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TA Standard VII, 7.18s. Distinguish design requirements of various products as they relate to purposes and audiences. F. unction : purpose (sometimes several). Good design follows the “3 Fs” of communication. F.
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TA Standard VII, 7.18s Distinguish design requirements of various products as they relate to purposes and audiences
F unction: purpose (sometimes several) Good design follows the “3 Fs” of communication F orm evolves out of a clear purpose: if it’s meant to last, that will dictate some of the form (size, type of paper, how to be distributed, etc) F ormat: the internal design of the product (margins, type styles, color, etc.)
Brochures • Two basic design strategies: • Headline—plan brochure around headlines used • Feature head—title • Main support heads—become heads • for the copy blocks • Attention to Action A-I-D-C-A • Get their attention, stimulate interest, create • desire, build conviction, call to action
Brochures, cont. • Simplicity • don’t try to achieve too much in one brochure • use ample margins to avoid a jammed-up appearance • Purpose and content • dictate design, i.e. an announcement brochure calls for • stronger display • Consider size carefully • size determines cost of paper • Paper comes in standard sizes and price depends on • how many can be cut from a sheet • A few inches can double the price
Pamphlets • Easily distributed in many places using racks in libraries, schools, offices, and fairs. • Passed out at meetings and/or mailed • Important to think through the purpose of the piece and its intended audience. • May contain many elements of a book: cover, table of contents, copyright information, text, index, etc. • Margins important—frame text like a mat frames art
Stationery • Should coordinate with other materials • (business cards, invoices, envelopes) • Use logo and/or typeface to build • recognition • Design shouldn’t interfere with message • Two types: traditional (symmetrical, type • forms square or inverted pyramid) or • modern (asymmetrical) • Paper should be compatible with image as • well as envelope choice
Book Jackets/Magazine Covers • Most important page, creates first impression • Attracts target audience & lures them inside • Maintains identity & reflects its personality • Must “sell” the contents • Should contain essential information: date, price, volume and issue numbers
Magazines Visual appeal is vital Break of the book—designating where items will be placed. Traditional plan groups constant features in first and last few pages; strongest article placed in center of magazine Page layout design: square up elements, have dominant element, use consistency while avoiding monotony Pages should be dynamic: message must be alive to be effective
Newsletters • Informative but brief and to-the-point • Target audience • Contains specialized information not found elsewhere • Great PR tool that is cost efficient, well received • Needs its own personality, look, style • Consistency—all issues look basically the same • Short, easily understood paragraphs • Personal letter from a friend: short, easily understood • paragraphs, • Chatty style, ragged right • Simple design, limited graphic elements
References Angus, Jeff. (2003). Cover Story. Book Tech Magazine. Retrieved on July 25, 2004 from http://www.creativepro.com/img/story/011404_coverstory.pdf. Bear, Jacci Howard. (n.d.) First Impressions—Creating a basic identity system. Desktop Publishing. Retrieved July 25, 2004 from http://desktoppub.about.com/library/weekly/aa011601a.htm. Conover, Theodore E. (1995). Graphic Communications Today. New York: West Publishing Co. DiMarzio, Al. (n.d.). Designing Brochures that Work. HB Graphics. Retrieved July 25, 2004 from http://www.hbgraphics.com/articles/design_broch.htm. Spreading the word: Designing brochures. Interpretive Signage: Principles and Practice. Retrieved on July 25, 2004 from http://www.interpretivesigns.qut.edu.au/brochures.html.