eethe Graphic Designer by Ryan Hembree Design for Communication The Design Process Page Layout and Design Common Design Jobs Corporate Identity Branding A Guide to Understanding Graphics and Visual Communication 1tuodyxoo04© 2006, 2011 by Ryan Hembree This paperback edition first published in 2008 All rights reserved. No part of this book may be reproduced in any form without writ: ten permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information ina subsequent reprinting of the book. First published in the United States of America by Rockport Publishers, a member of Quayside Publishing Group 100 Cummings Center Suite 406-L Beverly, Massachusetts 01915-6101 Telephone: (978) 282-9590 Fax: (978) 283-2742 \www-rockpub.com Digital edition: 978-1-61673-596-8 Softcover edition: 978-1-59253-259-9 Library of Congress Cataloging-in-Publication Data Hembree, Ryan. The complete graphic designer : a guide to understanding graphies and visual ‘communication / Ryan Hembree. Pom, Includes bibliographical references. ISBN 1-59253-259-4 (hardcover.) 1. Graphic arts. 2. Commercial art. |. Title. NC997H44 2006 7aL6—de22 2006008642 CIP. ISBN-13: 9781-59253-502-6 ISBN-10: 1-59253-502- 10987654321 Design: indicia Design: Ryan Hembree and Ryan Glendening Cover Image: Amy Corn, Ryan Hembree Printed in ChinaFor Gretchen and Charlie. You each make this whole adventure called “life” worthwhile. Thank you for your patience, sacrifice, and encouragement these past several months2 3 a e 3 = S o Design for Communication 11 Graphic Design Is Not Art. 12 Graphic Design Is Not the Same as Commercial Art..12 Graphic Design Is Visual Communication. “4 Serniatics. 15 Page Layout & Design 63 Depth of Meaning Perceiving Visual Messages. on The Grd 68 ‘The Communicative Quality of Color - ieee eeenens = ‘The Role of Design in Everyday Life. “ B82 Visual Hierarchy, - The Design Process 39 Research, Developing the Creative Brief Concept Development. Selling the idea, Executing the Concept or Idea, Keeping a Design Process Record a BREERCorporate Identity 113 ‘An identity Is Not a Brand, Identity Design Considerations. Components of an Identity Program. Common Design Jobs 85 Client Considerations, Advertisements, Printed Collateral Invitation Design. Posters. Brochure Design. Publication Design Annual Reports Catalog Design. 26 28 90 a1 92. 95 98 02. 108 ua uo 130 Branding 145 The Importance of Branding..147 Branding Basics 152 Defining the Brands Audience ..156 Brand Components 160 Package Design 162 Branding in the Retail Environment. 168 Q8T_ S0InqUyUOD Jo A10j094)‘These posters show how ne art and design sometimes corwerge While they utizeinteresting suas textures, and colrs they done necessarily communicatea particular message. Design: Archrival Introduction According to Paul Rand, one of the most influential graphic designers of all time, design “is one of the most perplexing pursuits in which to excel” Nothing, could be more true. In this occupation, there are m: unique and exciting challenges that await the practi ing professional, including opportunities to work on 4 variety of projects, helping grow clients’ businesses through thought provoking design that connects with, their target audiences,and making a creative impact on how people perceive the world around them. ‘These tasks are not trivial, nor should one take these responsibilities lightly—ic takes a dedicated individual to be a successful and contributing member of the graphic design profession. ‘There are three personality traits that should be inherent in the complete graphic designer: passion, perseverance, and professionalism, Passion is what ignites and fuels the desire to create and it is the reason why we get up in the morning and go to work, In other words, love what you do.To persevere, one must overcome many obstacles and challenges—as designers, we face these tasks day in and snot every project designed is going to be of portfolio qual. ity or win accolades from our peers. If, however, we continue to solve the needs of our clients, no matter how mundane they seem, bigger and more glamorous projects will follow. The most important characteristic is professionalism—the ways in which you commu- nicate with and treat clients and in how you react to ceiticism, Design is a relationship-based business built on trust, respect, ethical conduct, and integrity. Egos are best left at the door; never assume that you are better or more knowledgeable about a subject matter than the client. Instead, itis wise to be humble, ‘no matter how talented a designer you are. In addition to the attributes above, the complete graphic designer must adapt to the ever-changing nceds of business and clients.To help cope with the constant evolution of the industry, today there are literally hundreds of graphic design books on all subjects related to the field—very few subjects have yet to be written about, With this wealth of inform: tion and resources available to designers and design educators, it is difficult to gain an overall perspective of graphic design. This book was conceived to provide such an overview and to be used as a resource and educational tool for graphic designers, design educa- tors,and students of design,Peter rete eer ied Design: Chermayeff& Geismar StudioCommunication Graphic design serves as a method for improving society through effective communication that makes complicated things easier to understand and use. Design persuades and influences public opinion, as is the case with propaganda or political design; design instructs people, as in how to navigate or assemble something; and design identifies and informs the public company and its products or services to which country has the largest population. Through intelligent and thought- provoking design, a designer is able to communicate complex ideas in a simple and effective manner. about a wide range of topics, from aThe Complete Graphic Designer cc Graphic Design Is Not Art Art [and design] represents a social necessity that no nation can neglect without endangering its intellectual existence.” Graphic design is not the same as fine art. It is true that designers ‘sometimes use the same tools as the painter, sculptor, or photogra- pher in the creation of their work, and they may even include pieces of art wi composition. Both fine art and design are creative ‘endeavors; however, the purpose of each is completely different. Fine artis typically selfserving, personally motivated,and expres- sive.The true artist explores social issues, makes a statement, or pres ents viewers with images of the world around them. Although most artists hope to sell their work to people who connect with their art John Rus on an emotional or visual level, the usually created for personal reasons rather than for a specific buyer. Graphic design, on the other hand, is a vocation involving the creation of visual communication on behalf of a paying client with ‘very specific needs. In this sense, the designer must address the needs and desires of the client first, which may at times mean making design decisions that do not aliga with their own, Whereas fine art is purely subjective (beauty is in the eye of the beholder") and open to personal interpretation, design must be completely objective with clearly defined goals, objectives, and measurable results, art Design identities comnpaies or organizations. ving them a unique presence For Theater Brave, Ook Coors and shenes suggestive of sage ints create immecately recognizable signage onthe bu ingandstreet lamp banners Design: Shinnoske Ine.Graphic Design Is Not the Same as Commercial Art In some educational institutions, and even among, clients, the term “commerc artist” is still used to describe the duties and responsibilities of the geaphic designer. First used in the early twentieth term is both contradictory and misteading—after all, something that is commercial is produced for mass, and profit, while art is primarily meant to satisfy per- sonal curi this ity, “Commercial artist” more a ccurately describes any visual artist whose goal is to sell their work for a living, While commercial art includes the separate disciplines of photography encompasses all three—the designer uses photoge illustration, and desiga, graphic design phy (by selecting or commissioning photography), stration, photography a design. The grant ost usesieancivstratio notography anceven souiture to Design: CChermayot & Geismar Studio creates custom illustrations or diagrams to comprehension of complex messages, and u ide in es formal design elements to construct layouts that merge im- ages with the written word. This synthesis of the vari ‘ous branches of com allows for effective visual solutions that both communicate information and visually intrigue the viewer. Commercial Art Photography € 5 38 DesiThe Complete Graphic Designer ‘though sometimes incorecty ‘considered a bethe rst kan ex ting were actualy methods used by early ‘ne anther amples of art cave and rock Graphic Design Is _ Visual Communication * Business Goals ‘or Objectives Sender Business or Organization Visual Message Graphic Designer communi and imagery into messages pleasing, connect with the audience on intellectual and emotional levels, and provide them with pertinent information, When properly executed, graphic design identifies, informs, instructs, interprets, and even per- suades viewers to do something. It is important that the sender of a message and the receiver speak the same visual language—in this manner, the designer acts as the interpreter and translator of messages. Reducing the lly portrayed creates a more concise and clutter-free design—the goal for all ion combines speech, written lan- that are aesthetically amount of information that is vis forms of communication, Foretfctive visual communication yaclent anda receiver such asthe target audience ‘The desigrar encodes visual messages bytranslating the needs othe sender Inte images an content that connect th the receiverTERA (GEORGE WL BUSH mee DCKCHEMEY creme (DEMOCRATIC) ALGORE rescon SE UEBERMN xr ‘UTR HURRY BROWN en RIOLVER verse (Green AALPHNADER ee NOM DUNE sme (SOCIIST WORMERS) AMES HHERS rc MAGA TROME ween (NATURAL A) JOHN HAGELN re NAT SOLAR ere Design acsin navigation For ts next gneration 0bal postioning satelite (Gi ‘mais technical ergineers consuited with house graphic designers to develop aren wows ofsrets ant Design: Garmin international products, Gar easier touse When executcd poorly, design can create mass ‘confusion The infamous buttery bal weFomH sesignestoy the Florida PAT BUCHANAN res hehehe oe PATBUCHAUAN reson | ora graphic dsigner) may have inacertently Jed pepe tote forthe wrong candidate Not clonsatfice (instead t OOS pple duster Dea o.0s neon | enlist ayout of te information contain MARY CALHOLUS waneene| alist lance, the texts setinallcas ands SISO ‘scl to read ~~“ HOWARD PLLPS meen CURTIS FRAZER vans ‘WORKERS WORLD) sen HORAN REED penn LOR WHITE CANDIDATE Le) 6¢ To design is to create order and to function according to a plan.” Sara Lilo Turnbu Stanford University Graduate Schoo of Business Design instruct viewers ty maki ceseasytounderstand ustralive diagrams and etal photograpy indicate the steps invclied inassembling tems. whe lear and concise conte reiforces thevsualmessage Design: Satelit Design Design for CommunicationThe Complet Icons Icons are realistic representations of objects or things in the form of simplified illustrations or pho- tographs that communicate quickly. Websites are notorious for the use of icons such as a basket or shopping cart to represent a site's online store. ‘Symbols ‘Symbols are arbitrary signs with no apparent resem- blance to the object or thing being represented that require the use of a common or shared language or cultural experience to be deciphered. Letters of the English alphabet rearranged into words and sentenc- es are visual symbols for sounds and language. Indexes Ina book, the index is where readers can look to uickly find more information about a particular subject. In semiotics, an index references the subject matter or object. For example, a highway sign con- taining an icon of an airplane represents an airport. Te G- Semiotics Semiotics is the study of signs and symbols and their impact on communication and language. Signs and symbols help designers convey unique messages through shared experience and meaning and are one Of the most effective tools used in communication, Culture, age, gender, and life experience are factors to take into consideration when choosing visual symbols to communicate a message. The field of semiotics was first introduced in the 1800s by the American philosopher Charles Sand- cers Pierce as the result of his work in linguistics. His pioneering work led to the categorization of signs into three basic types: icons, symbols, and indexes, 2 are signs for teeeo the ages rego resenting Christianity, Jude,03 e) X He > © -fi @+*+ >= mA a | ea —Inthe ulimate exercise of seit les the AIGA American Institate ‘of Graphic Artis) athe Unite States Department of Transaortation collaborated tocreatoa system of icons forusein airports and rans taton hubs that communicate complexes national regarcesso language or culture. These timeless examples design rave teen muse since 1974, AIGA/US. Department of Transportation The Meaning of Signs and Symbols Changes Over Time 2 Ieis possible forthe meaning of symbols to change Brehtcoorsandsinpe gras overtime. One ofthe oldest symbols the Whee Se eece of Life, otherwise known as the swastika. In Eastern fequioment sucn as printing presses cultures such as Indi prosperity and is considered a symbol of good luck, Hitler and the Nazis’ misappropriation of the symbol to include acts of evil and hatred has forever altered Westerners’ interpretation of its meaning, Because a red cross was used to identify soldiers of the Holy Cru sades, the International Red Cross organization able to use the symbol in Muslim-dominated or Middle Eastern countries; red crescent is used instead, it remains a symbol of life and are uit ands th ri wsualy deserative icons th rinimaltext ae used to creurent languagebariers, Design for Communication arethe messages conveyed in ths poster Stang the ubiquitous Helvetia manwithasmie and ring hats i arias éulturesisasimole yet power ‘oy tollustrate these themes Design: Jovan RocanovHappiness 2 convincing, mo ots anda wrench that orm a cm face suggests that he ies this aca re Design: B. Communications ‘and Advertising Za Depth of Meaning ic Designer The Complet Messages must connect with viewers at many levels beyond mere aesthetics in order to resonate and be re- membered by viewers. The more the audience views a _message that speaks to them on an emotional level, the more likely they are to comprehend and remember the work. According to Marty Neumeier, there are seven ation: layers of depth of meaning in visual communi 1 Perception ‘The aspects of visual solutions that make us look at 4 piece. Visual hierarchy, contrat, color and imagery are all formal qualities that grab the viewer's attention and draw him into the work. Multilayered imagery and sgraphies, as well as other cooHlooking visualeye candy? ‘may pique the viewer's interest but fail t0 communicate 2. Sensation Images with tactile qualities cause viewers to experience ‘gut reactions to the work. Such images have the power ther repulse or arouse the audience's curiosity 0) 3. Emotion Appealing to the viewer's emotions rather than his reason has enormous power of persuasion, Positive love, trust, confidence, \dvertising to sell and negative emotions such, and fear are all employed heavily by products or lifestyles. times of food. the products intend use is mode immediately ts wsualintere Design: Turner DuckworthColor andscaling ot type make this poster appear to bow outward atthe viewer. Tree-dimensional ‘ualties craw the ausenceinto the piece for urther stacy ane ‘examination. resutingin a ceeper and more memeableconnecto ‘th the viewer Design: Shinnaske ne. 4. Intellect ‘The power of words in design and subtleties such, as wit and humor appeal to both right-and left brain rationale. Likewise, images requiring audience partici pation and interaction reward the viewer with deeper comprehension and understanding. 5. Identification Everyone has a psychological desire to belong to a group, whether itis an organization or a movement, Design that connects on an emotional and intellectual level, such as corporate identity and branding, often forms deep personal connections with an audience, 6. Reverberation Nostalgic imagery often elicits comfort and depend- ability in visual messages. Referencing history and tra- dition tends to resonate with the viewer as being true 7. Spirituality This is employed when a work's moral and artistic qualities converge to deliver a message. Everything, about the visual communication, from concept to ex: ecution, works in unison, Pieces of this magnitude are often timeless examples of graphic design. \teual communication hat connects emotionally and intallectaly wth the target sudence is more compeling ax memorable Accorcng to Marty "Neumeter.there are seven ayers of det tcommuncation The mores designer tsable to pel back the ayers and reveal the core idea, the more sffectvea slution willbe Tosffectvely communicate with the viewer, iter of meaning shoucbe embedded oa design. depending onthe enna) Design for Communication — Brandiny eed ogni Epos Pac) PenThe Complete Graphic Designer Aight cropped image of a mouth with single ie of text creates an fective message about the power of words and speech Design: ideo Viewer interaction estabishes mean: ingtul connections with te audience, enticing them to parbesnate wth the visual message. The audio tones made by telephone keypads are whimsically transformed nto agame that ceives home the message of seeing "new possibiltes" The audience it wit the work by dialing the numbers to create amuscal melody Design: Bradley and Montgomery ts People are bombarded by thousands of advertis- ing messages every day, so designers must carefully choose their design strategies. Using the perceptive capabilities of the human mind enhances the effective- ness of visual communication. For instance, formal pic- torial qualities of images affect the way in which the ‘mind processes information. In western cultures, the use of shading or chiaroscuro creates dimensionality on flat, two-dimensional surfaces, bringing them to our attention. Likewise, rendering objects in varying sizes resents different planes within a composition. This is an oddity in most nations; in many parts of the world spatial qualities are interpreted as flat patterns,Images thal ae shocking sowaly provocative often rab a \ewer'satention For ths promotionaleslendar tiles Hot Pink images a women sink lingerie dominate each page. Days of the month are laced along acurlinear path supaestiv ofthe hourglass shape ofa woman, Design: ldeo Logos must carmuricate icky an simply, and encompass the essence of acompary. recut or src. Inthis manner, they nat any identity the orgarzation, they alo instil wth val ‘es, Thelago or InQuizt communicates a erent levels tst the vawer sees ared"Q! then an eye. These arent ony the company's nti. the alse communicate the deact a person's Intligence quotient. or Design: Cahan & Associates Oakville Grocery SINCE 1881 This altenton-getinglago makes the vewar take notice because cl the nquisive nny peckingintoa icric basket Our minds ‘re harduretto notice ane respond to images of babes, whether Design: Turner Duckworth Design for Communicationther landmarks or features ofthe Perceiving Visual!" ove process the ev ing amounts of information we receive on a daily basis, the brain col. Messages tects, categor and comprehends incoming mes 2 stges subconscious inthe form of visu metaphors e It filters visual stimuli by relevance, calling to attention é thowe lems that ae most impoant and requ imme. ‘Human physiology allows for the quick detection of rapid change to serve as a warning of impending danger, A flashing red light at an intersection indicates, that motorists should stop. Lighthouses are painted in striped patterns (o prevent them from blending into the horizon or surrounding land formations during the day. In nature, snomous creatures such as snakes have angular and geometric patterns to warn others of their danger. Slow and incremental change, on the other hand, is harder for the eye to detect.Context Countries in North America and northern Europe are considered “low-context” societies, in which, the content of visual messages is interpreted literilly. Organization, categorization, and the presenta- tion of information for clarity and, comprehension are the most essen- tial qualities of effective communi- cation in these regions, Executive summaries and bullet point text are preferred to long-winded, descrip- tive paragraphs, and images requir ing litle effort to decipher are pre- ferred over visually complex and. symbolic ones. Instead of assuming a ‘The design ofthis product's packaging connect wth consumers in an unexpected way and apoeats othe inteligence of shoppers trough wit Insteadol showing ‘hotgraph ofthe praduct muse th minimalist design feature tems that are ticky and messy. and would require these ofthe product Design: Turner Duckworth that audiences are intelligent and hended without literal explana- relatively intuitive, designers tend tion or redundant information. to create visual solutions that Designers appeal directly to the communicate to the leasteducated intellect of their audience through person, often with redundancy of messages that are only relevant to information and design elements or them, much like an “inside joke’ by replacing words with symbols. _ or story. They challenge viewers to decipher visually sophisticated im- High-context societies such as agery or symbolism, which leads Asia, eastern Europe, and Latin. to greater satisfaction, emotional America respond to anaesthetic connection, and memorability. that utilizes many layers of depth, and meaning, in contrast to the instantgratification mentality of Jow-context cultures, Shared cul tural experiences or educational backgrounds allow visual messag- ¢ to be understood and compre: Appeaing tothe viewer intellect makes logo more memorabe Att lane, thislogo conveys the dea ole through farnes Upon closer examination an lternat im agect overs kissing’ revealed. This ual visual reinforces the comaany name anc ewaeds the vewer Design: Brainding Keep the embers burning Design for Communication‘Tue Visionary Work oF TERRI SWEA\ Wes JACKSON, HELENA NorBeRG-Hi HrrMan DAty, STEPHEN ScHNF: EN, DAVE FOREMAN, "| WERNER FORNOS, R, AND Davin ORR ian AS. STANCultural Considerations in Communication Our world is becoming an increasingly smaller place through mass communication and technological achievement. As a result, it is not uncommon for the designer to create a piece that will be viewed by people from different parts of the world. Therefore, understanding and incorporating the cultural experi ence of one's audience is extremely important when designing for international audiences. _A“culture”is a series of learned preferences depend- ing on one’s geographic location, ethnicity,and educational background. People with similar life experiences bet- ter relate to one another through a similar vocabulary of imagery, symbols, and clichés. Because effective communication occurs through these shared cultural experiences, learning the subtleties and nuances of cach country or culture will greatly enhance the effectiveness of one’s design. ‘The American sayin, laughter isthe best med Cine” effecively communicatedin tis poster for aplaycalled Wit Tis message's conveyed tothe ausence through a whimsical iustraton, Design: Modern Dog, “These flash cardsarcl annual reper use whimsical ilusrations totescnchlren base words and concepts. Higher-context sooites ae more tkely to regard the front ofthese cards as ‘being more communicative than the boc since they contain far ‘ore infermation spelled outin peat deta Design: Greteman Group bead MUL Luae sage ocr s1-nov 30 ssc DEREK ANSON JONES Design for CommunicationThe Complete Graphic Designer overmerts runt te wart nvelongovenpavonscte ors, Pb stamps. These books of stamps ad {for the Royal Mail use color-coding wad ‘ard large ypcernty & quicity communicate denen on or aittrent yous tarps Design: COT Design The Communicative ©! has the abitity to evoke powerful emotions from people, Quality of Color so when used property it can be 1 highiy fective tool for commun cation, Although cultural associa tions of color vary there are some commonalities in terms of color preference and meaning. The three primary colors—red, yellow, and blue—tend to be the colors most people are drawn to, For example, the most popular color in the ‘world among adults, male and fe- ‘male,is blue. Among children, red is the preferred color, while yellow, the most luminous color in the spectrum, tends to draw the attention of infants and toddlers ‘with developing vision iS PS Red is the most passionate color and tends to excite and get adrena line pumping through the body. It is associated with both love and an- ger:it can mean good luck, represent lust or adultery (as in The Scarlet Letter or ared light” district), dan- ger.and also helps to incite warfare (the ancient Romans carried red flags into battle because of the color’s association with blood). Blue, the most popular color, uni- versally symbolizes serenit tranquility. It has a calming effect if used in moderation or suggests a deep depression if the viewer is inundated with too much blue. Part of this color's soothing quali- Themew Food Pyramidreleasedty the US, Fd Pyramid.gov 220. STEPS TO A HEALTHIER YOU uo c000S ESMColor Meaning and Association ties and appeal are attributed to the sky and ocean, Blue is a cool color and cold things, such as frozen food. Additionally, blue is suggestive of both quality and expertise (blue ribbons are given to first-place winners), Because of these positive che most popuk and widely specified color in cor- porate identity programs often associated with - attributes, blue i Yellow is the most luminous color of the spectrum. Because of its high visibility, warning signs are often painted this color. Yellow traditionally represents the sun and is a most cheerful color when used in moderation, If used tooaphic Desigr The Complet Green is a cool color with soothing properties: similar to blue. This relaxing hue is associated with growth and prosperity as well as health and wellness. It can also suggest envy and jealousy, such as the “green-eyed monster” described in Shakespeare's Othello. Orange is a warm color often associated with fire and good things to eat. And so itis the most edible color, which explains why many fast foods chains, Use it as part of their color scheme. Purple is universally associated with both royalty and spirituality because in ancient times only emperors or kings could afford garments made of purple dye. The naturally occurring dye for Tyrian purple is extremely rare because itis extracted from small mollusks that inhabit the Meciterra rnean Sea. It takes 9,000 mollusks to yield one- third ounce (one gram) of purple dye. Pastel colors are generally considered to be fem nine and are used to represent sentiments such as caring and gentleness. Pastels, often used as colors for nurseries, are gender specific: ight blue for a boy, and pink fora girl, Additionally, because pink has a calming and sedating effect, its often used in hospital waiting rooms. fesigned these simple yellow brace, a serve asasymbolof strength anda reminder of hope. it can tire the es and make people irritable (couples with yellow kitchens tend to argue more often when in those areas). Conversel also become synonymous with greed and cowardli: ness (in tenth-century France, the doors of traitors, and criminals were painted yellow), fellow has Colors are also often associated with different social or political causes because of the strong emotions associated with them. In the Ukraine, Viktor Yanu- kovych’s party adopted the color orange and their fight to have the vote recast was ned the “Orange Revolution.” In the United States, red and blue are politically charged colors symbolic of moral or ideo: logical beliefs, with blue representing the Democratic Party and red representing the Republican Party (al- though this has not always been the case—before the 1996 presidential election, the color schemes were reversed and blue was the color of the incumbent party). Yellow ribbons have been used to support the armed forces, while pink and red ribbons have been used to raise awareness of breast cancer and the impact of AIDS, owing resident Ele on peonle began to ei red state Democrat poltial parties. respectivelyright yellow informational stickers are placecon lor apoinces to ecate consumers aoout ther en tray usage They alsomake teaser tocomparsor-shop betiron bands of merchandise Design: Burkey Belser, US. Federal Trade Commission The Role of Design in Everyday Life The Complete Graphic Designer The tox requiring thousands of pages of rules and regulations. To ensure zens understand their financial eblgation othe govern forms ae designed ina understand and use Forte Bat ish ax Council helptutia boxes and shaded content areas are yes of most count fempoyed or ease of use (Aer its edesign in 2002, on-time payments nereased 80 percent. according ta the Design Council) Governments around the world recognize the impor- tance of controlling and disseminating information, ‘To better facilitate user comprehension, they often regulate various documents and packaging. Official documents such as tax forms and visa applications must be easy to use and comprehend. Nutrition labels as well as product labels and safety guidelines must appear on food packages. In each of these examples of government communication, the standards require that information be presented in a consistent man- ner on every product so viewers do not have trouble correctly deciphering the content or making informed, buying decisions, 9 Sa =—y —e = cS6¢ Information designers are very special Design for Public Service As effective communicators, graph ic designers have enormous power and responsibility to use their craft for good and noble purposes or for causes they believe in. In times of conflict and revolution, design provides the government with Propaganda, urging citizens to take action. During World War IL, posters from the Office of War Information encouraged citizens to help the war effort through conservation and increased factory production, The atrocities committed within ‘Nazi concentration camps were people who must master all the skills and talents of a designer, combine it with the rigor and problem solving ability of a scientist or mathematician, and bring the curiosity, research skills, and dog- gedness of a scholar to their work.” force a positive change. Because these types of projects are often highly conceptual and offer great freedom, many designers find sel initiated and pro bono projects more gratifying than traditional paying commissions Nutrition Facts Serving Size 2/4 cup (909) Servings Pot Contaror 11 Catering 100 ~__Caloies om Fat 1 9 aly value ua Fat 10 1% Satted FO om Trans Fa also exposed through warrelated | Gholesterot ong propaganda and design [Sodium 200 me 3 Total Carbohydrate 229 8% In addition to fulfilling the needs ee of government propaganda, design | Brotein ay has traditionally been essential to : amin 100% promoting causes for the greater | 2A __10o%) human good.Throughout history, [gage] ommenictnarattion i governmental regulated necessity fr alfo0d designers have banded together Jen 800% | rcacts slain the United States nd abrand to develop communication pieces RRO Stee gaeGaeeas | The mutton abel har undergone many cesan that raised awareness about social revisions as theres and dietary habits o Cede: 2000 2am | american ctizens change and political issues in an effort to in Se Design: Bury Basar Design for CommunicationInthis srs of posters forthe Usted Nations, staistes on inequality are powerfully projected totheviewer tougnthe simp use of type and a Circe Porereeree ters ert Zomba Perry ed trapping people ina Oecd Ces pee color The layout of he supporting typography lon theside of aac postrie visual eminiscant of aruer or other measur device Design: Chermayeff & Geismar Studio Sn eeccud Ponce eos Ceneorer Peed a ery Pe cir the ever-widening Ce Peruse) Senet es con en soften used notonly to promote mia ‘alc causes bu als social ones, These posters ‘educate the viewer about the monetary and hu rman costs aseocited with smoking Design: Greteman Group The Complete Graphic Desigr ght) Design ntrms and educates the ule To create avareness about te etects of muse yreson abuse tovare weren, ths ad ses papular albums configurectasparts of 2 Design: Arehrval (Coposte page Werkereted for nonprofit organizations or done pro bone allows designers create freedom that canbe well worth the sacrifice n pay And Partners organized an exhib and fundraiser ‘or the Books for Kids organization. iniahicn some of NewYork City's mostinfuetia designers ‘asked to create designs hat commnurcate the idea of punctuaton Aer the exhib, posters were ‘sted in design publications and paper promatonThe Complete Graphic Designer Road sigs cfr rmcountytocountry and so Duress does he amount ofntrmation the civeris asked tocorrehend Inthe Unted States highway [YONI slans are simplified to make nauigation easier European countries, signage offers mor informa Cn ei tine Eevee Si Ins XCc> : ears [Car] Walsham AN83 aa. 40} Tg Los Alma Sea Pee eacu) Wayfi ‘Today, millions of miles of roads connect local commu: nities, cities, and even countries to each other. There- fore, road signs must quickly and effectively commu- nicate directions, regulations, and even warnings to drivers, Language and cultural experience, as well as context, can often exacerbate this problem. The use of semiotics in signage design overcomes these barriers and allows for universal communication, As the world’s population continues to live longer, new challenges such as visibility and readability arise in transportation system design. A study in the United States indicated that by 2005, one-fifth of drivers would be age 65 or older, and recommended that the letter ing on highway signs should be as much as 20 percent larger. It also recommended that all current signs be replaced with those that are 40-50 percent larger. To remedy the situation and avoidl inereasing the size, new typeface called Clearview Hwy® was developed, featuring larger lowercase letters that are easier to read. The typelace Clearviewtay®, was developedto 2 impeove legit othe previous typetaceused ‘onhietsay and rectiona signage The new et comeknescne ain “Metropolis sche cnc lows for wide eters), 2 reater word length, 3 opened up thinner stroke waht, Saco: MetropolisSometimes functional design can resemble piece af artsuch as this waytincing pole for a shopping ‘mal, Decorative stones have been ae to the pos whl cnvlinear plaques spiral upward romthe base The post scenrally located within acourtyare and each sign points toad a soe destination suchas restrooms, an ATM. and Customer Service. Athough the piece is beaut urike art its sole purpose iscomnmunicaton. Design: 25 \ | TFT ih ‘Te London subway map isa design classe. The maps ‘platy enables users to navigate trough the com plexnetworkof underground always that connect Today, westilcommunicae through various partsof London pasted imagery and words, Directional ‘signage helps ede people thrush lergetuicings as iustrate by this Ieosk. wich directs the viewer tothe ‘nproprat elevator Modern techno ‘ogy ns further enhance tis sig by featuring a call button fr assistance Design: C46 Partners Design for Communicationee ee ey Se ee ey ee et er enero Sr st cele ete eet) orientation. ee< Design is about getting the right idea, and getting the idea right.” Chapter 2: The Design Process Extraordinary design solutions rarely manifest themselves out of thin air. While it is conceivable that a creative “eureka” can and does take place, it is a rare occurrence; and even then, it takes time for a skilled designer to develop and fur- ther refine the idea, More commonly, graphic design is the process of discovering ideas that will enhance the client’s im- age, promote its products or services, or transmit a message that needs to be communicated to the target audience.e Design: kineticAl Although it varies from person to person and from firm to firm,a thoughtful and well-structured design process, like the one we will explore in this chap- ter, is essential to solving visual communication ns. It is a tried and true methodology for the jon, and, ultimately, discern: tion, experiment ment of idea appropriate for the design problem —whether mundane, trite, or cliché, unexpected or out of the ordinary. Referred to as the design con- cept, the “right” idea is one that is so simple, logi and relevant to the problem that everything about it communicates the intended message. Good concepts reinforce the targe nd drive messages deep into the minds of audience Visual communication relies on the designee's ability to quickly adapt Of the client, It is essential to begin by looking at the problem from all important aspects of that problem. By mapping out these points early on, the designer will be able to gen: te ideas that will quickly help determine the best route to solve a particular and, and respond to the needs under erate a riety of appropr design challenge. There are many steps and different ways to work through the design process, and designer creates a procedure that works best, How. ever, in order (o be successful, research, writing, and, drawing are all fundamental skills that every designer needs to develop, ich, ating ts stylist Design: Shinnoske, ineThe Complete Graphic Designer Begin research by answering the following questions about your client: + What is the client's story or history? + What are the client's core values that need to be communicated? + What are the client's unique competitive advantages? + How does your client differ from his competitors? + Who is the target audience? + How will the target audience benefit from the product or service offered? Research Conducting rescarch early on is a vital step towards being able to understand and solve visual problems. Thorough exploration of the problem helps design- ers develop a comprehensive understanding of the client, its goals, and, ultimately, what an appropriate design solution would be. This is especially impor: tant when working with a new client or within an ‘unfamiliar industry. To effectively communicate the client's intended message, the designer must gather the information necessary to properly define the problem and generate appropriate ideas. Because the desire respoaile forall aspects thet romesrzeptacorictn,tisimperatne thathe take as much time asrecessary to lean the cent’ business to provi the cent with an a9propcateandettectve design solutionCage Client oO Creative Director WS ity So Establish Credii with the Client Designer Becoming a truly valued consultant and indispensable resource to cl ents should be a priority for every graphic designes;The more a client trusts and respects a designer and his work, the more enjoyable the relationship becomes and the mote he will be granted creative freedom. To accomplish this goal, the designer must not only famil- Creative Director iarize himself with all aspects of the design business, but must also Client become an expert in the subject, In addition to being proficient in all aspects of design, the designer must also become intimately fi miliar with his client's business. A good place to start is with compa ny literature such as annual reports and its website, Its also wise to do some research on the Web to find ‘The design processie much ea cslogue out how the client is perceived by tetvoan he designer andthe cert pal the others and to familiarize yourself cent requests speci desig solitons athe with any recent company events. signer ofersinqut and suggestions to enhance the clent’s idea. The sung solution otten a compromise of ideas thats appropriate or he ‘esign problem ans meets tne cient’s needs Lastly, numerous trade publications The Design ProcessThe Complete Graphic Designer Take a site tour of the company or organization's facilities. A short visit can provide a wealth of information about its products or services. Interview employees to learn about the compa- y's culture and employee perception. Everyone from senior management to delivery drivers and warehouse staff should be questioned about their role within the company. Examine existing and historical marketing collateral, including annual reports. These are available by request from the Investor Relations. department of the company and are sometimes available on its website. |. Industry or trade magazines offer an abundance of information about a client's target audience as well as insight into the company's competition and market share. These are particularly useful for developing a visual vocabulary of the types of images, graphics, colors, and type styles that are appropriate to the job at hand, The Internet, while convenient and easy to use, should not be the designer's sole source of Information because material found online is. sometimes inaccurate, biased, or fraudulent. If you want to be a well-paid If you want to be an award- winning designer, please yourself. If you want to be a great designer, please the audience.” ~urirown are available and may offer the most important insights into various aspects of the business, providing the designer with an indispensable perspective. Research allows the designer to truly understand and establish, credibility with the client, and to develop the vernacu- lar to speak intelligently about what the company does, how it does it,and why it matters to Conduct Internal Meetings and Interviews Informational meetings are face-to-face discussions that may include employees at some or all levels of the organization. These interviews will allow the designer to gain insight into internal procedures, processes, and, the client in general, This is a good opportunity to get the client to define the company’s mission, history,and essential qualities that need to be conveyed in the de- sign solution, as well as to define the target audience and goals for the piece being created. Do not be afraid to ask questions;assumptions make the designer look both arrogant and unsympathetic to the client’s needs and can result in costly and time-consuming mistakes, In every interaction with the client, express genuine interest in the subject matter and demonstrate the desire to be a valuable marketing partner. This will (quickly establish trust and enable the client to speak freely and confidently about the task at hand,schemes. and graphics, he thase rectly oe Design: Marty Neumeier Sa ae Define the Needs of the with the target audience depends __needs to be clearly organized? Target Audience "upon the development ofa visual Remember that communicating is vocabulary that appeals to the first and foremost,so never let the Researching the needs and ex jes ofthe viewer. To yet design stand in the way of e pectations of the target audience understanding of what the your message across, allows for the creation of memo- target audience will respond to, rable solutions that effectively look at all aspects of their ives, Defining the Problem communicate a company’s core _from jobs to hobbies and interests. values, attributes, or unique mes- Demographics such as age, gender, Comprehensive and exhaustive sages. Informal discussions with income level, and education are current or potential customers will equally important considerations. provide useful insight and help Begin by colle determine research will enable the desis fing and analyzing Once the designer has completed nes, books, or examples Of this step, it is wise to present his perceptions about the company, __ marketing materials that address ndings to the client to cor its product, or services that m that his information is ac his design plan is in keeping with the client's vision, Research thus color, typography becomes the rationale for finding, fe 0 important the design solution that will be the defining the means of the message to think about how the piece will (ype, color, layout,and imagery) _be used. Docs the design need to is an important part of the fi work. ffectively communicating a lot of important information that ny positive or negative may the specific interests of the target ‘ome part of the final audience. This will help define ap: solution. propriate design choices such as and the overall el of a layout. It isa inform oF b Design is a multi-tiered langua most appropriate for the problem. al be eye-catching or does it containThe Complete Graphic Designer Creative agencies o firms develop their ‘un creative procedures, Depending oa the ‘2e.nd scope of aproect ofthe numer of incviduals immersed in the problem, the design process may be more involved Cleary ‘communicating this process with cents at thebeginning ofa project informing them of the complexities inherent in solving visual problems will not only make them feel more involved and vested in the process, but wil ‘Aso resut in 3 smoother relationshin, Design: Willoughby Design Developing the Pssisners are given specific visual problems to solve that must meet Creative Brief cesineadusiness objectives be deliv cred within budget, and work with- in a myriad of other possible con- straints. These problems can range in scope from designing brochures or other marketing collateral t0 developing an extensive corporate identity for a company. Sometimes, however, visual problems and their goals may be more challenging: for example, the company may be trying to increase their market share or appeal to an entirely dif. Becausemanydesenprcbiems 1 have multiplprases or partsto thetnalsohten.thecreabvetrt Sams sould incide deta trelnefor the poet Crestingavsual"map” afte fo deveades ens everyone rvlvecentho samme page aratheprogetn schedule Design: Dean Olson (Opposite page) The creative brit attributes of an organization's identity or marketing colts Comparing those with carpet ing orsanizationsalows for the development auniau toavsual problem Design: Indicia Design ferent audience than they have in the past. In these cases, ti vital to have a thorough brief that clearly outlines the parameters. In some cases, clients are not familiar with ‘what a brief needs to address and will unknowingly provide the designer with an incomplete brief cor vague goals In this situation, it is the designer's responsibility to lead the client in developing a creative brief that outlines the task at hand and provides a framework the designer ean work within.vation th cure onde Loge AM Friends stterchiser Components of a Creative Brief ‘The creative brief is much like a road map for success in solving a graphic design problem and as such, invaluable resource for the designer. Every creative brief should contain the following information: 1. General parameters ‘What is the budget? What are the deadlines? What are the deliverables? 2. The specific problem that needs to be solved Is ita direct mail piece,a website, of a corporate identity that needs to be created? 3. Abrief overview of the organization ‘What do they do? How long have they been in business? Where are they located? Who is the spe- cific person the designer will be working with? 4. Alist of business and design objectives ‘What is the client trying to accomplish through the design piece(s) being created? 5. The target audience and 2 demographic information ‘What are the gender, age range, education, income levels, hobbies, and preferences of the target audi- ‘ence? What type of visual imagery clo they respond to? . The unique attributes of the product(s) or service(s) the company offers ‘What are customers’ perceptions (positive or nega tive)? Why would the target audience choose this particular product or service over its competitors? The competition ‘What are the competing companies, products,or services? What strengths and weaknesses should be discussed? Compile a comparative study of websites that illustrates the visual vocabulary of imagery that ‘will resonate with the tanget audience. Creative approach ‘What is the visual problem and what are the steps the designer will take to solve it? The Design ProcessThe Complete Graphic Designer Concept Development Developing concepts, the most important part of any design project, occurs in the mind, not ‘on a computer screen, During this crucial phase of the desi the designer should spend h ‘generating ideas away from the ‘computer. Thoroughly analyzing design problems through writing, exercises allows the designer to lat- er translate abstract ideas or rough concepts into poignant visuals that will connect with the target audi- ence and deliver its message. The Designer as Writer Using the written word, the design- er combines fragments of thoughts into refined concepts. It is often easier to think about com- plex or abstract ideas in words that will provide clues as to how to solve a design problem by using visual symbols and metaphors. The or idea Concer acompany brochure ae explore fistin ting, nhs case the cesign rm worked witha copyanite to evel ideas and then provided short ‘descriptions af each dea tothe lent forrevew Generaly.once a chent signs fon an ea, the designer wither relineit nd creat or commssion visu ag suchas phatography ancilustration, Design: Indlela Design more literate and articulate the de signer, the more prolific he will be in producing original ideas; many top art directors at creative agen- cies have roots in copywriting or y to capture the essence of an idea in as few words as possible. journalism because of their al Idea Incubation Brainstorming is the process of generating ideas as quickly as pos- sible, Write down every idea that comes to mind, no matter how silly or irrelevant it may seem, because it may later influence or spark a great idea, Design is the process of climinating ineffective ideas or concepts in order to narrow the possibilities to a few strong ones. ‘The following techniques will aid designers in generating unique design concepts;sleek Contemporary) relaxation he ‘soothing Stream of consciousness/free association Write down any word that comes to mind when thinking about the subject matter including emo- tions, colors, perceptions, or phrases; anything, and everything is appropriate. Revisit this list of thoughts later to eliminate some of the unusable ideas This technique allows for unfettered thought. 2. Create an idea tree Idea trees sciousness idea generation. Thoughts flow in a logical progression as each idea builds off of the previous one—ideas are placed onto a page with related words branching” off of them.To get started, write down the subject matter (the company or product name might also be appropriate) within a Circle. All related thoughts connected with that idea isual structure to stream of con- are written down with lines connecting each to the previous idea. Repeat this process for each word until the ideas become very specific or no longer relate to the subject matter. 3. Use a dictionary and thesaurus Due to their descriptive nature, word definitions give the designer visual clues for possible solutions, In addition to helping understand terminology used The creation ofan dea tree hep tien brainstorming concepts fr wsual solulions, Core idea are conmected to elated words thoughts. or prveses to usualy portray stream-ot conscious ress ting Design: Indcia Design ealth, syst wellness ‘emotion by the client, the dictionary is an indispensable tool for translating written ideas into visual symbols and metaphors. Write down the definition for each word from the free association or the idea tree exerci Underline particularly descriptive words or phrases within each definition, the same sheet of paper with their definitions. Next, 1d write those words out on use a thesaurus to find related words or synonyms, 4. Combine unlikely ideas ‘The Latin word for thinking is “cogitate," which liter- ally translated means “to mix together” Taking two ideas of words from the designer's brainstorming exercises and combining them together often yields unexpected and surprising results, Paul Rand was a huge proponent of this method of generating idk referring to it as"combinatory play" He believed that the more childlike a designer could think by combining two or more ideas, the more unique and creative a solution would be developed, particularly during the sketching phase of the design process.The Complete Graphic Designer When designing spread, sketches prove useful for determining the postionof ements such as headings anc wsualson the page, Unless an age isan integralpart ofthe page yout(ie.text that wrans aound ar interacts wih an ig), itsplacement maybe epresentetoy a box with ‘an through is a placehoier Design: Inicia Design ‘Thurnbraisketcnes qucky hep the designer ‘lidate an dea. these sketches fr alayout the appreximate proportions ofthe piece and image placement are explored. Sketches do ot need intricate deta and use annotations to ‘urther expand upon the ie, Design: Inicia Design [HE ADLINE? i ‘Drawing is essential to solving design problems since ideas must ‘be translated from written form into images that communicate with the audience, Because of this, drawing isa fundamental skill that every designer must possess and cultivate. Putting pen to paper should be the first step in the development pro- cess because it allows one to recre- ate what one sees as well as explore perceived shapes, line, form, texture, tonal value, depth, and color. Sketch- ing also allows the designer and client to envision the final design solution prior to executing or pro- ducing a finished design. Sketching is part of the process de- signers use to visualize and explore various concepts, Quick thumbnail sketches allow them to quickly ascertain which are the best ideas and which clements, such as perspective, subject matter,and composition, need to be addressed before presenting concepts to the client or moving to the computer for rendering or refinement. While ‘most designers use computer applications such as Adobe® Pho- toshop®, InDesign®, and Illustra tor® to execute their ideas, simply having these proficiencies does not make a good designer. A solid con- cept is the necessary foundation of any good design,Thumbras no nly determine the Design: Indica Design ‘Thumbnail sketches are small, roughly drawn visu- als created in rapid succession. Form, composition, spatial relationships, text placement, and even graphic treatments are investigated to analyze whether of not an idea is working or if further studies are needed. Sometimes several sketches must be druwn to find a workable solution, requiring dozens, if not hundre of thumbnails for critique. Even so, thumbnails make it possible to determine the validity of an idea much, faster than searching for the perfect image, scanning and manipulating it using the computer, and placing, it imo a design, only to find the idea is an inappropri- jon. Experimentation through sketching is component of designing strong work, and rested up front always saves the designer Proot The Desi ate dis an essenti the time i time overall cevecutedthese tight pene suetenes mals nd muscalirstrumerts Desig: Fernandez DesignThe Complete Graphic Designer Increatng a newrand image for Sheridan's Lattés and Frozen CCustarc abrand pstcning statement was developed the crestweteam Design: Wiloughby Design Selling the Idea Presenting ideas to the client for feedback is the next crucial step in the design process. The designer must be able to not only speak intelligently about her work and the rationale behind it (if a creative brief is followed, the design will meet the client’s goals and objectives), she must also be able (0 prove that the visual solution works.To genenite excitement, acceptance, and approval, ideas must be refined and executed in full-color, rendered mockups that help clients visualize the final design solution. If solution involves special print processes or unique execution, the designer must not only explore the feasibility and costs of producing such a design, but must provide samples as well Presenting Design Solutions Client presentations are a delicate balancing act for the designer because aesthetics and practicality con- verge when executing design solutions. The desire to produce ground-breaking and award-winning work sometimes conflicts with the business objectives of the client and the needs of its audience. As a result, the graphic designer should strive to produce and present the client with ideas that will satisfy everyone. ‘Time and budget allowing, present at least three fully rendered and executed ideas for client feedback and ique:a conservative solution that works well with existing collateral and reflects the design sensibili- ties of the client,an innovative and extreme design that pushes the client's budget and aesthetic,and a blend of those two options. Do not present too many: options because it makes the client's decision-making more difficult and sometimes results in a design that incorporates elements from several ideas into one, thus watering down the effectiveness of the original design. Be sure to present simples of any specialty Paper, inks, or unique finishes you are considering. Executing the Concept or Idea ‘Once the research and concept development phases have been completed, it is time to turn to the details Whereas pencil sketches allow ideas to be quickly pro- duced and analyzed, executing a final design concept ‘requires careful attention to choreographing the design elements to work in concert and communicate the intended message. Equally important is that the design can be reproduced on a mass scale. No matter how cre- ative or innovative a design solution is, if tis unable to >be mass-produced within budget the design completely,The Complete Graphic Designer bigdog MOTORCYCLES" bigdog {ails to solve the client's visual problem. So determining f dhs vty om mpm BIGDOG sic boc tesereret Most designers execute final designs on the computer because it allows them to quickly and easily explore variations and create final reproduction art. The pro: ficient designer uses applications to his advantage to quickly render computer generated “roughs” for the client. Adobe® Photoshop® is a leading image manip a) ae lation and editing too: Illustrator® is ideal for creating vector artwork such as logos or single page documents; and InDesign® is a page layout and design program for Jonger publications When executing a design, practical aspects of a project such as printing processes or distribution methods must be addressed. Contact local printers to receive print estimates, Welldeveloped prototypes or sketches. Of the piece, including paper selection and printing, techniques, better enable the printer to deliver a price that meets the client's budget. If mailing is required, the designer should verify postage rates with the post of- Bic’ Dog | fice and confirm that no extra postage will be required. MOTORCYCLES Executing logo soliton quires the expire jon of several variations ona singed. n nese examples. ehined concepts are shown Design: Gardiner Design $ &Presentation Tips 1. Neatness counts Items arranged on presentation boards should be ‘mounted straight or in consistent locations across, multiple boards—pieces mounted at different angles become a focal point for the client and distract from, the presentation, Likewise, pencil marks or excess glue should be removed from all boards, 2. Provide samples of unique mate 1g techniques ifa design utilizes unique printing techniques, such as ‘metallic inks, varnishes, die cuts or embossing, provide a sample of the technique. For folding pieces or mult page documents, create a mockup or prototype that will allow the client to visualize what the final piece will look lke. Is or print- 3. Be confident Approach each meeting as the design expert. Be prepared to answer questions and explain the thought process behind a design. Speak articulately and with proper grammar. 4. Be prepared Bring a writing utensil, notepad, and the job jacket to the meeting, Have all process work available to show as rationale for the design solution presented. Presenting ideas to a client, especially for the first time, can be a nerve-wracking experience for the graphic designer. After hours or days of work, the designer and client meet face-to-face, sometimes in the presence of a committee, to discuss the thought process that is ex- plored through the visual problem. Designs are present- ed for review and feedback. Here are some steps that will ensure a successful and productive client presentation: 5. Show only the best ideas Never bring to a meeting work you would not like to, see chosen because it ust may be selected. Show your preferred choice first. 6. Show alternative options, not variations of asingle idea Clients want a few options from which to choose, so showing a similar design concept that is merely ren- dered in three different color schemes or with few major changes is not satisfactory. 7.Don't overwhelm them ‘Showing too many options makes selecting a final op- tion very difficult. Three or four distinct directions are appropriate. 8. Help in the decision-making process Elevating the design sensibilities of clients is an impor- tant aspect of the graphic design process—this is why a professional was hired in the first place. Ifthe client hesitates or has cifficutly selecting a design con cept, ead him to choose the most appropriate design solution. If project is a collaborative effort involving multiple designers, be sure all the designers agree on.‘bul usng te ou poe Design: Design Raymann Print Process Considerations Regardless of how innovative, inspi ing, or creative a design solution may be, if itis unable to be reproduced on a mass scale and within a client’s budget, the design has failed. There are sev eral printing methods including offset lithography, letterpress,and. sill-screening. How the piece will be distributed or transmitted, the rials it will be printed on, yy unique finishing techni and the look of the piece will all be considered when determining, which printing method will yield the best results, Offset Lithography ‘This is the most common method of reproducing artwork. Printing Fy of size presses come in a vai ‘can print onto single sheets or J measurement continuous rolls of paper, and a low for m iple colors, Full-color reproduction is achieved through the use of the four process colors (cyan, magenta, yellow, and black); how the colors overlap determines the final color. Offset lithography is the least expensive way to print quantities of 500 to 100,000 pieces. Offset presses print at 150-300 Ipi ines per inch, equivalent to 300 and 600 dpi, respectively), Letterpress Letterpress was the most popular form of printing until the 1960s whi replace them. In this traditional print process, ink is rolled onto a metal or wood plate and is then pressed into a sheet of paper: Due to the amount of pressure applied, n ofifet presses began to letterpress often flattens out the paper in the applied, giving a very tactile quality 1s where ink isto a piece. Thick pieces of paper or cardboard may be printed using this technique, but only one color at a time may be printed. Most letterpress presses still in existence are used for high-quality, specialty pieces such as invitations. Letterpress typically uses transpar- cent, solid areas of color ink, as it cannot accommodate percentages of color, Silk Screen When permanence is an issue or unusual materials must be used in a design, silkscreen presses are very versatile methods of reproduction. They print on. almost any kind of substrate material, including metal or fabric, and can even be applied to dimensional objects. Solid, opaque ink is applied to a surface by us- ing a squeegee to push ink through a meshed screen, ‘Tshirts, ceramics, and plastics are all appropriate for silk-sereen printing. Depending on the material being printed, halftone dot patterns should be very coarse (0 more than 60 Ipi, Vinyl Applications Much interior signage is reproduced using adhesive ‘Vinyl lettering, which is cut into thin sheets of plastic vinyl using a computerdirected blade. The back is adhe- Using te latterpress as aprnting method gives eves ahand-made quay and evokes a classic ‘legance, especialy ar ormalinaitatons or annauncements, Design: Bystrom Design Inaction ots unusual formal, this brachure and poche folder aresik screened on antral coloced, uneosted stock When desining.a work that wil be sk screened isbest to use solid colors ard 100 percent ahuerather than a percentageor tnt (tints donot reproduce well ‘be to coarse ine screens andiorge dt at terns), Thin strokes anintricate deal are also ‘cut to repracuce mith thistechngue Design: Inicia Design ‘The Design Process,\edow graphics suchas thse were creat sing viny-cut graphics that arethen apoled side ace o the g Design: Gardner Design tationthe be applied ‘onto smooth surfaces such as plas. Je graphics, interior signage,and window decals, are all vinybcut letters. Vinyl com« in large sheets of preselected solid colors (you cannot specify a CMYK or Pantone color). Additionally, gra dations and tints are not possible. Paper Selection ‘Choosing the right paper for a visual problem is extremely important to the overall concept and execution of a printed piece. Glients depend on the designer to recommend the most appropriate paper for a design project. Papers are not just a surface on which to lay ink, they should also enhance the design. In addition to how a piece will ultimately be used or distributed, the designer must also consider the paper's weight, color, texture, and whether to use coated or uncoated stock. Plastic paper wth adulfinish ate astreng tone-on-tone. Desig: Late Night Creative Most printers keep both coated and uncoated paper stock in their inventory so they are immediately available for printing. Known as “house sheets’ these papers are bought in bulk at reduced prices, thus decreasing the overall cost of print job. Even though paper comes in a staggering variety of textures, colors, and finishe: printer's selection of readily avail- able stock is sometimes limited, Consult with the printer or a paper company representative for a wider selection of choices. Coated Paper Coated paper has a smooth surface and special coating that results in more accurate and vibrant color, crisper images, and sharper detail Itis an ideal choice for pieces that incorporate photography, vivid cok r,oF require high-end, finished feel such as magazines or trade publications. Brochures, catalogs, and sales sheets are often printed‘Topromotethe specialty papers avaliable remapaper compary.this ination uses spot olor printing on cotton paper The 100 percent cotton envelopes ae trash cont allowing the typography andsyzed imagery to show through Desig: Dotzero Design on coated stock because color accuracy is imperative to sales. Although widely popular for most print jobs, it is not appropriate for all types of print jobs—the special coating has a tendency to ruin office equip- ment that uses a heat transfer process, such as laser printers of copiers, and is difficult to write on using a ballpoint pen or pencil Uncoated Paper Uncoated stock has a more pronounced grain or texture that allows ink to soak into the paper, thus ‘muting colors and creating a “softer” appearance. Depending upon the job, this can be a positive or negative quality,so take this into careful consideration. Uncoated stock is appropriate for designs that require 4 personal, elegant, of sophisticated look, such as invi- tations, announcements, and personal stationery. Some print processes, such as letterpress or silk screening, are most effective when used on uncoated stock. Both coated and uncoated papers are available in numerous colors including many degrees of whiteness. ‘Specialty Paper Specialty papers include, but are certainly not limited to, translucent sheets, cast-coated sheets with mir- rorlike finishes, recycled papers, and textured stocks. ‘When used to enhance the concept of a visual solu- tion, specialty papers are extremely effective; if they are used as a gimmick, they waste the client's money. ‘These papers are more costly to produce and more susceptible to trends so are often only available for a limited time. Additionally, they must be ordered in large quantities from the paper mill, adding more pro- duction time to the print job. If unsure about what type of paper is most appro priate for the print job, consult with the printer for recommendations or request samples from paper companies and distributors. Their knowledgeable rep- resentatives will discuss the strengths and weaknesses of each of their lines. ‘The Design Process,The Complete Graphic Designer Colored transucent paper conceals and then reveals the bereits of using outdoor lahting Products. AS visible ight consists fed and blue rays. these colors were usedin Design: SemataMason Finis! g Techniques Unique finishing techniques, such as die cutting, embossing, or add- ing foils or varnishes, can greatly enhance the execution of a printed piece. Die-cut windows hide and then reveal an image, thus promot. ing user interaction, while unust shaped collateral surprises and en- gages the viewer. Emphasizing cer- tain elements of a design through, embossing (raised impressions in the paper), metallic foil, or varnishes (Clear coats of ink that add touches of high gloss or dullness to a de: sign) are all enhancements that may be made to a final printed piece. It is important to remember, however, that these details are only truly ef- fective when they help to reinforce the overall concept.These details alone will not improve a piece that is weak in concept or execution: they will ust make it more expen- sive to produce. lyFor ths high-end CEO Summit piece fr Nokia, the desig cutting theevertiogo outot i the bax slincover design auriquely shaped program and tnerarythat bounds vent colatera Design: Yllow Octopus Keeping a Design Process Record Design is often a compromise of ideas between the designer and clients, so sometimes the best solution is not selected for final implementation and print production. Maintaining records of the design pro- cess, whether i a job jacket or sketchbook, preserves place for unused ones to be cataloged for future use. Process cataloging is also invaluable for resolving billing or ownership disputes such as proving the amount of work that was ut into a project or when a design was first created, the evolution of ideas and creates Remember that good design connects with an intend- ed audience, Developing a welkresearched creative brief, adhering to the guidelines set within, and com- municating with the cl cessful concepts and solutions are produced and that -nt will ensure that only su precious time is not wasted on ineffective concepts. to-coney theidea ot asidewalk that nas been decora ith names while the cement vos mbossings a subtle technique fe qualtes engage the senses and feance the overall im Design: And Partnerswat warzLayout?Design A painter works with a brush on cam sa sculptor, a chisel Page Layout & Des and stone, and a graphic designer, a computer and a blank page. While the fine artist typically has a personal opinion or expression they want to display, the designer must con- jure up a way to display someone else’s message and also. have it resonate with the intended audience. Printed collat- eral for mas reproduction and consumption is the product of concept development, composition, and creative execu- tion. To this end, page layout and design are fundamental skills the designer must master in order to create effective work.The Complete Graphic Designer “This promotana pocket older for Prey Bowes uses bind embossing a mal-elated indica on the outside of ‘the cover anda unique packet in tonto he brochure, ‘The brochure tele very clean andcorprate with strong visual rvages bold colors. and Semple graphics. Design: And Partners honesty matters Page layout isa general term used to describe the look and feel of any printed piece of communication that is designed to solve a visual problem. These solutions ‘can come in various sizes and shapes. From simple postcards, one-page pamphlets, and sales sheets to oversize posters, multipage brochures, and books, itis a designer's responsibilty to determine and create an effective visual translation of the client's message. The wide-spread availability and popularity of page-layout software has created an entire industry of nonprofes- sional desktop publishers who know how to use the ‘computer programs, and have limited knowledge of typography and page layout, but do not necessarily have the talent or eye for good design. The true graphic designer has a thorough understanding of the field to determine the most effective design for his client's needs, and the experience to educate the client about the intricacies of page layout and design. A simple composition with bight oles. dominant elements. anda clear message makes this poster standout romathers, Design: Greteman GroupThe Complete Graphic Designer The bases of page layout should _2ecommadate adequate whitespace ‘2nd mergnsto allow fr e957 reading ‘2nd comereherson Text shouidnat be placed too close tothe gutter in the even that aheadine or pece of textdoesneedta spanthe spread, havathe space between words cross the gutter or loosen kerning betueen lfters within the wor Design: SamataMason |__Bleea 1/8" around rn Margin LIVE AREA LIVE AREA| Margin ‘column Gutter age Tim Marksan = earns tort in Cotlecton Thee ts asimple gidstructuret Design: C&G PartnersThe Complete Graphic Designer Column Gutter Horizon Line Thebase structure of layout rid uses columns and roms to help determine te placement of text and images. Each unit within the [dia module and certan raphe ‘loments may takeup more than | fone module Horizon nes establish aretecence point fete top-most placement a body cop, The Grid Confronting a blank page on which to design a layout isa daily challenge for graphic designers, one that often intimidates even the most seasoned professional. There are hundreds, if not thousands, of design possibilities. Complicating matters further, most projects have muk tiple pages or spreads that require continuity through: out the document or publication. To meet this challenge head on, designers should employ the use of grids. ‘The grid is an invisible framework of guides used to construct a page layout or composition for a printed piece. They give structure to the page and help ensure consistency across the document. By having (ext line up at the same point on every page, maintaining cok umn widths, aligning images with text or other images, ‘There are times when tis appro rat to break the rules ofthe grid In gesgn. out this must be well ‘thought out tobe ettectve. this case. tollustrate the concent of Creative inspiration, or making the ight brain beaver” the designer has rotated the text ofthe poster tagve the illusion thatthe ight side ofeach copy block isbaing, ‘weighed down Design: Kinetic and placing page numbers in the same spot throughout, there is an ordetly rationale for the design. "Text and images are not dropped haphazartly onto the page or collaged together, but are placed within different grid “modtules” that guide the viewers eyes through the document, which makes for easy comprehension. Grids may span an entire spread and divide it evenly into modules. Grids sometimes exist only within the live area of a layout as defined by ample white space or the margins around them. The size and number of arid modules at the designer's disposal are completely arbitrary:The purpose of creating a grid is to give or der to the composition. The more grid modules used, the greater the possibilities,< Tebitonns This fold out postr/orachure for ‘chess toumament uses a simple theee-calur grid wth clearly defined gre medlesto organize text andimages. Large amounts of white space and cole text help ude the viewer's eyes around the page andissemnate formation about the avert. Design: COT Design Sometimes acompostion wiluse ‘several rds layered ontop of ach ‘other. Fer these Nature Museum posters. grdshavebeen rotated offaxis tohelp accentuate and highlghtimportant information. Design: Fauxpas Gratk Page Layout & DesignThe Complete Graphic Designer ‘These id structures have been created using the Fitonace sequence numbers and the olden ati, bath of which are natural occuring pnenomenon URED OVLASTENOG ARH namo em m — elementism lee ITEKTA Te golden ratio fsnat only fund innate, utisusedinclasscal ‘architecture a well Forth logo for aemall architecture fir, ‘the goer ratiohas been used tocreate awel-structuzed anc proportional mak Design: ideo/Croatia “Te compesiton ofths poster uses a welded gridbased onthe golden ‘ate. Each element rm the main tle ofthe piece tothe supporting copy. ines un wth te gine. Desig: Shinnoske nePage Elements Typography Graphic designers should embody a love and passion for typography—not only for the way in which letters, ‘words, and sentences are arranged on the page, but also for the design and emotional qualities of the let- terforms themselves. Good typography isa true sign of a talented designer, itis important to make sure typeface choices are appropriate and their implemen- tation is flawless. ‘Typefaces have unique characteristics and expressive qualities that allow the designer to identify and prop- erly specify a font for use in a page layout. Composed of many different parts, the anatomy of a typeface is rather complex.The attentive designer places a priority on selecting the right typeface for the visual solution, one that will help communicate the intended message. ‘Some considerations for the selection of a font include Insome instances, ypog raphyisusedas anil ‘on. a in these layouts, Letterfoims ovrap ta form surprising new shapes and Unique color corainations sign: Shinnoske, ne Bk Bk BR BK the physical form a printed piece will take and the type of paper it will be printed on. For example, in book design, Garamond or Caston may be used for their wel proportioned letter widths and clean serifs, which make reading easier. Newspapers use Times New Roman or similar serif typefaces with large x- heights and open counter forms so that when printed ‘on coarse newsprint, the ink spread (“dot gain”) doesn’t fill in the negative space of certain letters. By choosing typefaces that are similar to or coordinate ‘with those used in existing client collateral, the designer can help establish a mote cohesive, consistent brand {image-To find suitable matches, study the subtle nuances of certain letters of the typefice. For example, the letters ‘yo"Qo"g"and the ampersand all yield valuable clues to specifying an appropriate or nearly identical typeface. Page Layout & DesignType Considerations Serifs vs. Sans Serifs Serif typefaces are considered to be friendly, approach- able, and easier to read when used for large amounts of text. Sans serifs are very clean, modern, and “corporate” looking. Create contrast within a design or layout by mix: ing the use of serif and sans serif fonts. Italics Italic letters or words add emphasis to text. Right lean- ing italics suggest forward movement in Western culture, hile left leaning italics convey the idea of slowing down. Incultures that read from right to left, the opposite is true. Justification Text that lines up to the left side of a column with varying. lengths to the right is generally considered easier to read for left-to-right reading languages (“aligned left, ragged right"). In cultures that read from right to left, the opposite istrue, Center justified text is aligned on both sides of a column, and has equal line widths. Long passages of justified text can be difficult to read because there are sometimes large gaps between words, creating “rivers” of white space that interrupt the flow of text. Justified text should only be used for short pieces of copy. Rag The edge of a column of textis where lines of copy end, ‘A“clean’ rag occurs in lines of copy when theres a nice flow and transition of text from one line to the next and in which there are no hyphenated words at the end of a line. Thisis the most desirable format, and often requires ‘manipulation on the part ofthe designer. Hyphenation if at all possible, hyphenated text should be avoided, especially in narrow columns. Ifa word must be hyphen- ated to create a clean rag, that is acceptable. Never have consecutive lines of hyphenated text: Kerning The amount of space between each letter within a word is called kerning. When letters are too close together, they become difficult to read, especially from far away. Likewise, letters spaced far apart are easier to read from afar, yet more dificult o read from up close. Leading The term “leading” comes from letterpress printing when actual pieces of lead of varying widths were placed between each line of set type. Inthe digital worl, this term still refers to the amount of space between each line of text. In narrow columns, too much leading tends tommake text disconnected. In wider columns, too little teading can fatigue the eyes, making text difficult to read. While there is no mathematical formula that dictates the appropriate amount of leading that should be used in a block of copy, leading looks best when itis at east 3 or 4 points greater than the type size: for example, 12-point. type with 15-point or 16-point leading will have optimum line spacing. Column Width For ideal line width and readability, there should only be approximately 12 words per line (50 to 60 characters) within a column of text, otherwise eye fatigue may result. Widows and Orphans Widows are lines of text containing only one word. To help alleviate this problem, simply adjust the kerning of a paragraph. Orphans occur when one to two lines of text have jumpedto the next column, Both of these scenarios should be avoided. Hanging Punctuation When using pull quotes, “hanging” quotation marks to the left of the copy block optically aligns the text‘The anatomy of atypetace filed wth suite nuances and characteristics that when ewes with alscering eve canbe a pomertutol within the designer's toolbox, Careful examin ingthe key features of font susan ce rning tre appropriate typeface for a proecte formatchig acon’ curent aera Crossbar Asverder Terminal sent serif ThafKgyQe= Spur Boil Desoander Tall sasset T A af K Align Left, ragged right text block When setting large areas of text itis best co use text tha is ragged right, aligned lef This will create che optimum reaibility for the viewer of the piece. Line lengths should be no more than 50 character Hyphenation should be avoided, and always have the appropriate amount of leading between sentences. Rivers, widows and hyphenation When fetting|large areas tex, itis best to-usofext chats ragged fight, aligned ef ‘Thigfill createthe optimum readibility for thefviewer ofthe eee Linelengths should bbe{no morefthan\50 characters. Hyphe®) ation should\e avoided, and always have the appropriate amount of leading beeween recur Stem fit Leading too loose When setcing large areas of text itis best o.use text chat is ragged right, aligned left. ‘This will create the optimum readi iy for the viewer of the pice. Line lengths should be no more chan 50 character. Hyphenation should be avoided, and always have the appropriate amount of leading berween sentences, Leading too tight Se ee ene eames ale ee cs ere oie es ae ey oe eee yQ&=2 cap height hen setting large blocks of text in composition. he designer should tse column ths andlacingin proportion tothe sin of ype used. Rivers. the gaps ot spacebetween words that span several ines of copy. are best avoided using ett iustiieg ragged right formating, Page Layout & DesignThe Complete Graphic Designer tography adds an extrale at Design: Eason & Associates aE >) Years of beaaty Imagery Photography Photography has the ability to capture the essence of the world around us by freezing moments in time. Photography is a powerful medium that, when used properly in page layout and design, can have enor- ‘mous impact on the reader—it attracts the viewers! attention and entices them to explore the rest of a printed piece.To achieve this goal, however, photog: with a raphy must be unique and visually appealin distinct focal point. Short depth of field, tight crop- ping, and close-ups of the subject matter are all, to accomplish this goal Finding the right imagery for a layout is sometimes a chall vide the designer with “snapshot” images usually taken with a point-and-shoot or digital camera. ing task, Sometimes the client will pro- 1 this 2d promoting the ingcompary leo tight the texto the pece Design: leoThe Complete Graphic Designer ‘The message behindthis Sesame nnuslreports that the organizaten strives to highlight the international and athnicversity itsprogramming To corvey tis, "Helo Friends \witten throughout the open pagesin various languages ever images of county-specic ‘Sesame Stret characters ser metalic nish ofalthe ferent translations foals printed over each spreacto continue the theme, Design: SamstaMason pically, the quality of such images suffers due to low resolution, lack of lighting, experience, or knowledge of compositional techniques. IF one of these scenarios should occur, the designer has the option to explore the use of stock photography or to hire a professional photographer. Commissioned Photography Depending upon the client's budget and needs, commissioned photography can provide custom, imagery for page layout solutions. ‘Traditional commissioned photog. raphy is usually shot on location or ina studio, and is artirected so the ‘exact image the designer envisions is captured, Bracketed exposures allow different angles and light- ing techniques to be used, all in an attempt to find an image that is the perfect fit for the project's concept Because of the extra time involved and the complexity of setting up such an exact, staged photograph, commissioned photography may be cost_prohibitive for some clients, Depending on the type of im- age desired, or the reproduction, requirements of a particular piece (Such as final size of the image or the type of printing process that will be used), the photographer may choose to shoot images using @ high-resolution digital camera ora 35mm film camera. A variety of single-lens reflex (SLR) film and, digital cameras are available today, all with comparable image quality ‘The biggest difference between digital and 35mm photography is time and money. Film negatives must be processed, printed, and then scanned into the computer for manipulation, Digital cameras capture data electronically and save it into a computer file, which saves both cost and time. Because of this, ‘most commercial photographers ching to digital format, but some and are still holding out because they feel the quality is still not as good as with film, Regardless of which format is used, excellent quality can be achieved with both,‘Stock Photography Today there is a plethora of quality “stock” photog- raphy available for use in page layout and design. While traditional commissioned photography may be impractical for use in a visual solution due to complexities such as special locations or the cost of hiring models, stock photography is abundant and easy to purchase and download from the Web. Searchable by keyword, numerous websites that contain tens of thousands of photographs on almost any topic or subject matter provide an invaluable resource and reference for designers. ‘The following are examples of websites where stock photography and illustration may be found. Sim- ply registering with the site allows the designer to download low-resolution comp images for use in client presentations and mock-ups, ACEstock (Uk) wwwrace.captureweb.co.uk Action Press (Germany) ‘wwrwactionpress.de AGE Fotostock (Spain) ‘wwrw.agefotostock com wonwalttype biz wow.amana jp alt.type (Singapore) ‘Amana Images (Japan) Apeiron Photos (Greece) _ ww.apelronphotos.com ArabianEye (UA.E.) \wowarabianeye.com ‘Aura Photo Agency (Italy) ‘wen auraphotoit Bildmaschine (Germany) ‘wun bildmaschine.de Contrast (Czech Republic) wwnwcontrasticz Corbis (United States) ‘wwru-corbis.com Epictura (France) wonwepictura.com Fotosearch (United States) wwwfotosearch.com Getty Images (United States) _ www.gettyimages.com Granata Press Service (Italy) www.granatapress.com Hollandse Hoogte (Holland) fotorhollandse-hooate:n! Images.com (United States) ‘wonw.images.com Imagepoint (Switzerland) www.imagepoint.biz iStockphoto (UnitedStates) _wwwistockehoto.com Photonica (United States) www.photonica.com ‘Sambaphoto (8:02!) ‘won sambaphate com ‘Sinopix (Hong Kong) sinopix.com ‘Stockbyte (United Kingdom) www.stockbyte.com ‘Veer (United States) wwwveer.com This brochure for ScanChan (Scandinavian Channel) uses {an accordion fold, bright clors, and minimal amounts of copy todelver the brand message hat it caters to people of all nationalities. On the reverse, he viewer is greeted with life-size faces of people from 2 variety of countries Design: SamataMason Page Layout & Designaphic Desigr The Complet This magazine spread dem hotograpty and istration le highlighting the advantages Design: Eason & Associates ‘wom There are two types of stock photography: royalty- free images, which, once purchased, can be used for multiple layouts or projects without further payment; and rights-managed photography, which incurs recurring licensing fees. Typically, ights- managed images are higher quality and have limited availability and a set period of time in which they may be used. This prevents ovo companies within similar industries from using an identical image in marketing collateral. Although the quality and originality of images continues to develop, stock photography is not without its drawbacks, As the vreasingly popular \d clients, the price for their use use of stock images becomes with designer also increasing: to any one company or cli That being said, the work varies greatly from agency to agency, some extremely generic and some quite unique, so shop around, ind beca they are not specific ent, they can have a generic” look, Sometimes mages arenat always aster blak and-white photography Design: Modern Dog,PTE hl Using Found Images Designers must always obtain permission to use or buy licens- ing rights for stock photography or other types of imagery within a design project. It is both unethical and illegal to st work, and using an image without permission constitutes copyright infringement. While the laws pro- tecting original works of art and design (including photography and illustration) vary from country to country, there are some uses that fall under what is deemed “fair use? | someone In the United States, students of de and illustrations within their work n may use copyrighted images for educational purposes as long as the original artist or designer is credited with the work and i the design solution will not be reproduced, distributed, oF sold. Images that come from the United States Federal Government are considered to be within the public domain and therefore are free to use (Le., pictures taken from space that appear on NASA's website fall within this category). Additionally, images that are printed in old mag. azines or advertisements may also be within the public domain since copyright laws afford only limited, protection of a work. Check with 15 PALEY S PTONNG)T BE As fay = Wey ae at your local copyright office to deter- mine if the ima res you wish to use are still regulated under copyright or if they are in the public domain, For current legal issues affecting, found images, contact your local government o1 property attorney. n intellect ony tal resonates withthe target audien Design: Bradley & Montgome tn Design: Shira Shechter StudioSs "a italscooTeEr lustration Like photography, illustration draws a viewer into the printed page and helps reinforce the message that is being communicated. In addition to the technical and compos techniques employed by photogs phy, illustration has unique stylistic qualities that may vary depending, ‘on concept and execution, For example, the media used to create an illustration establishes a tone or mood for the piece; pastels proj ect light, airy,and even whimsic: qualities, while bolder graphics with defined or put viewers on edge. Cartoonike caricatures often have comical sh outlines can Design: ldeo/Crostia yo reduce complica Design: Michael Schwab Studio attributes, while realistic paintings and illustrations convey warmth and familiarity Regardless of how an illustration is rendered, itis important that the designer how it contributes to the overall effee- tiveness of a layout. Illustra can be more effective at commu nicating an idea or a feeling than photography and is sometimes more appropriate when a subject -arefully consider is difficult or painful, Some clients, such as domestic violence shelters or agencies that help children, are not able to use photos due to privacy concerns and so must rely on created imageryDesign: Shira Shechter Studio Page Layout & DesignHEART! then aly he Design: Archrval AND LADY'S copy facts Design: Dotzero Design ears tet ET aNd Pe ea go SEE THE STORY LIVE ee When using illustration in page out and design, the also act versatile graphic designer ma the illustra tor for the piece. However, if time is of the essence or if the project requires a highly stylized or complex i- lustration, a professional illustrator or stock illustration, may be a better option As is the case with stock photography, there are ad- vantages and disadvantages to using stock illustration. It is relatively inexpensive and easy to purchase and download from websites. It can be difficult, however, ce that will work with a particu: lar concept. In this case, select an illustration style that will ft the needs of the project (by searching stock sites or stock illustration books) and then contact the illustrator about creating a custom pi are great conceptual thinkers and will often work to find the exact ima Mlustrators with the designer to develop an appropriate and ori nal solution to the problem,Visual Hierarchy Once the designer has garnered the attention of the viewer and drawn them into a page layout, it is important that they remain engaged in the piece. By determining the order in which page elements are best perceived, the des fout from the most important to the least important pieces of information. This pro- motes effective communication and comprehension by the viewer. ner can guide the viewer's eyes around the la ‘Compositionally, visual hierarchy is trasting elements on a page. Contrast in size and color determine the order in which the perceives and then digests the visual information. If allel mila will be no logical progression for the viewer to follow, which may result in confusion or frustration Typically the largest item on a page or spread will be the first to be read, but this is not always the case—a small red dot on a dark background can be just as effective at catching the attention of the viewer. The hierarchy of the page should logically present the information. hhieved by con- shape, der \ents are the same size or similar in color, there Agiontgit resembles the ont of se ship this poster promoting Design: Greteman Group ‘Some ways of creating dynamic compositions that use visual hierarchy are: 1. Size: Larger elements appear to be in the foreground and closer to the viewer; smaller objects appear to be in the background of a piece and therefore appear less prominent or important. 2. Shape: Unique shapes within a layout draw attention. If square or rectangular copy blocks are used, incorporating a circular element or a free-form shape will break the monotony of the piece and draw the viewer's eye to that object. 3. Color: Warm colors such as red or yellow will pop off the page and look as though they are in the foreground. Cooler colors appear to recede into the background. 4. Contrast: Creating contrast between two or more elements draws attention to them. Large shapes or text placed next to smaller elements create a dynamic relationship that pulls those objects closer to the viewer. 5. Movement: Creating a logical sequence or order within a layout guides the viewer's eyes. from one element to the next and creates a strong visual hierarchy. Arrows, rules, or Ge- stalt principles such as similarity or proxim- ity may also achieve this goal. Avoid leading viewer's eye off of the page to keep them engaged with the piece. Page Layout & DesigrSee ead Peet meer ‘lements appear on the page Instead of lengthy Ce ers Se eee erento! Peete Cer aes Peer nt rene ee ee ee oe ee eee ere ceoateea)o. Even though it requires no extensive school- God-given talent, the designer must contend with encyclopedic amounts of information, a seemingly endless stream of opinions, and the day-to-day problem of finding ‘new’ ideas (popularly called creativity).” Paul Rand, Design Form and Chaos Design Jobs In order to successfully craft effective designs, the the complete graphic designer must poss talent, resourcefulness, and flexibility needed to continually respond to the ever-changing needs of his nological advance or method of distributing client and industry. With each new tech- information comes the unique challenge of using those innovations to their best advantage.Client Considerations Glients depend on the designer to help solve their ‘marketing and communication problems and send, effective visual messages; designers depend on paying clients to make a living, pay expenses, and fulfil their desire to create. The relationship between the two should be one of mutual respect, common goals, and the abil pe tations in terms of cost and deliverables need to be established up front in any designer/client relationship. ¥ to learn from one another. Realistic While working for a paying client, the designer is typically not given free reign or complete creative control to develop an artistic masterpiece. Sometimes aesthetic compromises on the designer's part must be made to fulfill a communicative function. One way to exercise full creative control is to work with “not a chipboard book withace-cut connect withthe bran. By sieng her altenton totaking car ne deta, Design: Turner DuckworthRe >| RON. i. ip for profit” or pro bono’ clients such as the ballet, symphony, food kitchens, and shelters. They usually have very little or no marketing or advertising budget, yet require effective design to raise money for their causes. In these instances, the designer contributes time and talent at a reduced rate of free of charge (pro bono) to design pieces that promote the organization or its services, Design for not-for profits is a noble cause that should be approached cautiously. While many of these clients, offer “creative freedom’ as a perk, there is often a ‘committee that must sign off and approve the work, each member of which has his own agenda and opin- ion, Additionally, once committed to working with a nonprofit client, the designer is often repeatedly asked, to donate his or her services to the cause, Because of these issues, it is sometimes more beneficial for the graphic designer to relinquish some creative freedom and receive full compensation for his services, This ad for Pick Up uses large iustraton combined with redt photography nthebackgrouna ta ‘fective showcase the company’s Design: Shira Shechter Studio This posto the Perc rts Far ses intricate typography ares imagery ancrush strokes sugges: palette fered through the use ‘of nagatve snes, nthe circular patternot clr swatches compl ingthe-O" makes ts message immediate ana eftective Design: Lodge DesignDesign: Kinetic Advertisements Advertisements a page layout design problems that promote a product, company or its services. Creating an effective solution t quickly communicates the who, ‘what, when, where, why,and how n advertiser's message repre ($a unique challenge for the hic designer. Strong visuals must be incorporated to draw viewers into the composition, while well-written headlines reinforce the visuals and entice them to read further. Most importantly, effective advertisements should establish a clear hierarchy of information, Design: Turner Duckworth ys be sure to contact the pub: jon in which the ad will appear of the ns it will be re Ii to confirm the dimension ad and by what mea produced. Advertising space varies in size from fractional pages (such as one-qu Page) (o a full-page spreai times spanning multiple pages or spreads. Designing newspaper ads can be more of a challenge for the ; one-half or one-third | some- designer in that they are usually specified in “column inches,’ which allows for flexible sizes depending on the publication. To determine the exact dimensions for one of these ads, divide the column inches by the number of columns wide the height of the ad—for example,a 36 column-inch to determin ad may be 12" tall and 3 columns wide or 9°tall and 4 columns wideComponents of Effective Advertising Layout: 1. Strong visual or graphics Arresting photography or illustration makes the ad stand out from surrounding competitors. Likewise, a lot of white space can have the same effect, depend ing on the surrounding material. 2. Headline Appealing to the audience's emotions or intellect with, a welk-crafted and conceptual headline will make for a more effective advertisement. 3. Body copy ipporting copy should be concise and to the point, and a clear hierarchy of information must be present: ed to the viewer. 4. Call to Action ‘What do you want the viewer to do—make a phone call? Visita website? To inspire a reader to action, itis impor- {ant to first entice viewer interaction with a piece, Te promot the larger size ot the new Pantone swath ‘books. these pared don. calilustrations to comrmuniatethe diferencebeteen the od. smal version by comparing skyscraper witha house. arate wt Design: nd Partners camel. ar an airplane witha arse 5. Contact information No matter how clever or well designed, ifan ad does not give the viewer a way to contact the company for ‘more information, it will fail ( attract new customers, 6. Logo The client logo should always appear on sales promo- tions or ads, as they identify a company or organization and establish consistency in visual communications, 7.Violators. Starbursts, turned -page graphics,and bold, garish colors are all effective ways to call attention to a piece of information. These are called “violators” because they typically do not resemble any other element on the page.These must be used with caution, a they are not appropriate for every ad. For example, they can disrupt an elegant solution, so use them wisely:The Complete Graphic Designer You are invited ‘to catch the Red Eye: om» eoneast ; | ' (ale Gi Rnvoonee 51, san nance o ono “uth tre Sa ence on . or tn = eyesore a Finer ciass ton FIRST CLASS. “acsenuar aruRnERDUEORTHA EDR ay esate seevarigy: EY " en amen sg, 19) 0s 77 | —_— sactaces ‘heranmest Payngott thelaea of red eye Printed Te creation of sales and marketing collateral fora cli- cae eens ere ent is one of the most common jobs a graphic designer ee eee Collateral is commissioned to do.That being said, they are by no vel the uniauetarmat oft ioe ‘means easy to design oF produce, s specifications for persuading reopens open collateral vary from job to job depending on the client, a target audience, and the function of the piece.The one constant, however, is that the concept behind the de- sign must always drive the piece and meet the ultimate ‘goals for the project, such as introducing a new brand image or showcasing a company’s products or services. Thouse ofa square ranslicent ‘envelope makes ths imitation stand aut amaloher mal. side isatunvahee!piece that users ‘mustinteroct within oda to revel speciic event information. Design: Gardner DesignInvitation Design When designing invitations and announcements, itis essential to make eye-catching exteriors that do not blend in with other mail or get mistaken for junk mail Specialty paper, unique shapes, or stylistic conventions that require audience participation ensure a design solution will be opened. The exterior also provides. an opportunity to establish a mood or tone through the use of typography and visuals, Because invitations are usually not complex pieces with large amounts of information, they are fairly open to interpretation, ‘They can be as subdued and elegant as a traditionally engraved wedding invitation, or as wild as the imagina- tion can conjure. Many incorporate objects that reflect the theme of the event and push the boundaries by printing on unusual surfaces. As with every job, it all depends on the client and their budget, but it is impor tant to discuss the breadth of options so the end result will be as compelling as it can be. A dynamic invita- tion will always yield a larger crowd, hist for the opening of chiens artcentrinvies the recipient touse hisimagination to “reste art’ by scuptinga lage block fc. The simple typographic Wealment uses lect re lters within the wore "to effectively communicate the purpose o the pece Design: Cahan & Associates Invitations and announcements are not just single pieces; they consist of several components that ‘work together as part of the design. Keep these considerations in mind when presenting design options to a client: + Pertinent information about an event must be prominently featured on the invitation. + Provide specific details such as location, cate, time, and purpose in a clear and easy-tofind location. + Carefully consider which elements are impor- tant to include. + Inaddition to the piece itself,a reply card and ‘envelope, a map and directions to the event, ‘other information sheets may be necessary:These should all fit into one large, outer envelope. + Confirm postage for any oddly shaped or sized pieces. Pieces that fall outside of the propor tions established by the U.S. Postal Service require additional postage to mail, Always con- firm the rate for any uniquely shaped or sized pieces with the post office, as well as your client, so there are no surprises. + Whenever possible, provide postage for reply cars + Using pre-paid or stamped reply envelopes will increase the chances that people will respond to an invitation, Common Design Jobse Design: Archrval Posters The first goal of every poster is to tion of passersby and immediately communicate the intended message, With our world becoming incre: -d with lights, signs, billboards, and fly jong the ‘aly jc posters that stand out suse of this, strong visual concept that requires little if any text to communicate and a clear hierarchy are paramount,Design: Michael Schwab Studio Physical location When designing a poster, take into consideration where the poster will be hung, Will it be inside a bui Iit,among numerous other posters on a busy thorough: ire, oF will it be folded and sent in the mail? Determine if your viewers will have time to stop and observe the afford to c intricate work; or if you need to catch their eyes and poster, in which case you ate a more ‘communicate the message in a few seconds with a bold and simplistic composition. Every scenario will require a different design strategy for success, e ge posters are more effective at bbing viewer tention. The only restrictions are where the poster will be displayed, the size of the printing press,and the client's budget, Color Posters utilizing bright, vibrant colors tend to pop off surface unless they are hung in a sea of equally vibrant works. In this case, one: or two-color piece can be just as, if not more, effective ‘Typography In a world where viewers are overstimulated by graphic images and messages, poster utilizing simple typogra: phy will stand out and convey its information most ef ficiently. Depending on the characteristics ofa selected font, typography has the ability to convey emotional and expressive qualities, Sans serif fonts are very direct, and authoritative looking, while serif and friendlier and more approachable, lic types are Imagery Simple and direct visuals attract the viewer's attention and compel them to read pres lly speaking, images should dominate the composition unless a typographic solution is used. nnted information, Genera olete Graphic Designer INIT)Design: Horna Anderson Design Works Brochure Design A brochure’s goal is to present a company, its prod: ucts, or services in a unique and interesting way that not only grabs the viewer's attention, but prompts them to contact the company. The combination of strong visual images with clearly writte {es for the best design solution and concise ‘messages m: A brochure should answer the following questions in a succinct and easy-to-follow format: What does the more infor- ‘mation? And most importantly, how will the reader benefit from their product or services? Creating strong written message is imperative, and thet nidng materials the desir the piece—the designer can work with the client to Tint ape develop the content, or the client or designer can hire {Stet mreateton tha 4 professional copywriter Dig: Aloo Design sthe needs of ——_createsadimersiondestinyBrochures do nat have tobe ou color to ennanoeacent's mage ‘Bluestem Restaura title blackeand-wfste graphy wth a sophisticated layout taht nt ok by comer Types of brochures 1. Capability Focuses on communicating the services a company provides 2. Sales/Marketing Presents detailed information about specific products, including features and pricing information 3. Image Introduces a new brand or corporate image 4. Informational Presents pertinent information about a specific topic or issue the audience is interested in and provides a way for them to get more information by directing them to a website or phone number To educate antinformon the safety eine Nokia batters ot tract the viewer rom rnostenportant peces inside Design: Yellow Octopus Entice the reader to open the brochure and read more about a company, product, or service. The designer has approximately six seconds to grab the viewer's attention, Establish awareness about a company, organiza- tion, or product through interesting visuals and well-developed copy. Provide useful and relevant information so the viewer will want to keep the brochure for future reference. Direct readers to seek out more information through the use of a "Call to Action." This can. include a phone number, email address, or website.The Complet Publication Design Design: C&G Partners hie standard alto ren Tis piece merges the function ofa joundatin’s annual report with on scualcilren's back. Whim lustation visual interprets the eat at the bottom fhe Design: Greteman Group A publication's primary functions are to entertain, educate, or present reference material in a logical and. easy-to-use format, Therefore, itis essential that the design does not inhibit the reader's comprehension of the material, Although some publications stray from basic rules of typography and layout, it is best to the client follow traditional design conventions untes requests otherwise, Clean and consistent layou with a logical flow from Page to page can be achieved through the use of welkstructured grid. By devising visual systems for specific types of information such as captions, chapter openers, and sidebars, readers will be the piece with ease. It is also important to remember that lange amounts of text tend to fatigue the eyes; therefore ample “white” or negative space, proportion- al column width, and appropriate leading for the type size are important things to keep in mind. All publications, from novels and annual reports to user ‘manuals and magazines, have a different audience and a different function, so each requires a unique design solution, Depending on the amount of information and, the target audience, the designer must create a format that will engage the audience and deliver content in an appropriate and well thought-out manner.Publication Design Considerations Type size should be appropriate for the audience. For a general audience, font sizes should be no less than 9 points in large bodies of text, but elderly people tend to have weaker eyesight and require 12: of 13-point text. Children that are learning to read also require large print to help them decipher individual letters and sounds, Books or publications must be easily navigable-To help readers find and ‘comprehend the information they need, use sections or chapters to oF ganize content. A complete table of Contents and an index for complex ‘works will clarify the structure and increase the overall effectiveness of the piece. Never under value of folios (page numbers): They are essential and should be easy to locate on the page imate the 4 oti Alarge masthead (og) the rot of How Magazine tion when displayed tration instead of tracitonal photography fe Design: Pentagram Shelf presence Dust jackets and covers not only provide protection for a book, they advert nent, Most ofthe time, only the spines of books are visible, Incorporating vibrant color or graphics helps the pice stand out from others on a bookstore or library shelf. Make sure the name of the piece is clearly legible and readable from a distance € the &¢ ues of the Rs Rubber ult es not per on the cove Instead, a crear swatch ore inthe chi embossed tactile em ne The sn i Design Willoughby DesignDesigned withthe audence in ‘ind. these books ape! raph designerssmaler type ‘205 ae used in each of these sok ‘ons because a clean aout and ‘ina texts preferred, Simpiied istration with age blocks of colorreinfore the content hile 2 soi gridstructuredetnes an easy terol wsua hierarchy. Design: Shinnoske nc. Below: Wiloughby DesignBinding Techniques Depending on the amount of text and the width ofa final publication, the designer will need to decide what type of binding to use. Some options areas follows: Case Binding A durable but expensive solution for longer publications Perfect Binding A moderately durable choice for longer publications that is less expensive than case binding Saddle Stitch A fast and low-cost solution for short cer publications such as magazines Unconventional materia anc binding tecmniques ad novelty toa ‘design solution. For the MTV Eur pean Music Awards rechure, 2 red Plastic cover and unconventional Dbading make the pie stand aut Design: Cacao Design Side Stitch Spiral [A fast an! low-cost solution with A moderately durable and mod- ‘variety of sizing options. More __erately priced solution that can curable that than saddle stitch accommodate various types of printed papers or substrates bound ‘Screw and Post into the same publication A fast and low-cost solution with the benefit of being able to add or Ring remove pages after binding A low-cost option that allows for hand assembly and continual modi- Tape fication of the contents A moderately durable and lessexpen- sive solution than case binding but does not allow fora printed spine Plastic Comb A good solution for small runs that do not require high durabil ity. Allows pages to be added and removed after binding Common Design JobsThe Complete Graphic Designer Clean ajouts and clear organiza: this Department o Health Annu Report tolearn more about the ontent alow readers of stats ofheathin England Cyan colored ighights key points charts and striking phot emphasize the copy. Design: COT Design Annual Reports ‘mark and sugest the idea fet taking Design: Horna Anderson Design Works. logically, our minds are hardwired to detect and respond to sudden change—when something is sud- denly new and different, we im- mediately recognize the difference and pay attention; conversely, slow and incremental change is much harder to detect. company hhas made big changes, such as in management or the focus of their business,a completely revised ‘mark will call attention to this fact. Sometimes, a company’s identity becomes so static and unchanging, that it will actually fade in impor- tance in the mind of the customer. For this reason, companies will periodically update their marks by making them more dimensional or changing the typeface. \When GaTe coms name cout none be trademarked andts business mode! change, (C&G Partners washredto repasion the company and develop anew wsual identity The name Overture wasutimatey selected to con vey the act thatthe campary makes introduc tions to Web content, Te two.concentric“0's nat only present the name ofthe company but aso resemble a target, Design: 4G Partners Corporate IdentityThe Complete Graphic Designer Sometimes the designer does ot necessary know how anientty or logo wil be used soit is essen thatlogos are designed to wore atalls2es andor avait of ap ications. n this ase the logo for Escaiburnveshas bean etcned int the blade ofthe kets Design: Turner Duckworth Choosing a Style How a corporate identity will be used is a determining factor for the physical look of the identity. It has been argued that form follows function” and nowhere is this, ‘more true than in the area of corporate identity. The size of the logo, the type of products or collateral it will be placed on, and the amount of time the viewer will have to look at and interact with it are all important things the designer must take into account. Furthermore, it ‘must also appeal to and connect with the emotions and expectations of the target customer or audience. Ifa ogo or identity is not relevant to the intended customer, it will be ineffective and possibly detrimental, ‘Thoroughly exploring the client’s industry and any preconceived ideas and perceptions customers may have toward the company is helpful in determining the type of graphics or motifs that should be used. ‘This initial research will set the design on track from an early stage by establishing a visual vocabulary or point of reference for the new design. Ifa company has built a tradition through design, the designer must determine the elements that have the most “equity” and build on those strengths, Referencing, the old identity reinforces the customer's perception of an organization, and eases the transition from old to new. Graphic design, especially in the corporate realm, is. undertaken to solve unique business problems such as increasing customer recognition, retention, or sales. Corporate identity is a strategic way of solving. these needs, A designer's ability to partner with an organization and take a lead role in developing a new corporate identity will cause him to become a trusted consultant and advisor.Design: Turner DuckworthThe Complete Graphic Designer DicitaL_CRowbD etalCrowd provides Web hosting ad inter rel consultation creating a vrtual eommuniy cf people and businesses, an idea commu: ricated though its eranic but immediately ‘dentiable ogo. Design: Incia Design Univsionis one ofthelargest Spaish language etworks aed broadeasts toa vary of ferent ‘mariets Thelogo's an abstract“ dvdea eto ‘quadrants wth the tn ll element rated The simply ofthe logo antsbold colors makes for an immediately recognizable identity. Design: Chermayeft & Gelsmar Studio The Essence of a Corporate Identity: the Logo ‘The most visible and commonly ‘used form of visual communication, Detween a company and its custom cersis the logo. It identifies and distin- guishes one company from another, and tells a story about the history, quality.and type of products or services offered, Because all of these attributes must be communicated in aa single mark, the designer is faced with a difficult challenge. In addition {to what it must convey, it must also be easily and immediately dec phered at all sizes, whether reduced, in size to fit a business card,shown for a brief second on television, or ‘emblazoned larger-than-life on a bill: Doard. Logos are the ultimate form of visual shorthand and the first step in creating any identity campaign gh I Lt ALMAL INVESTMENT ‘There are two main types of logos: Jogo marks and logotypes. Logo marks are self-contained symbols of an organization that use unique shapes and graphics to convey the nature of a business, Sometimes marks use the initials of the com- pany, such as for BP (British Petro- Jeum) or ABC (American Broadcast Company), and sometimes they are pictorial and suggestive of the products a company produces, such as for Ossip Optometry. In either case, logo marks must be executed in a simple fashion to achieve maximum recognition and memorability. Themark or AlMalinvestmentis memorable inthatitrasembls the company asaperson. Adding doubleresningtoalogo Increases custome recall Design: Paragon Marketing Communications+ To tell the audience about a company or organization—who it is and what is does Tobe unique so it differentiates the company from competitors + Tobememorable, ensuring immediate recall and association with customer perceptions Tobe timeless in design to maintain longevity. This means bucking current trends that might date the mark. + Most importantly, to be applied to all forms of visual communication in a consistent manner to convey solidarity and professionalism uct—padlocks that memorable cent - Design: Gary Davis Design rable the logo to workin = Peta Desig: Lodge Design & thecomean/smissontiseect head ust above the wate. ee mri © ™ “i ion 7 ALLPRO

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