TA Standard VII, 7.18s

Distinguish design requirements of various products as they relate to purposes and audiences

Good design follows the “3 Fs” of communication F

unction

: purpose (sometimes several)

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.