Design for Effective Communication Hi I’m your friendly marker I’m going to mark your Product and Documentation I want to help you pass IPP First you need.
Download ReportTranscript Design for Effective Communication Hi I’m your friendly marker I’m going to mark your Product and Documentation I want to help you pass IPP First you need.
Slide 1
Design
for
Effective
Communication
1
Slide 2
Hi
I’m your friendly marker
I’m going to mark your Product and Documentation
I want to help you pass IPP
First you need to know about the …
Design Principles
2
Slide 3
Why do we produce documents?
To communicate
Design should enhance communication
Pretty does not help if no-one reads it
You can communicate …
… or just make pretty shapes
3
Slide 4
Design Principles help us
To recognize good design
To design for good communication
They are important tools
You need to understand them …
… so you can use them (or break them)
4
Slide 5
The Design Principles
What are the Design Principles?
Developing skills with Design Principles
Bibliography
5
Slide 6
The Design Principles
C ontrast
R epetition
A lignment
P roximity
6
Slide 7
Proximity
Refers to how close together items appear
Group
R elated
I tems
Together
Keep
unrelated
items
apart
7
Slide 8
Consider
Gathering these
together shows
they are all to do
with the school
David Roberts
(618) 8262 1468
David Roberts
Enfield High School
Enfield High School
Grand Junction Road
Enfield 5085
(618) 8262 1468
Grand Junction Road
Enfield 5085
8
Slide 9
Now look at this
SOUTH AUSTRALIAN
THEATRE
GUILD
WHAT’S
HAPPENING
IN
SIR ROBERT HELPMANN MEMORIAL THEATRE
WHAT’S HAPPENING IN
SIR ROBERT HELPMANN MEMORIAL THEATRE
SOUTH AUSTRALIAN THEATRE GUILD
THEATRE COOPERATIVE
DECEMBER 2001
THEATRE COOPERATIVE
DECEMBER 2001
This also looks
better organised.
You can see what
belongs with what.
9
Slide 10
You can make more sense of lists
By grouping
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
Early learning
Language arts
Science
Maths
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and supplies
Video and Sound
That’s good
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
DVDs
Early learning
Language arts
Science
Maths
Proximity
Within
each
Different
groups
groupcontain
things
are
similaritems
different
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and supplies
Video and Sound
10
Slide 11
Proximity helps to make use of
That’s good
White Space
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
Early learning
Language arts
Science
Maths
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and supplies
Video and Sound
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
Early learning
Language arts
Science
Maths
Proximity
That’s
the space
It makes
where
nothing
the different
groups
seems
to be
quite
separate
happening
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and supplies
Video and Sound
11
Slide 12
What should you look for?
Where are the headings?
This
It should
heading
be
We
That’s
call it
closer
belongs
to the text
abetter
Floating
Proximity
Heading
with it
the
belongs
text below
to. it.
12
Slide 13
What should you look for?
How are things arranged on the page?
These
These
are
are
allabout
about
It would
be
good
if they
And are
thislisted
one
The
These
articles
all
about
techniques
techniques
used
usedhere
in
in
were
all arranged
stands
alone
belong
Design
in
four
Principles
groups.
Desktop
web
page
Publishing
design
their
groups
13
Slide 14
What else?
They are
Design Principles.
Keep
thebetter
words–together
That’s
but …
even if the other words
have to change
14
Slide 15
What else?
What about
Could we make the
different colours for
groupings clearer?
different groups
15
Slide 16
What else?
We could put boxes
We can see clearly
around the groups, too,
The the
colours
help
articles
(but that does not look so good)
thebelong
proximity
which
together
16
Slide 17
So why is Proximity important?
It helps to organise the page
Related objects become a single visual unit
Helps provide a logical reading path
Uses white space more efficiently
This makes information easier to read and remember
17
Slide 18
How can I use Proximity?
Avoid too many visual elements on a page
Avoid just filling space
ie placing items in the four corners and the centre
Avoid equal spacing between all items
Strengthen relationships that actually exist
Avoid creating relationships between unrelated items
18
Slide 19
That’s Proximity
Now for Alignment
Return to Main Menu
19
Slide 20
Alignment
Refers to how items on the page line up with each other
Can be
Left – centre – right alignment
But you knew that
Top – middle – bottom alignment
Text can be justified (right and left aligned)
20
Slide 21
Good design
Every item on the page lines up with something else
Nothing is placed randomly on the page
21
Slide 22
Remember the business card
Everything started off well aligned
David Roberts
(618) 8262 1468
David Roberts
Proximity
was poor
Notice
the alignment.
Centred
So we grouped
things
centred
bothEverything
ways
Boring!!!
Enfield High School
Enfield High School
Grand Junction Road
Enfield 5085
(618) 8262 1468
Grand Junction Road
Left
Top
Enfield 5085
Bottom
Right
22
Slide 23
Remember the business card
Let’s try changing the alignment
David Roberts
David Roberts
Hard right alignment.
Still a visual connection
between the elements
Enfield
High School
Enfield High
School
Grand Junction Road
Grand Junction Road
Enfield 5085
Enfield 5085
(618) 8262 1468
(618) 8262 1468
Right
23
Slide 24
Centring
is Safe
Beginners
and Easy
just centre
everything
More
Hard left
mature
alignment
designers
Improved
proximity
helps,
A
typical,
boring
report
cover
said
look
to look
to domore
something
sophisticated
better
as well
Report
on
Report
The History of Desktop Publishing
on
The History of Desktop Publishing
by David Roberts
Enfield High School
by David Roberts
Enfield High School
24
Slide 25
That
alsoset
looks
goodright
Or you
could
it hard
Report
Report
on
on
The
TheHistory
HistoryofofDesktop
DesktopPublishing
Publishing
by David Roberts by David Roberts
Enfield High SchoolEnfield High School
25
Slide 26
If you really want to centre
Make
obvious
You
canithardly
tell
Don’t
be
boring
thatlike
it’s this
centred
… Be
or
even
Like
brave!!!
thisthis
Today
is
Today
the
is
Today is the tomorrow
you
the
worriedtomorrow
about yesterday
tomorrow
you
you
worried
about
worried
yesterday
about
yesterday
26
Slide 27
If you really want to centre
Perhaps
You could be
with the aid
really intrepid …
of a graphic
And centre
To add interest
off-centre
Today Today
is
is
the
the
tomorrow
tomorrow
you
you
worriedworried
about about
yesterday
yesterday
27
Slide 28
If you really want to centre
Even with
an unusual font
And white text
on a coloured
background
Today
is
the
tomorrow
you
worried
about
yesterday
28
Slide 29
What should you look for?
What is not lined up?
A
Christmas
Carol
By Charles Dickens
Chapter 1: Marley’s Ghost
M
arley was dead: to begin with. There is no doubt
whatever about that. The register of his burial was
signed by the clergyman, the clerk, the undertaker, and
the chief mourner. Scrooge signed it. And Scrooge's
name was good upon 'Change, for anything he chose to
put his hand to. Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own
knowledge, what there is particularly dead about a
door-nail. I might have been inclined, myself, to regard
a coffin-nail as the deadest piece of ironmongery in the
trade. But the wisdom of our ancestors is in the simile;
and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to
repeat, emphatically, that Marley was as dead as a doornail.
Scrooge knew he was dead? Of course he did. How
could it be otherwise? Scrooge and he were partners for I
don't know how many years. Scrooge was his sole
executor, his sole administrator, his sole assign, his sole
residuary legatee, his sole friend, and sole mourner. And
even Scrooge was not so dreadfully cut up by the sad
event, but that he was an excellent man of business on
the very day of the funeral, and solemnised it with an
undoubted bargain.
The mention of Marley's funeral brings me back to the
point I started from. There is no doubt that Marley was
dead. This must be distinctly understood, or nothing
wonderful can come of the story I am going to relate. If
we were not perfectly convinced that Hamlet's Father
died before the play began, there would be nothing more
remarkable in his taking a stroll at night, in an easterly
wind, upon his own ramparts, than there would be in
any other middle-aged gentleman rashly turning out
after dark in a breezy spot -- say Saint Paul's
Churchyard for instance -- literally to astonish his son's
weak mind.
Scrooge never painted out Old Marley's name. There it
stood, years afterwards, above the ware-house door:
Scrooge and Marley. The firm was known as Scrooge
and Marley. Sometimes people new to the business
called Scrooge Scrooge, and sometimes Marley, but he
answered to both names. It was all the same to him.
Oh! But he was a tight-fisted hand at the grindstone,
Scrooge! a squeezing, wrenching, grasping, scraping,
clutching, covetous old sinner! Hard and sharp as flint,
from which no steel had ever struck out generous fire;
secret, and self-contained, and solitary as an oyster. The
cold within him froze his old features, nipped his
pointed nose, shrivelled his cheek, stiffened his gait;
made his eyes red, his thin lips blue; and spoke out
……….
shrewdly in his grating voice. A frosty rime was on his
head, and on his eyebrows, and his wiry chin. He
carried his own low temperature always about with him;
he iced his office in the dog-days; and didn't thaw it one
degree at Christmas.
External heat and cold had little influence on Scrooge.
No warmth could warm, no wintry weather chill him.
No wind that blew was bitterer than he, no falling snow
was more intent upon its purpose, no pelting rain less
open to entreaty. Foul weather didn't know where to
have him. The heaviest rain, and snow, and hail, and
sleet, could boast of the advantage over him in only one
respect. They often came down handsomely, and
Scrooge never did.
Nobody ever stopped him in the street to say, with
gladsome looks, ``My dear Scrooge, how are you. When
will you come to see me.'' No beggars implored him to
bestow a trifle, no children asked him what it was
o'clock, no man or woman ever once in all his life
inquired the way to such and such a place, of Scrooge.
Even the blindmen's dogs appeared to know him; and
when they saw him coming on, would tug their owners
into doorways and up courts; and then would wag their
tails as though they said, ``No eye at all is better than an
evil eye, dark master! ''
But what did Scrooge care! It was the very thing he
liked. To edge his way along the crowded paths of life,
warning all human sympathy to keep its distance, was
what the knowing ones call nuts to Scrooge.
Once upon a time -- of all the good days in the year, on
Christmas Eve -- old Scrooge sat busy in his countinghouse. It was cold, bleak, biting weather: foggy withal:
and he could hear the people in the court outside, go
wheezing up and down, beating their hands upon their
breasts, and stamping their feet upon the pavement
stones to warm them.
How many
different
alignments
Toosee
many
I can
many
can you see?
A Dickens Classic
From 1843
C
D
How a restless night
for one man
brought peace
to many others
29
Slide 30
What should you look for?
Compare the two
A
Christmas
Carol
By Charles Dickens
Chapter 1: Marley’s Ghost
M
arley was dead: to begin with. There is no doubt
whatever about that. The register of his burial was
signed by the clergyman, the clerk, the undertaker, and
the chief mourner. Scrooge signed it. And Scrooge's
name was good upon 'Change, for anything he chose to
put his hand to. Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own
knowledge, what there is particularly dead about a
door-nail. I might have been inclined, myself, to regard
a coffin-nail as the deadest piece of ironmongery in the
trade. But the wisdom of our ancestors is in the simile;
and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to
repeat, emphatically, that Marley was as dead as a doornail.
Scrooge knew he was dead? Of course he did. How
could it be otherwise? Scrooge and he were partners for I
don't know how many years. Scrooge was his sole
executor, his sole administrator, his sole assign, his sole
residuary legatee, his sole friend, and sole mourner. And
even Scrooge was not so dreadfully cut up by the sad
event, but that he was an excellent man of business on
the very day of the funeral, and solemnised it with an
undoubted bargain.
The mention of Marley's funeral brings me back to the
point I started from. There is no doubt that Marley was
dead. This must be distinctly understood, or nothing
wonderful can come of the story I am going to relate. If
we were not perfectly convinced that Hamlet's Father
died before the play began, there would be nothing more
remarkable in his taking a stroll at night, in an easterly
wind, upon his own ramparts, than there would be in
any other middle-aged gentleman rashly turning out
after dark in a breezy spot -- say Saint Paul's
Churchyard for instance -- literally to astonish his son's
weak mind.
Scrooge never painted out Old Marley's name. There it
stood, years afterwards, above the ware-house door:
Scrooge and Marley. The firm was known as Scrooge
and Marley. Sometimes people new to the business
called Scrooge Scrooge, and sometimes Marley, but he
answered to both names. It was all the same to him.
Oh! But he was a tight-fisted hand at the grindstone,
Scrooge! a squeezing, wrenching, grasping, scraping,
clutching, covetous old sinner! Hard and sharp as flint,
from which no steel had ever struck out generous fire;
secret, and self-contained, and solitary as an oyster. The
cold within him froze his old features, nipped his
pointed nose, shrivelled his cheek, stiffened his gait;
made his eyes red, his thin lips blue; and spoke out
……….
shrewdly in his grating voice. A frosty rime was on his
head, and on his eyebrows, and his wiry chin. He
carried his own low temperature always about with him;
he iced his office in the dog-days; and didn't thaw it one
degree at Christmas.
External heat and cold had little influence on Scrooge.
No warmth could warm, no wintry weather chill him.
No wind that blew was bitterer than he, no falling snow
was more intent upon its purpose, no pelting rain less
open to entreaty. Foul weather didn't know where to
have him. The heaviest rain, and snow, and hail, and
sleet, could boast of the advantage over him in only one
respect. They often came down handsomely, and
Scrooge never did.
Nobody ever stopped him in the street to say, with
gladsome looks, ``My dear Scrooge, how are you. When
will you come to see me.'' No beggars implored him to
bestow a trifle, no children asked him what it was
o'clock, no man or woman ever once in all his life
inquired the way to such and such a place, of Scrooge.
Even the blindmen's dogs appeared to know him; and
when they saw him coming on, would tug their owners
into doorways and up courts; and then would wag their
tails as though they said, ``No eye at all is better than an
evil eye, dark master! ''
But what did Scrooge care! It was the very thing he
liked. To edge his way along the crowded paths of life,
warning all human sympathy to keep its distance, was
what the knowing ones call nuts to Scrooge.
Once upon a time -- of all the good days in the year, on
Christmas Eve -- old Scrooge sat busy in his countinghouse. It was cold, bleak, biting weather: foggy withal:
and he could hear the people in the court outside, go
wheezing up and down, beating their hands upon their
breasts, and stamping their feet upon the pavement
stones to warm them.
A Dickens Classic
From 1843
C
D
How a restless night
for one man
brought peace
to many others
Can
here
Canyou
yousee
suggest
It’s
better
- not lines
perfect
how
everything
up
more
improvements?
with something else
A
Christmas
Carol
Chapter 1: Marley’s Ghost
M
arley was dead: to begin with. There is no doubt
whatever about that. The register of his burial was
signed by the clergyman, the clerk, the undertaker, and
the chief mourner. Scrooge signed it. And Scrooge's
name was good upon 'Change, for anything he chose to
put his hand to. Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own
knowledge, what there is particularly dead about a
door-nail. I might have been inclined, myself, to regard
a coffin-nail as the deadest piece of ironmongery in the
trade. But the wisdom of our ancestors is in the simile;
and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to
repeat, emphatically, that Marley was as dead as a doornail.
Scrooge knew he was dead? Of course he did. How
could it be otherwise? Scrooge and he were partners for I
don't know how many years. Scrooge was his sole
executor, his sole administrator, his sole assign, his sole
residuary legatee, his sole friend, and sole mourner. And
even Scrooge was not so dreadfully cut up by the sad
event, but that he was an excellent man of business on
the very day of the funeral, and solemnised it with an
undoubted bargain.
The mention of Marley's funeral brings me back to the
point I started from. There is no doubt that Marley was
dead. This must be distinctly understood, or nothing
wonderful can come of the story I am going to relate. If
we were not perfectly convinced that Hamlet's Father
died before the play began, there would be nothing more
remarkable in his taking a stroll at night, in an easterly
wind, upon his own ramparts, than there would be in
any other middle-aged gentleman rashly turning out
after dark in a breezy spot -- say Saint Paul's
Churchyard for instance -- literally to astonish his son's
weak mind.
Scrooge never painted out Old Marley's name. There it
stood, years afterwards, above the ware-house door:
Scrooge and Marley. The firm was known as Scrooge
and Marley. Sometimes people new to the business
called Scrooge Scrooge, and sometimes Marley, but he
answered to both names. It was all the same to him.
Oh! But he was a tight-fisted hand at the grindstone,
Scrooge! a squeezing, wrenching, grasping, scraping,
clutching, covetous old sinner! Hard and sharp as flint,
from which no steel had ever struck out generous fire;
secret, and self-contained, and solitary as an oyster. The
cold within him froze his old features, nipped his
pointed nose, shrivelled his cheek, stiffened his gait;
made his eyes red, his thin lips blue; and spoke out
……….
By Charles Dickens
shrewdly in his grating voice. A frosty rime was on his
head, and on his eyebrows, and his wiry chin. He
carried his own low temperature always about with him;
he iced his office in the dog-days; and didn't thaw it one
degree at Christmas.
External heat and cold had little influence on Scrooge.
No warmth could warm, no wintry weather chill him.
No wind that blew was bitterer than he, no falling snow
was more intent upon its purpose, no pelting rain less
open to entreaty. Foul weather didn't know where to
have him. The heaviest rain, and snow, and hail, and
sleet, could boast of the advantage over him in only one
respect. They often came down handsomely, and
Scrooge never did.
Nobody ever stopped him in the street to say, with
gladsome looks, ``My dear Scrooge, how are you. When
will you come to see me.'' No beggars implored him to
bestow a trifle, no children asked him what it was
o'clock, no man or woman ever once in all his life
inquired the way to such and such a place, of Scrooge.
Even the blindmen's dogs appeared to know him; and
when they saw him coming on, would tug their owners
into doorways and up courts; and then would wag their
tails as though they said, ``No eye at all is better than an
evil eye, dark master! ''
But what did Scrooge care! It was the very thing he
liked. To edge his way along the crowded paths of life,
warning all human sympathy to keep its distance, was
what the knowing ones call nuts to Scrooge.
Once upon a time -- of all the good days in the year, on
Christmas Eve -- old Scrooge sat busy in his countinghouse. It was cold, bleak, biting weather: foggy withal:
and he could hear the people in the court outside, go
wheezing up and down, beating their hands upon their
breasts, and stamping their feet upon the pavement
stones to warm them.
A Dickens Classic
From 1843
a restless night for
C How
one man
peace
D brought
to many others
30
Slide 31
What should you look for?
Look at the alignments here
article
TheThe
issue
and titles
date do
Now
the
alignments
have
all
been
centred.
not align with the
are clear,
sharp,
hard
They are
not
magazine
title
obviously aligned
31
Slide 32
What should you look for?
Look at the alignments here
Dickens
First
Paragraphs
A collection of the opening paragraphs of Charles Dickens’ novels
A Christmas Carol
Great Expectations
Marley was dead, to begin with. There is no doubt
whatever about that. The register of his burial was signed by
the clergyman, the clerk, the undertaker, and the chief
mourner. Scrooge signed it. And Scrooge's name was good
upon 'Change, for anything he chose to put his hand to.
Ours was the marsh country, down by the river, within,
as the river wound, twenty miles of the sea. My first most
vivid and broad impression of the identity of things seems to
me to have been gained on a memorable raw afternoon
towards evening. At such a time I found out for certain that
this bleak place overgrown with nettles was the churchyard;
and that Philip Pirrip, late of this parish, and also Georgiana
wife of the above, were dead and buried; and that
Alexander, Bartholomew, Abraham, Tobias, and Roger,
infant children of the aforesaid, were also dead and buried;
and that the dark flat wilderness beyond the churchyard,
intersected with dikes and mounds and gates, with scattered
cattle feeding on it, was the marshes; and that the low
leaden line beyond was the river; and that the distant savage
lair from which the wind was rushing was the sea; and that
the small bundle of shivers growing afraid of it all and
beginning to cry, was Pip.
The Adventures of Oliver
Twist
Among other public buildings in a certain town, which
for many reasons it will be prudent to refrain from
mentioning, and to which I will assign no fictitious name,
there is one anciently common to most towns, great or small:
to wit, a workhouse; and in this workhouse was born; on a
day and date which I need not trouble myself to repeat,
inasmuch as it can be of no possible consequence to the
reader, in this stage of the business at all events; the item of
mortality whose name is prefixed to the head of this chapter.
A Tale of Two Cities
It was the best of times, it was the worst of times, it was
the age of wisdom, it was the age of foolishness, it was the
epoch of belief, it was the epoch of incredulity, it was the
season of Light, it was the season of Darkness, it was the
spring of hope, it was the winter of despair, we had
everything before us, we had nothing before us, we were all
going direct to Heaven, we were all going direct the other
way-- in short, the period was so far like the present period,
that some of its noisiest authorities insisted on its being
received, for good or for evil, in the superlative degree of
comparison only.
The Old Curiosity Shop
That constant pacing to and fro, that never-ending
restlessness, that incessant tread of feet wearing the rough
stones smooth and glossy--is it not a wonder how the
dwellers in narrows ways can bear to hear it! Think of a sick
man in such a place as Saint Martin's Court, listening to the
footsteps, and in the midst of pain and weariness obliged,
despite himself (as though it were a task he must perform) to
detect the child's step from the man's, the slipshod beggar
from the booted exquisite, the lounging from the busy, the
dull heel of the sauntering outcast from the quick tread of an
expectant pleasure-seeker--think of the hum and noise always
being present to his sense, and of the stream of life that will
not stop, pouring on, on, on, through all his restless dreams,
as if he were condemned to lie, dead but conscious, in a noisy
churchyard, and had no hope of rest for centuries to come.
White
Thewhat
space
article
trapped
titles
Notice
I did
with
have
between
all alignments
been
the
headline
centred.
Now
the
are
The
Adventures
of Oliver
Twist.
and
They
the
are
picture
not
That’s
improved
clear,
sharp,
hard
-obviously
looks
unbalanced
aligned
Proximity
Dickens
First
Paragraphs
A collection of the opening paragraphs of Charles Dickens’ novels
A Christmas Carol
Great Expectations
Marley was dead, to begin with. There is no doubt whatever
about that. The register of his burial was signed by the
clergyman, the clerk, the undertaker, and the chief mourner.
Scrooge signed it. And Scrooge's name was good upon
'Change, for anything he chose to put his hand to.
Ours was the marsh country, down by the river, within, as
the river wound, twenty miles of the sea. My first most vivid
and broad impression of the identity of things seems to me
to have been gained on a memorable raw afternoon towards
evening. At such a time I found out for certain that this bleak
place overgrown with nettles was the churchyard; and that
Philip Pirrip, late of this parish, and also Georgiana wife of
the above, were dead and buried; and that Alexander,
Bartholomew, Abraham, Tobias, and Roger, infant children
of the aforesaid, were also dead and buried; and that the
dark flat wilderness beyond the churchyard, intersected with
dikes and mounds and gates, with scattered cattle feeding on
it, was the marshes; and that the low leaden line beyond was
the river; and that the distant savage lair from which the
wind was rushing was the sea; and that the small bundle of
shivers growing afraid of it all and beginning to cry, was Pip.
The Adventures
of Oliver Twist
Among other public buildings in a certain town, which for
many reasons it will be prudent to refrain from mentioning,
and to which I will assign no fictitious name, there is one
anciently common to most towns, great or small: to wit, a
workhouse; and in this workhouse was born; on a day and
date which I need not trouble myself to repeat, inasmuch as it
can be of no possible consequence to the reader, in this stage
of the business at all events; the item of mortality whose
name is prefixed to the head of this chapter.
A Tale of Two Cities
It was the best of times, it was the worst of times, it was the
age of wisdom, it was the age of foolishness, it was the
That constant pacing to and fro, that never-ending
restlessness, that incessant tread of feet wearing the rough
stones smooth and glossy--is it not a wonder how the
dwellers in narrows ways can bear to hear it! Think of a sick
man in such a place as Saint Martin's Court, listening to the
footsteps, and in the midst of pain and weariness obliged,
despite himself (as though it were a task he must perform) to
detect the child's step from the man's, the slipshod beggar
from the booted exquisite, the lounging from the busy, the
dull heel of the sauntering outcast from the quick tread of an
expectant pleasure-seeker--think of the hum and noise always
being present to his sense, and of the stream of life that will
not stop, pouring on, on, on, through all his restless dreams,
as if he were condemned to lie, dead but conscious, in a noisy
churchyard, and had no hope of rest for centuries to come.
David Copperfield
David Copperfield
Whether I shall turn out to be the hero of my own life, or
whether that station will be held by anybody else, these pages
must show. To begin my life with the beginning of my life, I
record that I was born (as I have been informed and believe)
on a Friday, at twelve o'clock at night. It was remarked that
the clock began to strike, and I began to cry, simultaneously.
The Old Curiosity Shop
epoch of belief, it was the epoch of incredulity, it was the
season of Light, it was the season of Darkness, it was the
spring of hope, it was the winter of despair, we had
everything before us, we had nothing before us, we were all
going direct to Heaven, we were all going direct the other
way-- in short, the period was so far like the present period,
that some of its noisiest authorities insisted on its being
received, for good or for evil, in the superlative degree of
comparison only.
Whether I shall turn out to be the hero of my own life, or
whether that station will be held by anybody else, these pages
must show. To begin my life with the beginning of my life, I
record that I was born (as I have been informed and believe)
on a Friday, at twelve o'clock at night. It was remarked that
the clock began to strike, and I began to cry, simultaneously.
32
Slide 33
So why is Alignment important?
It helps to organise the page
It helps to unify the page
Even distant objects appear connected if aligned with each other
It can help determine the look of a page as
Sophisticated
Formal
Fun
33
Slide 34
How can I use Alignment?
Always be conscious of where you place an element
Try to align it with some other element
Try to find a strong (obvious) alignment and use it
Try to minimise the number of alignments on a page
Centre consciously, not because it is the easy way
34
Slide 35
That’s Proximity
And Alignment
Now for Repetition
Return to Main Menu
Repetition
Repetition
Repetition
Repetition
Repetition
35
Slide 36
Repetition
Repeat some aspect of design through the whole document
It could be
A font (or a font style)
But you knew that
A thick line (rule)
A bullet
A colour
A particular format
Repetition leads to Consistency
36
Slide 37
Repetition in this presentation
Much of this presentation is set up using master slides
White background, Calibri font used throughout
The blue wave pattern at top of every page
Black 26 point for ‘body text’, 50 pt teal for headings
Body text wipes in from left (the way you read it)
Body text enters with click
For consistency, and in addition,
Graphics all dissolve in
Dialogue in cartoons always 14 pt red on yellow background
37
Slide 38
Remember the list
We started with this
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
Early learning
Language arts
Science
Maths
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and
supplies
Video and Sound
CD
+
CDROM
ROMS
Children’s CDs
Children’s
CDs
Children’s CDs
Educational CDs
Educational
CDs
Educational CDs
Entertainment CDs
Entertainment
CDs
Entertainment CDs
DVDsDVDs
DVDsDVDs
DVDsDVDs
Educational
Educational
Earlylearning
learning
Early
Early learning
Language
arts
Language
arts
Language arts
Science
Science
Science
Maths
Maths
Maths
.
Teacher
TeacherTools
Tools
Books
Books
Books
Teacher tools
Teacher
tools
Teacher tools
Videos
Videos
Videos
.
Hardware
Hardware
Plus
.
Cables Plus
Cables
Cables
Input devices
Input
Input
devices
devices
Mass
storage
Mass
Mass
storage
storage
Memory
Memory
Memory
Modems
Modems
Modems
Printers and supplies
Printers
Printers
and
supplies
Videoand
andsupplies
Sound
Video
Video and
andSound
Sound
Repeated
graphic
elements
Repeated
bolditems
headings
We grouped
to
(rules,
ticks
as
bullets)
makesense
the groupings
make
of the list.
Make
groupings
more
obvious
This was Proximity.
more obvious
38
Slide 39
And the business card
We aligned everything hard right
The repetition
of the bold format
What
What
did
Usually
happens
your
connects
theeyes
top do
they
when
we
they
just
make
reached
wander
andifwill
bottom
lines.
the
off
lasttend
the
bottom?
linepage
bold?
Yourthe
eyes
to
bounce
back to the top.
David Roberts
Enfield High School
Grand Junction Road
Enfield 5085
(618) 8262 1468
39
Slide 40
Repetition leads to consistency
How do you know
that all these
belong together?
40
Slide 41
Repetition leads to consistency
Have a look at the SACE Board website
http://www.sace.sa.edu.au/
Follow some links
See how the designers
haveThe
made
it obvious
The
fonts
navigation
What
else?
that the pages
belong together
41
Slide 42
What should you look for?
What is repeated?
Three
colours
The
repeated
The
article
titles
repeated
left andare
right
alignments
are
in the
font
to all
show
which
articles
provide
asame
sense
(18
pt Calibri)
belong
together
of belonging
42
Slide 43
What should you look for?
What is repeated?
How do you know
AndDid
theyou
rules
notice
(lines)
that all the
these
Obviously
logo
topthe
andfonts?
bottom
belong together?
43
Slide 44
How do you know
that all these
belong together?
These are flyers for my theatre company’s last six shows
There is a lot of white space
That is cheaper to print than solid ink
44
Slide 45
A4 flyer
A5 programme
Ticket
How do you know
that all these
belong together?
45
Slide 46
So why is Repetition important?
It creates unity – elements belong together
Consistent formatting aids understanding
Used effectively it adds visual interest to the page
46
Slide 47
How can I use Repetition?
Extend consistencies by emphasizing them
Consider adding elements to create repetition
Use the basic elements of consistency
Consistent fonts
Consistent colours
Consistent graphic elements
Bullets
Rules
Logos
47
Slide 48
That’s Proximity
And Alignment
And Repetition
Now for
Contrast
Return to Main Menu
48
Slide 49
Contrast
Created when two or more things are different
If two things are not the same, make them
Really different
Don’t be a wimp!
49
Slide 50
What do you see here?
A black circle!!!
Good But
Contrast
itMade
was on
it
a blank
page
more
noticeable
50
Slide 51
Contrast – Standing Out
Contrast is what makes things stand out
A picture stands out
in a page of text
We achieve this in many ways
We can change colour to make some words stand out
We can change the font to make some words stand out
We can make
some words stand out by changing their size
We can make some words stand out by changing their style ( to bold)
If nothing much stands out there is not much contrast
51
Slide 52
What should you look for?
What stands out … and why?
Find at least three things …
Anything
else?
AndThen
of course
the –logo
the title
Could
Contrast
First
the
picture
–
at
the bottom
A different
font–
be
improved
anywhere?
because
all the
rest
is text
Also
bigger
and
darker
bigger
and
darker
A
Christmas
Carol
Chapter 1: Marley’s Ghost
M
arley was dead: to begin with. There is no doubt
whatever about that. The register of his burial was
signed by the clergyman, the clerk, the undertaker, and
the chief mourner. Scrooge signed it. And Scrooge's
name was good upon 'Change, for anything he chose to
put his hand to. Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own
knowledge, what there is particularly dead about a
door-nail. I might have been inclined, myself, to regard
a coffin-nail as the deadest piece of ironmongery in the
trade. But the wisdom of our ancestors is in the simile;
and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to
repeat, emphatically, that Marley was as dead as a doornail.
Scrooge knew he was dead? Of course he did. How
could it be otherwise? Scrooge and he were partners for I
don't know how many years. Scrooge was his sole
executor, his sole administrator, his sole assign, his sole
residuary legatee, his sole friend, and sole mourner. And
even Scrooge was not so dreadfully cut up by the sad
event, but that he was an excellent man of business on
the very day of the funeral, and solemnised it with an
undoubted bargain.
The mention of Marley's funeral brings me back to the
point I started from. There is no doubt that Marley was
dead. This must be distinctly understood, or nothing
wonderful can come of the story I am going to relate. If
we were not perfectly convinced that Hamlet's Father
died before the play began, there would be nothing more
remarkable in his taking a stroll at night, in an easterly
wind, upon his own ramparts, than there would be in
any other middle-aged gentleman rashly turning out
after dark in a breezy spot -- say Saint Paul's
Churchyard for instance -- literally to astonish his son's
weak mind.
Scrooge never painted out Old Marley's name. There it
stood, years afterwards, above the ware-house door:
Scrooge and Marley. The firm was known as Scrooge
and Marley. Sometimes people new to the business
called Scrooge Scrooge, and sometimes Marley, but he
answered to both names. It was all the same to him.
Oh! But he was a tight-fisted hand at the grindstone,
Scrooge! a squeezing, wrenching, grasping, scraping,
clutching, covetous old sinner! Hard and sharp as flint,
from which no steel had ever struck out generous fire;
secret, and self-contained, and solitary as an oyster. The
cold within him froze his old features, nipped his
pointed nose, shrivelled his cheek, stiffened his gait;
made his eyes red, his thin lips blue; and spoke out
……….
By Charles Dickens
shrewdly in his grating voice. A frosty rime was on his
head, and on his eyebrows, and his wiry chin. He
carried his own low temperature always about with him;
he iced his office in the dog-days; and didn't thaw it one
degree at Christmas.
External heat and cold had little influence on Scrooge.
No warmth could warm, no wintry weather chill him.
No wind that blew was bitterer than he, no falling snow
was more intent upon its purpose, no pelting rain less
open to entreaty. Foul weather didn't know where to
have him. The heaviest rain, and snow, and hail, and
sleet, could boast of the advantage over him in only one
respect. They often came down handsomely, and
Scrooge never did.
Nobody ever stopped him in the street to say, with
gladsome looks, ``My dear Scrooge, how are you. When
will you come to see me.'' No beggars implored him to
bestow a trifle, no children asked him what it was
o'clock, no man or woman ever once in all his life
inquired the way to such and such a place, of Scrooge.
Even the blindmen's dogs appeared to know him; and
when they saw him coming on, would tug their owners
into doorways and up courts; and then would wag their
tails as though they said, ``No eye at all is better than an
evil eye, dark master! ''
But what did Scrooge care! It was the very thing he
liked. To edge his way along the crowded paths of life,
warning all human sympathy to keep its distance, was
what the knowing ones call nuts to Scrooge.
Once upon a time -- of all the good days in the year, on
Christmas Eve -- old Scrooge sat busy in his countinghouse. It was cold, bleak, biting weather: foggy withal:
and he could hear the people in the court outside, go
wheezing up and down, beating their hands upon their
breasts, and stamping their feet upon the pavement
stones to warm them.
A Dickens Classic
From 1843
a restless night for
C How
one man
peace
D brought
to many others
52
Slide 53
What should you look for?
What does not stand out … and why?
Notice
The
red
and
brown
text
the difference
made
the bottom
by anear
contrasting
shadow
is almost unreadable
53
Slide 54
What should you look for?
Some colours work well on screen …
But project badly, depending on the background
On aGreen
black screen
first three
colours
onthe
a white
background
look
fine but …
Is similar
they do not project well
Royal Blue
Purple
Red
Green
54
Slide 55
Something you should notice
Where is the contrast greater?
We could
REMOVING
even
increase
the size
BLOCK
CAPITALS
the text
Theand
textbolding
is the same
size
Andbanners
still
increases
contrast
in
both
takeuses
up less
but
lessroom
room
WHAT’S HAPPENING IN
SIR ROBERT HELPMANN MEMORIAL THEATRE
SOUTH AUSTRALIAN THEATRE GUILD
THEATRE COOPERATIVE
DECEMBER 2001
WHAT’S HAPPENING IN
Memorial
Theatre
Sir Robert
RobertHelpmann
Helpmann
Memorial
Theatre
SOUTH AUSTRALIAN THEATRE GUILD
THEATRE COOPERATIVE
DECEMBER 2001
Slide 56
So why is Contrast important?
It makes the document readable
It helps organise the page
It adds visual interest to the page
56
Slide 57
How can I use Contrast?
Emphasize differences
Use a second font that is very different to provide contrast
Change the properties of the main font
Size
Style
Colour
Use graphic elements
Bullets
Rules (lines) – and you can change the weight of the rule
Pictures
57
Slide 58
This is most important
• This is less important, but more important than …
A Text Hierarchy
is an example
of good use
of contrast
• This … Which is more important than …
• This … Which is more important than …
•
This … Which is more important than …
•
This … the size tells us about the importance of each item
58
Slide 59
Now you recognise the Design Principles
C ontrast
R epetition
A lignment
P roximity
Return to Main Menu
59
Slide 60
Developing skills with Design Principles
Look critically at documents using the Design Principles
60
Slide 61
Contrast
All block capitals
Poor contrast
All the same font
Poor contrast
Some different size text
ie Some text hierarchy
Provides some contrast
Heavy border
Reduces contrast
By reducing
white space
Logos in corners
Reduces contrast
By reducing white space
61
Slide 62
Repetition
All the same font
Good repetition
(Perhaps 2 fonts
would be better,
allowing
Contrast)
Logos in corners
Good repetition
But cause
problems by
reducing white
space
62
Slide 63
Alignment
Everything
centred
Boring alignment
Text aligned
with graphics
top and bottom
Logos all aligned
with each other
63
Slide 64
Proximity
Little grouping
of text
Poor proximity
They are
Theatre Supplies
Poor proximity
And goes better
People mixed up
with objects
Poor proximity
with Professionals
Poor proximity
Properties
hyphenated
Poor proximity
Phone number
poorly grouped
Poor proximity
Quotes are
Obligation Free
Poor proximity
64
Slide 65
Can you improve me?
Decide on the focus
Make it large and bold
Set it in upper/lower case
What should be grouped together?
Set the groups together
Leave space between groups
Align elements strongly
Use effective repetition
65
Slide 66
Bibliography
Tollett, J and Williams, R. 2001, Design Workshop, Peachpit Press, Berkeley
Williams, R. 2008, The Non-Designer’s Design Book, Peachpit Press, Berkeley
Weildon, C. 1990, Communicating or Just Making Pretty Shapes, Newspaper
Advertising Bureau of Australia Ltd, North Sydney
Further Reading
Williams, R. 1998, The Non-Designer’s Type Book, Peachpit Press, Berkeley
Cohen, S. and Williams, R. 1999, The Non-Designer’s Scan and Print Book, Peachpit
Press, Berkeley
Robin Williams’ website
66
Design
for
Effective
Communication
1
Slide 2
Hi
I’m your friendly marker
I’m going to mark your Product and Documentation
I want to help you pass IPP
First you need to know about the …
Design Principles
2
Slide 3
Why do we produce documents?
To communicate
Design should enhance communication
Pretty does not help if no-one reads it
You can communicate …
… or just make pretty shapes
3
Slide 4
Design Principles help us
To recognize good design
To design for good communication
They are important tools
You need to understand them …
… so you can use them (or break them)
4
Slide 5
The Design Principles
What are the Design Principles?
Developing skills with Design Principles
Bibliography
5
Slide 6
The Design Principles
C ontrast
R epetition
A lignment
P roximity
6
Slide 7
Proximity
Refers to how close together items appear
Group
R elated
I tems
Together
Keep
unrelated
items
apart
7
Slide 8
Consider
Gathering these
together shows
they are all to do
with the school
David Roberts
(618) 8262 1468
David Roberts
Enfield High School
Enfield High School
Grand Junction Road
Enfield 5085
(618) 8262 1468
Grand Junction Road
Enfield 5085
8
Slide 9
Now look at this
SOUTH AUSTRALIAN
THEATRE
GUILD
WHAT’S
HAPPENING
IN
SIR ROBERT HELPMANN MEMORIAL THEATRE
WHAT’S HAPPENING IN
SIR ROBERT HELPMANN MEMORIAL THEATRE
SOUTH AUSTRALIAN THEATRE GUILD
THEATRE COOPERATIVE
DECEMBER 2001
THEATRE COOPERATIVE
DECEMBER 2001
This also looks
better organised.
You can see what
belongs with what.
9
Slide 10
You can make more sense of lists
By grouping
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
Early learning
Language arts
Science
Maths
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and supplies
Video and Sound
That’s good
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
DVDs
Early learning
Language arts
Science
Maths
Proximity
Within
each
Different
groups
groupcontain
things
are
similaritems
different
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and supplies
Video and Sound
10
Slide 11
Proximity helps to make use of
That’s good
White Space
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
Early learning
Language arts
Science
Maths
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and supplies
Video and Sound
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
Early learning
Language arts
Science
Maths
Proximity
That’s
the space
It makes
where
nothing
the different
groups
seems
to be
quite
separate
happening
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and supplies
Video and Sound
11
Slide 12
What should you look for?
Where are the headings?
This
It should
heading
be
We
That’s
call it
closer
belongs
to the text
abetter
Floating
Proximity
Heading
with it
the
belongs
text below
to. it.
12
Slide 13
What should you look for?
How are things arranged on the page?
These
These
are
are
allabout
about
It would
be
good
if they
And are
thislisted
one
The
These
articles
all
about
techniques
techniques
used
usedhere
in
in
were
all arranged
stands
alone
belong
Design
in
four
Principles
groups.
Desktop
web
page
Publishing
design
their
groups
13
Slide 14
What else?
They are
Design Principles.
Keep
thebetter
words–together
That’s
but …
even if the other words
have to change
14
Slide 15
What else?
What about
Could we make the
different colours for
groupings clearer?
different groups
15
Slide 16
What else?
We could put boxes
We can see clearly
around the groups, too,
The the
colours
help
articles
(but that does not look so good)
thebelong
proximity
which
together
16
Slide 17
So why is Proximity important?
It helps to organise the page
Related objects become a single visual unit
Helps provide a logical reading path
Uses white space more efficiently
This makes information easier to read and remember
17
Slide 18
How can I use Proximity?
Avoid too many visual elements on a page
Avoid just filling space
ie placing items in the four corners and the centre
Avoid equal spacing between all items
Strengthen relationships that actually exist
Avoid creating relationships between unrelated items
18
Slide 19
That’s Proximity
Now for Alignment
Return to Main Menu
19
Slide 20
Alignment
Refers to how items on the page line up with each other
Can be
Left – centre – right alignment
But you knew that
Top – middle – bottom alignment
Text can be justified (right and left aligned)
20
Slide 21
Good design
Every item on the page lines up with something else
Nothing is placed randomly on the page
21
Slide 22
Remember the business card
Everything started off well aligned
David Roberts
(618) 8262 1468
David Roberts
Proximity
was poor
Notice
the alignment.
Centred
So we grouped
things
centred
bothEverything
ways
Boring!!!
Enfield High School
Enfield High School
Grand Junction Road
Enfield 5085
(618) 8262 1468
Grand Junction Road
Left
Top
Enfield 5085
Bottom
Right
22
Slide 23
Remember the business card
Let’s try changing the alignment
David Roberts
David Roberts
Hard right alignment.
Still a visual connection
between the elements
Enfield
High School
Enfield High
School
Grand Junction Road
Grand Junction Road
Enfield 5085
Enfield 5085
(618) 8262 1468
(618) 8262 1468
Right
23
Slide 24
Centring
is Safe
Beginners
and Easy
just centre
everything
More
Hard left
mature
alignment
designers
Improved
proximity
helps,
A
typical,
boring
report
cover
said
look
to look
to domore
something
sophisticated
better
as well
Report
on
Report
The History of Desktop Publishing
on
The History of Desktop Publishing
by David Roberts
Enfield High School
by David Roberts
Enfield High School
24
Slide 25
That
alsoset
looks
goodright
Or you
could
it hard
Report
Report
on
on
The
TheHistory
HistoryofofDesktop
DesktopPublishing
Publishing
by David Roberts by David Roberts
Enfield High SchoolEnfield High School
25
Slide 26
If you really want to centre
Make
obvious
You
canithardly
tell
Don’t
be
boring
thatlike
it’s this
centred
… Be
or
even
Like
brave!!!
thisthis
Today
is
Today
the
is
Today is the tomorrow
you
the
worriedtomorrow
about yesterday
tomorrow
you
you
worried
about
worried
yesterday
about
yesterday
26
Slide 27
If you really want to centre
Perhaps
You could be
with the aid
really intrepid …
of a graphic
And centre
To add interest
off-centre
Today Today
is
is
the
the
tomorrow
tomorrow
you
you
worriedworried
about about
yesterday
yesterday
27
Slide 28
If you really want to centre
Even with
an unusual font
And white text
on a coloured
background
Today
is
the
tomorrow
you
worried
about
yesterday
28
Slide 29
What should you look for?
What is not lined up?
A
Christmas
Carol
By Charles Dickens
Chapter 1: Marley’s Ghost
M
arley was dead: to begin with. There is no doubt
whatever about that. The register of his burial was
signed by the clergyman, the clerk, the undertaker, and
the chief mourner. Scrooge signed it. And Scrooge's
name was good upon 'Change, for anything he chose to
put his hand to. Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own
knowledge, what there is particularly dead about a
door-nail. I might have been inclined, myself, to regard
a coffin-nail as the deadest piece of ironmongery in the
trade. But the wisdom of our ancestors is in the simile;
and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to
repeat, emphatically, that Marley was as dead as a doornail.
Scrooge knew he was dead? Of course he did. How
could it be otherwise? Scrooge and he were partners for I
don't know how many years. Scrooge was his sole
executor, his sole administrator, his sole assign, his sole
residuary legatee, his sole friend, and sole mourner. And
even Scrooge was not so dreadfully cut up by the sad
event, but that he was an excellent man of business on
the very day of the funeral, and solemnised it with an
undoubted bargain.
The mention of Marley's funeral brings me back to the
point I started from. There is no doubt that Marley was
dead. This must be distinctly understood, or nothing
wonderful can come of the story I am going to relate. If
we were not perfectly convinced that Hamlet's Father
died before the play began, there would be nothing more
remarkable in his taking a stroll at night, in an easterly
wind, upon his own ramparts, than there would be in
any other middle-aged gentleman rashly turning out
after dark in a breezy spot -- say Saint Paul's
Churchyard for instance -- literally to astonish his son's
weak mind.
Scrooge never painted out Old Marley's name. There it
stood, years afterwards, above the ware-house door:
Scrooge and Marley. The firm was known as Scrooge
and Marley. Sometimes people new to the business
called Scrooge Scrooge, and sometimes Marley, but he
answered to both names. It was all the same to him.
Oh! But he was a tight-fisted hand at the grindstone,
Scrooge! a squeezing, wrenching, grasping, scraping,
clutching, covetous old sinner! Hard and sharp as flint,
from which no steel had ever struck out generous fire;
secret, and self-contained, and solitary as an oyster. The
cold within him froze his old features, nipped his
pointed nose, shrivelled his cheek, stiffened his gait;
made his eyes red, his thin lips blue; and spoke out
……….
shrewdly in his grating voice. A frosty rime was on his
head, and on his eyebrows, and his wiry chin. He
carried his own low temperature always about with him;
he iced his office in the dog-days; and didn't thaw it one
degree at Christmas.
External heat and cold had little influence on Scrooge.
No warmth could warm, no wintry weather chill him.
No wind that blew was bitterer than he, no falling snow
was more intent upon its purpose, no pelting rain less
open to entreaty. Foul weather didn't know where to
have him. The heaviest rain, and snow, and hail, and
sleet, could boast of the advantage over him in only one
respect. They often came down handsomely, and
Scrooge never did.
Nobody ever stopped him in the street to say, with
gladsome looks, ``My dear Scrooge, how are you. When
will you come to see me.'' No beggars implored him to
bestow a trifle, no children asked him what it was
o'clock, no man or woman ever once in all his life
inquired the way to such and such a place, of Scrooge.
Even the blindmen's dogs appeared to know him; and
when they saw him coming on, would tug their owners
into doorways and up courts; and then would wag their
tails as though they said, ``No eye at all is better than an
evil eye, dark master! ''
But what did Scrooge care! It was the very thing he
liked. To edge his way along the crowded paths of life,
warning all human sympathy to keep its distance, was
what the knowing ones call nuts to Scrooge.
Once upon a time -- of all the good days in the year, on
Christmas Eve -- old Scrooge sat busy in his countinghouse. It was cold, bleak, biting weather: foggy withal:
and he could hear the people in the court outside, go
wheezing up and down, beating their hands upon their
breasts, and stamping their feet upon the pavement
stones to warm them.
How many
different
alignments
Toosee
many
I can
many
can you see?
A Dickens Classic
From 1843
C
D
How a restless night
for one man
brought peace
to many others
29
Slide 30
What should you look for?
Compare the two
A
Christmas
Carol
By Charles Dickens
Chapter 1: Marley’s Ghost
M
arley was dead: to begin with. There is no doubt
whatever about that. The register of his burial was
signed by the clergyman, the clerk, the undertaker, and
the chief mourner. Scrooge signed it. And Scrooge's
name was good upon 'Change, for anything he chose to
put his hand to. Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own
knowledge, what there is particularly dead about a
door-nail. I might have been inclined, myself, to regard
a coffin-nail as the deadest piece of ironmongery in the
trade. But the wisdom of our ancestors is in the simile;
and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to
repeat, emphatically, that Marley was as dead as a doornail.
Scrooge knew he was dead? Of course he did. How
could it be otherwise? Scrooge and he were partners for I
don't know how many years. Scrooge was his sole
executor, his sole administrator, his sole assign, his sole
residuary legatee, his sole friend, and sole mourner. And
even Scrooge was not so dreadfully cut up by the sad
event, but that he was an excellent man of business on
the very day of the funeral, and solemnised it with an
undoubted bargain.
The mention of Marley's funeral brings me back to the
point I started from. There is no doubt that Marley was
dead. This must be distinctly understood, or nothing
wonderful can come of the story I am going to relate. If
we were not perfectly convinced that Hamlet's Father
died before the play began, there would be nothing more
remarkable in his taking a stroll at night, in an easterly
wind, upon his own ramparts, than there would be in
any other middle-aged gentleman rashly turning out
after dark in a breezy spot -- say Saint Paul's
Churchyard for instance -- literally to astonish his son's
weak mind.
Scrooge never painted out Old Marley's name. There it
stood, years afterwards, above the ware-house door:
Scrooge and Marley. The firm was known as Scrooge
and Marley. Sometimes people new to the business
called Scrooge Scrooge, and sometimes Marley, but he
answered to both names. It was all the same to him.
Oh! But he was a tight-fisted hand at the grindstone,
Scrooge! a squeezing, wrenching, grasping, scraping,
clutching, covetous old sinner! Hard and sharp as flint,
from which no steel had ever struck out generous fire;
secret, and self-contained, and solitary as an oyster. The
cold within him froze his old features, nipped his
pointed nose, shrivelled his cheek, stiffened his gait;
made his eyes red, his thin lips blue; and spoke out
……….
shrewdly in his grating voice. A frosty rime was on his
head, and on his eyebrows, and his wiry chin. He
carried his own low temperature always about with him;
he iced his office in the dog-days; and didn't thaw it one
degree at Christmas.
External heat and cold had little influence on Scrooge.
No warmth could warm, no wintry weather chill him.
No wind that blew was bitterer than he, no falling snow
was more intent upon its purpose, no pelting rain less
open to entreaty. Foul weather didn't know where to
have him. The heaviest rain, and snow, and hail, and
sleet, could boast of the advantage over him in only one
respect. They often came down handsomely, and
Scrooge never did.
Nobody ever stopped him in the street to say, with
gladsome looks, ``My dear Scrooge, how are you. When
will you come to see me.'' No beggars implored him to
bestow a trifle, no children asked him what it was
o'clock, no man or woman ever once in all his life
inquired the way to such and such a place, of Scrooge.
Even the blindmen's dogs appeared to know him; and
when they saw him coming on, would tug their owners
into doorways and up courts; and then would wag their
tails as though they said, ``No eye at all is better than an
evil eye, dark master! ''
But what did Scrooge care! It was the very thing he
liked. To edge his way along the crowded paths of life,
warning all human sympathy to keep its distance, was
what the knowing ones call nuts to Scrooge.
Once upon a time -- of all the good days in the year, on
Christmas Eve -- old Scrooge sat busy in his countinghouse. It was cold, bleak, biting weather: foggy withal:
and he could hear the people in the court outside, go
wheezing up and down, beating their hands upon their
breasts, and stamping their feet upon the pavement
stones to warm them.
A Dickens Classic
From 1843
C
D
How a restless night
for one man
brought peace
to many others
Can
here
Canyou
yousee
suggest
It’s
better
- not lines
perfect
how
everything
up
more
improvements?
with something else
A
Christmas
Carol
Chapter 1: Marley’s Ghost
M
arley was dead: to begin with. There is no doubt
whatever about that. The register of his burial was
signed by the clergyman, the clerk, the undertaker, and
the chief mourner. Scrooge signed it. And Scrooge's
name was good upon 'Change, for anything he chose to
put his hand to. Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own
knowledge, what there is particularly dead about a
door-nail. I might have been inclined, myself, to regard
a coffin-nail as the deadest piece of ironmongery in the
trade. But the wisdom of our ancestors is in the simile;
and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to
repeat, emphatically, that Marley was as dead as a doornail.
Scrooge knew he was dead? Of course he did. How
could it be otherwise? Scrooge and he were partners for I
don't know how many years. Scrooge was his sole
executor, his sole administrator, his sole assign, his sole
residuary legatee, his sole friend, and sole mourner. And
even Scrooge was not so dreadfully cut up by the sad
event, but that he was an excellent man of business on
the very day of the funeral, and solemnised it with an
undoubted bargain.
The mention of Marley's funeral brings me back to the
point I started from. There is no doubt that Marley was
dead. This must be distinctly understood, or nothing
wonderful can come of the story I am going to relate. If
we were not perfectly convinced that Hamlet's Father
died before the play began, there would be nothing more
remarkable in his taking a stroll at night, in an easterly
wind, upon his own ramparts, than there would be in
any other middle-aged gentleman rashly turning out
after dark in a breezy spot -- say Saint Paul's
Churchyard for instance -- literally to astonish his son's
weak mind.
Scrooge never painted out Old Marley's name. There it
stood, years afterwards, above the ware-house door:
Scrooge and Marley. The firm was known as Scrooge
and Marley. Sometimes people new to the business
called Scrooge Scrooge, and sometimes Marley, but he
answered to both names. It was all the same to him.
Oh! But he was a tight-fisted hand at the grindstone,
Scrooge! a squeezing, wrenching, grasping, scraping,
clutching, covetous old sinner! Hard and sharp as flint,
from which no steel had ever struck out generous fire;
secret, and self-contained, and solitary as an oyster. The
cold within him froze his old features, nipped his
pointed nose, shrivelled his cheek, stiffened his gait;
made his eyes red, his thin lips blue; and spoke out
……….
By Charles Dickens
shrewdly in his grating voice. A frosty rime was on his
head, and on his eyebrows, and his wiry chin. He
carried his own low temperature always about with him;
he iced his office in the dog-days; and didn't thaw it one
degree at Christmas.
External heat and cold had little influence on Scrooge.
No warmth could warm, no wintry weather chill him.
No wind that blew was bitterer than he, no falling snow
was more intent upon its purpose, no pelting rain less
open to entreaty. Foul weather didn't know where to
have him. The heaviest rain, and snow, and hail, and
sleet, could boast of the advantage over him in only one
respect. They often came down handsomely, and
Scrooge never did.
Nobody ever stopped him in the street to say, with
gladsome looks, ``My dear Scrooge, how are you. When
will you come to see me.'' No beggars implored him to
bestow a trifle, no children asked him what it was
o'clock, no man or woman ever once in all his life
inquired the way to such and such a place, of Scrooge.
Even the blindmen's dogs appeared to know him; and
when they saw him coming on, would tug their owners
into doorways and up courts; and then would wag their
tails as though they said, ``No eye at all is better than an
evil eye, dark master! ''
But what did Scrooge care! It was the very thing he
liked. To edge his way along the crowded paths of life,
warning all human sympathy to keep its distance, was
what the knowing ones call nuts to Scrooge.
Once upon a time -- of all the good days in the year, on
Christmas Eve -- old Scrooge sat busy in his countinghouse. It was cold, bleak, biting weather: foggy withal:
and he could hear the people in the court outside, go
wheezing up and down, beating their hands upon their
breasts, and stamping their feet upon the pavement
stones to warm them.
A Dickens Classic
From 1843
a restless night for
C How
one man
peace
D brought
to many others
30
Slide 31
What should you look for?
Look at the alignments here
article
TheThe
issue
and titles
date do
Now
the
alignments
have
all
been
centred.
not align with the
are clear,
sharp,
hard
They are
not
magazine
title
obviously aligned
31
Slide 32
What should you look for?
Look at the alignments here
Dickens
First
Paragraphs
A collection of the opening paragraphs of Charles Dickens’ novels
A Christmas Carol
Great Expectations
Marley was dead, to begin with. There is no doubt
whatever about that. The register of his burial was signed by
the clergyman, the clerk, the undertaker, and the chief
mourner. Scrooge signed it. And Scrooge's name was good
upon 'Change, for anything he chose to put his hand to.
Ours was the marsh country, down by the river, within,
as the river wound, twenty miles of the sea. My first most
vivid and broad impression of the identity of things seems to
me to have been gained on a memorable raw afternoon
towards evening. At such a time I found out for certain that
this bleak place overgrown with nettles was the churchyard;
and that Philip Pirrip, late of this parish, and also Georgiana
wife of the above, were dead and buried; and that
Alexander, Bartholomew, Abraham, Tobias, and Roger,
infant children of the aforesaid, were also dead and buried;
and that the dark flat wilderness beyond the churchyard,
intersected with dikes and mounds and gates, with scattered
cattle feeding on it, was the marshes; and that the low
leaden line beyond was the river; and that the distant savage
lair from which the wind was rushing was the sea; and that
the small bundle of shivers growing afraid of it all and
beginning to cry, was Pip.
The Adventures of Oliver
Twist
Among other public buildings in a certain town, which
for many reasons it will be prudent to refrain from
mentioning, and to which I will assign no fictitious name,
there is one anciently common to most towns, great or small:
to wit, a workhouse; and in this workhouse was born; on a
day and date which I need not trouble myself to repeat,
inasmuch as it can be of no possible consequence to the
reader, in this stage of the business at all events; the item of
mortality whose name is prefixed to the head of this chapter.
A Tale of Two Cities
It was the best of times, it was the worst of times, it was
the age of wisdom, it was the age of foolishness, it was the
epoch of belief, it was the epoch of incredulity, it was the
season of Light, it was the season of Darkness, it was the
spring of hope, it was the winter of despair, we had
everything before us, we had nothing before us, we were all
going direct to Heaven, we were all going direct the other
way-- in short, the period was so far like the present period,
that some of its noisiest authorities insisted on its being
received, for good or for evil, in the superlative degree of
comparison only.
The Old Curiosity Shop
That constant pacing to and fro, that never-ending
restlessness, that incessant tread of feet wearing the rough
stones smooth and glossy--is it not a wonder how the
dwellers in narrows ways can bear to hear it! Think of a sick
man in such a place as Saint Martin's Court, listening to the
footsteps, and in the midst of pain and weariness obliged,
despite himself (as though it were a task he must perform) to
detect the child's step from the man's, the slipshod beggar
from the booted exquisite, the lounging from the busy, the
dull heel of the sauntering outcast from the quick tread of an
expectant pleasure-seeker--think of the hum and noise always
being present to his sense, and of the stream of life that will
not stop, pouring on, on, on, through all his restless dreams,
as if he were condemned to lie, dead but conscious, in a noisy
churchyard, and had no hope of rest for centuries to come.
White
Thewhat
space
article
trapped
titles
Notice
I did
with
have
between
all alignments
been
the
headline
centred.
Now
the
are
The
Adventures
of Oliver
Twist.
and
They
the
are
picture
not
That’s
improved
clear,
sharp,
hard
-obviously
looks
unbalanced
aligned
Proximity
Dickens
First
Paragraphs
A collection of the opening paragraphs of Charles Dickens’ novels
A Christmas Carol
Great Expectations
Marley was dead, to begin with. There is no doubt whatever
about that. The register of his burial was signed by the
clergyman, the clerk, the undertaker, and the chief mourner.
Scrooge signed it. And Scrooge's name was good upon
'Change, for anything he chose to put his hand to.
Ours was the marsh country, down by the river, within, as
the river wound, twenty miles of the sea. My first most vivid
and broad impression of the identity of things seems to me
to have been gained on a memorable raw afternoon towards
evening. At such a time I found out for certain that this bleak
place overgrown with nettles was the churchyard; and that
Philip Pirrip, late of this parish, and also Georgiana wife of
the above, were dead and buried; and that Alexander,
Bartholomew, Abraham, Tobias, and Roger, infant children
of the aforesaid, were also dead and buried; and that the
dark flat wilderness beyond the churchyard, intersected with
dikes and mounds and gates, with scattered cattle feeding on
it, was the marshes; and that the low leaden line beyond was
the river; and that the distant savage lair from which the
wind was rushing was the sea; and that the small bundle of
shivers growing afraid of it all and beginning to cry, was Pip.
The Adventures
of Oliver Twist
Among other public buildings in a certain town, which for
many reasons it will be prudent to refrain from mentioning,
and to which I will assign no fictitious name, there is one
anciently common to most towns, great or small: to wit, a
workhouse; and in this workhouse was born; on a day and
date which I need not trouble myself to repeat, inasmuch as it
can be of no possible consequence to the reader, in this stage
of the business at all events; the item of mortality whose
name is prefixed to the head of this chapter.
A Tale of Two Cities
It was the best of times, it was the worst of times, it was the
age of wisdom, it was the age of foolishness, it was the
That constant pacing to and fro, that never-ending
restlessness, that incessant tread of feet wearing the rough
stones smooth and glossy--is it not a wonder how the
dwellers in narrows ways can bear to hear it! Think of a sick
man in such a place as Saint Martin's Court, listening to the
footsteps, and in the midst of pain and weariness obliged,
despite himself (as though it were a task he must perform) to
detect the child's step from the man's, the slipshod beggar
from the booted exquisite, the lounging from the busy, the
dull heel of the sauntering outcast from the quick tread of an
expectant pleasure-seeker--think of the hum and noise always
being present to his sense, and of the stream of life that will
not stop, pouring on, on, on, through all his restless dreams,
as if he were condemned to lie, dead but conscious, in a noisy
churchyard, and had no hope of rest for centuries to come.
David Copperfield
David Copperfield
Whether I shall turn out to be the hero of my own life, or
whether that station will be held by anybody else, these pages
must show. To begin my life with the beginning of my life, I
record that I was born (as I have been informed and believe)
on a Friday, at twelve o'clock at night. It was remarked that
the clock began to strike, and I began to cry, simultaneously.
The Old Curiosity Shop
epoch of belief, it was the epoch of incredulity, it was the
season of Light, it was the season of Darkness, it was the
spring of hope, it was the winter of despair, we had
everything before us, we had nothing before us, we were all
going direct to Heaven, we were all going direct the other
way-- in short, the period was so far like the present period,
that some of its noisiest authorities insisted on its being
received, for good or for evil, in the superlative degree of
comparison only.
Whether I shall turn out to be the hero of my own life, or
whether that station will be held by anybody else, these pages
must show. To begin my life with the beginning of my life, I
record that I was born (as I have been informed and believe)
on a Friday, at twelve o'clock at night. It was remarked that
the clock began to strike, and I began to cry, simultaneously.
32
Slide 33
So why is Alignment important?
It helps to organise the page
It helps to unify the page
Even distant objects appear connected if aligned with each other
It can help determine the look of a page as
Sophisticated
Formal
Fun
33
Slide 34
How can I use Alignment?
Always be conscious of where you place an element
Try to align it with some other element
Try to find a strong (obvious) alignment and use it
Try to minimise the number of alignments on a page
Centre consciously, not because it is the easy way
34
Slide 35
That’s Proximity
And Alignment
Now for Repetition
Return to Main Menu
Repetition
Repetition
Repetition
Repetition
Repetition
35
Slide 36
Repetition
Repeat some aspect of design through the whole document
It could be
A font (or a font style)
But you knew that
A thick line (rule)
A bullet
A colour
A particular format
Repetition leads to Consistency
36
Slide 37
Repetition in this presentation
Much of this presentation is set up using master slides
White background, Calibri font used throughout
The blue wave pattern at top of every page
Black 26 point for ‘body text’, 50 pt teal for headings
Body text wipes in from left (the way you read it)
Body text enters with click
For consistency, and in addition,
Graphics all dissolve in
Dialogue in cartoons always 14 pt red on yellow background
37
Slide 38
Remember the list
We started with this
Children’s CDs
Educational CDs
Entertainment CDs
DVDs
Early learning
Language arts
Science
Maths
Books
Teacher tools
Videos
Cables
Input devices
Mass storage
Memory
Modems
Printers and
supplies
Video and Sound
CD
+
CDROM
ROMS
Children’s CDs
Children’s
CDs
Children’s CDs
Educational CDs
Educational
CDs
Educational CDs
Entertainment CDs
Entertainment
CDs
Entertainment CDs
DVDsDVDs
DVDsDVDs
DVDsDVDs
Educational
Educational
Earlylearning
learning
Early
Early learning
Language
arts
Language
arts
Language arts
Science
Science
Science
Maths
Maths
Maths
.
Teacher
TeacherTools
Tools
Books
Books
Books
Teacher tools
Teacher
tools
Teacher tools
Videos
Videos
Videos
.
Hardware
Hardware
Plus
.
Cables Plus
Cables
Cables
Input devices
Input
Input
devices
devices
Mass
storage
Mass
Mass
storage
storage
Memory
Memory
Memory
Modems
Modems
Modems
Printers and supplies
Printers
Printers
and
supplies
Videoand
andsupplies
Sound
Video
Video and
andSound
Sound
Repeated
graphic
elements
Repeated
bolditems
headings
We grouped
to
(rules,
ticks
as
bullets)
makesense
the groupings
make
of the list.
Make
groupings
more
obvious
This was Proximity.
more obvious
38
Slide 39
And the business card
We aligned everything hard right
The repetition
of the bold format
What
What
did
Usually
happens
your
connects
theeyes
top do
they
when
we
they
just
make
reached
wander
andifwill
bottom
lines.
the
off
lasttend
the
bottom?
linepage
bold?
Yourthe
eyes
to
bounce
back to the top.
David Roberts
Enfield High School
Grand Junction Road
Enfield 5085
(618) 8262 1468
39
Slide 40
Repetition leads to consistency
How do you know
that all these
belong together?
40
Slide 41
Repetition leads to consistency
Have a look at the SACE Board website
http://www.sace.sa.edu.au/
Follow some links
See how the designers
haveThe
made
it obvious
The
fonts
navigation
What
else?
that the pages
belong together
41
Slide 42
What should you look for?
What is repeated?
Three
colours
The
repeated
The
article
titles
repeated
left andare
right
alignments
are
in the
font
to all
show
which
articles
provide
asame
sense
(18
pt Calibri)
belong
together
of belonging
42
Slide 43
What should you look for?
What is repeated?
How do you know
AndDid
theyou
rules
notice
(lines)
that all the
these
Obviously
logo
topthe
andfonts?
bottom
belong together?
43
Slide 44
How do you know
that all these
belong together?
These are flyers for my theatre company’s last six shows
There is a lot of white space
That is cheaper to print than solid ink
44
Slide 45
A4 flyer
A5 programme
Ticket
How do you know
that all these
belong together?
45
Slide 46
So why is Repetition important?
It creates unity – elements belong together
Consistent formatting aids understanding
Used effectively it adds visual interest to the page
46
Slide 47
How can I use Repetition?
Extend consistencies by emphasizing them
Consider adding elements to create repetition
Use the basic elements of consistency
Consistent fonts
Consistent colours
Consistent graphic elements
Bullets
Rules
Logos
47
Slide 48
That’s Proximity
And Alignment
And Repetition
Now for
Contrast
Return to Main Menu
48
Slide 49
Contrast
Created when two or more things are different
If two things are not the same, make them
Really different
Don’t be a wimp!
49
Slide 50
What do you see here?
A black circle!!!
Good But
Contrast
itMade
was on
it
a blank
page
more
noticeable
50
Slide 51
Contrast – Standing Out
Contrast is what makes things stand out
A picture stands out
in a page of text
We achieve this in many ways
We can change colour to make some words stand out
We can change the font to make some words stand out
We can make
some words stand out by changing their size
We can make some words stand out by changing their style ( to bold)
If nothing much stands out there is not much contrast
51
Slide 52
What should you look for?
What stands out … and why?
Find at least three things …
Anything
else?
AndThen
of course
the –logo
the title
Could
Contrast
First
the
picture
–
at
the bottom
A different
font–
be
improved
anywhere?
because
all the
rest
is text
Also
bigger
and
darker
bigger
and
darker
A
Christmas
Carol
Chapter 1: Marley’s Ghost
M
arley was dead: to begin with. There is no doubt
whatever about that. The register of his burial was
signed by the clergyman, the clerk, the undertaker, and
the chief mourner. Scrooge signed it. And Scrooge's
name was good upon 'Change, for anything he chose to
put his hand to. Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own
knowledge, what there is particularly dead about a
door-nail. I might have been inclined, myself, to regard
a coffin-nail as the deadest piece of ironmongery in the
trade. But the wisdom of our ancestors is in the simile;
and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to
repeat, emphatically, that Marley was as dead as a doornail.
Scrooge knew he was dead? Of course he did. How
could it be otherwise? Scrooge and he were partners for I
don't know how many years. Scrooge was his sole
executor, his sole administrator, his sole assign, his sole
residuary legatee, his sole friend, and sole mourner. And
even Scrooge was not so dreadfully cut up by the sad
event, but that he was an excellent man of business on
the very day of the funeral, and solemnised it with an
undoubted bargain.
The mention of Marley's funeral brings me back to the
point I started from. There is no doubt that Marley was
dead. This must be distinctly understood, or nothing
wonderful can come of the story I am going to relate. If
we were not perfectly convinced that Hamlet's Father
died before the play began, there would be nothing more
remarkable in his taking a stroll at night, in an easterly
wind, upon his own ramparts, than there would be in
any other middle-aged gentleman rashly turning out
after dark in a breezy spot -- say Saint Paul's
Churchyard for instance -- literally to astonish his son's
weak mind.
Scrooge never painted out Old Marley's name. There it
stood, years afterwards, above the ware-house door:
Scrooge and Marley. The firm was known as Scrooge
and Marley. Sometimes people new to the business
called Scrooge Scrooge, and sometimes Marley, but he
answered to both names. It was all the same to him.
Oh! But he was a tight-fisted hand at the grindstone,
Scrooge! a squeezing, wrenching, grasping, scraping,
clutching, covetous old sinner! Hard and sharp as flint,
from which no steel had ever struck out generous fire;
secret, and self-contained, and solitary as an oyster. The
cold within him froze his old features, nipped his
pointed nose, shrivelled his cheek, stiffened his gait;
made his eyes red, his thin lips blue; and spoke out
……….
By Charles Dickens
shrewdly in his grating voice. A frosty rime was on his
head, and on his eyebrows, and his wiry chin. He
carried his own low temperature always about with him;
he iced his office in the dog-days; and didn't thaw it one
degree at Christmas.
External heat and cold had little influence on Scrooge.
No warmth could warm, no wintry weather chill him.
No wind that blew was bitterer than he, no falling snow
was more intent upon its purpose, no pelting rain less
open to entreaty. Foul weather didn't know where to
have him. The heaviest rain, and snow, and hail, and
sleet, could boast of the advantage over him in only one
respect. They often came down handsomely, and
Scrooge never did.
Nobody ever stopped him in the street to say, with
gladsome looks, ``My dear Scrooge, how are you. When
will you come to see me.'' No beggars implored him to
bestow a trifle, no children asked him what it was
o'clock, no man or woman ever once in all his life
inquired the way to such and such a place, of Scrooge.
Even the blindmen's dogs appeared to know him; and
when they saw him coming on, would tug their owners
into doorways and up courts; and then would wag their
tails as though they said, ``No eye at all is better than an
evil eye, dark master! ''
But what did Scrooge care! It was the very thing he
liked. To edge his way along the crowded paths of life,
warning all human sympathy to keep its distance, was
what the knowing ones call nuts to Scrooge.
Once upon a time -- of all the good days in the year, on
Christmas Eve -- old Scrooge sat busy in his countinghouse. It was cold, bleak, biting weather: foggy withal:
and he could hear the people in the court outside, go
wheezing up and down, beating their hands upon their
breasts, and stamping their feet upon the pavement
stones to warm them.
A Dickens Classic
From 1843
a restless night for
C How
one man
peace
D brought
to many others
52
Slide 53
What should you look for?
What does not stand out … and why?
Notice
The
red
and
brown
text
the difference
made
the bottom
by anear
contrasting
shadow
is almost unreadable
53
Slide 54
What should you look for?
Some colours work well on screen …
But project badly, depending on the background
On aGreen
black screen
first three
colours
onthe
a white
background
look
fine but …
Is similar
they do not project well
Royal Blue
Purple
Red
Green
54
Slide 55
Something you should notice
Where is the contrast greater?
We could
REMOVING
even
increase
the size
BLOCK
CAPITALS
the text
Theand
textbolding
is the same
size
Andbanners
still
increases
contrast
in
both
takeuses
up less
but
lessroom
room
WHAT’S HAPPENING IN
SIR ROBERT HELPMANN MEMORIAL THEATRE
SOUTH AUSTRALIAN THEATRE GUILD
THEATRE COOPERATIVE
DECEMBER 2001
WHAT’S HAPPENING IN
Memorial
Theatre
Sir Robert
RobertHelpmann
Helpmann
Memorial
Theatre
SOUTH AUSTRALIAN THEATRE GUILD
THEATRE COOPERATIVE
DECEMBER 2001
Slide 56
So why is Contrast important?
It makes the document readable
It helps organise the page
It adds visual interest to the page
56
Slide 57
How can I use Contrast?
Emphasize differences
Use a second font that is very different to provide contrast
Change the properties of the main font
Size
Style
Colour
Use graphic elements
Bullets
Rules (lines) – and you can change the weight of the rule
Pictures
57
Slide 58
This is most important
• This is less important, but more important than …
A Text Hierarchy
is an example
of good use
of contrast
• This … Which is more important than …
• This … Which is more important than …
•
This … Which is more important than …
•
This … the size tells us about the importance of each item
58
Slide 59
Now you recognise the Design Principles
C ontrast
R epetition
A lignment
P roximity
Return to Main Menu
59
Slide 60
Developing skills with Design Principles
Look critically at documents using the Design Principles
60
Slide 61
Contrast
All block capitals
Poor contrast
All the same font
Poor contrast
Some different size text
ie Some text hierarchy
Provides some contrast
Heavy border
Reduces contrast
By reducing
white space
Logos in corners
Reduces contrast
By reducing white space
61
Slide 62
Repetition
All the same font
Good repetition
(Perhaps 2 fonts
would be better,
allowing
Contrast)
Logos in corners
Good repetition
But cause
problems by
reducing white
space
62
Slide 63
Alignment
Everything
centred
Boring alignment
Text aligned
with graphics
top and bottom
Logos all aligned
with each other
63
Slide 64
Proximity
Little grouping
of text
Poor proximity
They are
Theatre Supplies
Poor proximity
And goes better
People mixed up
with objects
Poor proximity
with Professionals
Poor proximity
Properties
hyphenated
Poor proximity
Phone number
poorly grouped
Poor proximity
Quotes are
Obligation Free
Poor proximity
64
Slide 65
Can you improve me?
Decide on the focus
Make it large and bold
Set it in upper/lower case
What should be grouped together?
Set the groups together
Leave space between groups
Align elements strongly
Use effective repetition
65
Slide 66
Bibliography
Tollett, J and Williams, R. 2001, Design Workshop, Peachpit Press, Berkeley
Williams, R. 2008, The Non-Designer’s Design Book, Peachpit Press, Berkeley
Weildon, C. 1990, Communicating or Just Making Pretty Shapes, Newspaper
Advertising Bureau of Australia Ltd, North Sydney
Further Reading
Williams, R. 1998, The Non-Designer’s Type Book, Peachpit Press, Berkeley
Cohen, S. and Williams, R. 1999, The Non-Designer’s Scan and Print Book, Peachpit
Press, Berkeley
Robin Williams’ website
66