Designing the Document

1. Designing the Document best practices, terms for talking about design

2. Allow me to reintroduce myself…. Name Major Year One thing we shouldn’t miss if we visit your hometown Name

3. Survey Results …so tell me what you want, what you really really want

4. Stuff and stuff

21. Wide range of students in this class • Need more practice making design choices • Need more practice analyzing design choices Survey Takeaways

22. GENRE

23. 10% | Module 1: Producing a Visual Communication Audit • 10% | Module 2: Designing a Text: Working in Microsoft Word • 10% | Module 3: Photoshop Stuff • 10% | Module 4: Identity Markers and Logos with Illustrator • 10% | Module 5: Designing Documents • 10% | Module 6: Infographics • 10% | Module 7: Design Tip Sheet Course Modules

24. CRAP Principles Let’s start at the very beginning, it’s a very good place to start

25. Williams' books are for those who need to design either print or web pages, but have no formal training in design. She believes that most people can acknowledge that there are certain designs they don't like, but when it comes to describing why they don't like them, they are at a loss for words.

26. The idea behind contrast is to avoid elements on the page that are merely similar. If the elements (type, color, size, link thickness, shape, space, etc.) are not the same, then make the very different. Contrast is often themost important visual attraction on a page--it's what makes a reader look in the first place. Contrast helps to create a focal point.

27. What elements are contrasting on this page? What effect does this have?

28. Which page has more contrast? Does this seem to be effective?

29. Notice the weight, size, and form of these fonts. Are they very different in a way that contrasts? Or are they so similar that they conflict? Williams believes fonts can also contrast with each other OR conflict. Contrasting is good, conflicting means they’re too similar that nothing is standing out.

30. Contrast or conflict?

31. bold, bright, simple blocks richly detailed, lively photos conservative, serious, black and white

32. black and white (strongest visual contrast) strong contrast between curve of icon and smooth, simple, lowercase, sans serif font face

33. CONTRAST How is your flyer using contrast and to what effect?

34. Repeat visual elements of the design throughout the piece. You can repeat colors, shapes, textures, spatial relationships, line thicknesses, fonts, sizes, graphic concepts, etc. This develops the organization and strengthens the unity. Why is unity important? Is it always?

38. running header including author/ organization and graphic line running footer including page number and graphic line

39. tip icon appears throughout instructions to mark key information

40. level 1 heading level 2 heading

41. REPETITION How is your flyer using repetition and to what effect?

42. According to Williams, nothing should be placed on the page arbitrarily. Every element should have some visual connection with another element on the page. This helps to create a clean, sophisticated, fresh look. Williams isn't a fan of center alignment, nor does she think one should use more than one strong alignment on a page.

44. images are center aligned, vertically arranged text is left aligned or left justified; headings flush left image arranged centered and left of text

45. all bulleted items are aligned with hanging indent

46. images aligned flush left in each paragraph in which they appear; text aligned square around images

47. heading level 1 flush left, no indent body text generously indented on page; left aligned with ragged right margin

48. ALIGNMENT How is your flyer using alignment and to what effect?

49. Items relating together should be grouped close together. • When several items are in close proximity to each other, they become one visual unit rather than several separate units. This helps organize information, reduces clutter, and gives the reader a clear structure.