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More junk mail plops through my letterbox this morning, but two leaflets catch my eye:
One is promoting a furniture store – acres of brown background with tiny, indiscriminate photos that would require a magnifying glass to study what they contained in any detail, plus whited-out text in tiny letters crammed into the corners as if they are an afterthought and you’re not really meant to read them at all. The same hideous design continues inside the brochure, except that some pages have butterscotch backgrounds which means the white text blends in nicely and illegibly like cream. If there are any headlines I can’t see them, the benefits or incentives are non-existent, and the whole effect is a 1970s look which I haven’t decided is meant to be retro or terribly out of date.
Alternatively, the other leaflet is wild and whacky! It folds out into a cube-net (a cross of six squares) and each side provides a benefit/feature of the product, plus excellent pictures for recognition and tear-off discount vouchers for your next purchase. The images are simple, colourful and fill each square brilliantly, the main message is clearly put across with legible, concise text in a readable font, and because it’s different you want to explore the whole product to see what’s next or on the other side. There isn’t a beginning or end, but that doesn’t really matter, as the product is presented smack bang in the middle so you can’t miss it! The whole leaflet is just fun, and such a breath of fresh air!
Showing posts with label graphics. Show all posts
Showing posts with label graphics. Show all posts
01 October 2007
25 June 2007
Punctuation within Presentation
During lunch with a friend (and past customer) the other week we discussed the lack of punctuation and grammar in writing nowadays. My schooling started at the beginning of the decline in literacy education, whereas my friend, being more mature, still remembered fondly ‘how English was taught correctly’ and bemoaned how many discrepancies she saw about her. We both particularly mourned the misuse of the apostrophe, especially within plural usage, and how it can totally spoil literature or promotional material.
She’s quite right, of course. I can think of some quite high-powered people, teachers even, who should know better and misuse their apostrophes left, right and centre. And there aren’t enough readers who will either notice or know how to correct it properly.
Bad grammar provides an unfavourable impression, and adds to the illegible factor that litters publications in so many areas. Signs and banners are particularly prone to this affliction, due to insufficient grammatical training in their authors. There is nothing worse than seeing a beautiful design ruined by a hideous spelling mistake right smack in the middle! And all due to ignorance of correct punctuation within presentation.
She’s quite right, of course. I can think of some quite high-powered people, teachers even, who should know better and misuse their apostrophes left, right and centre. And there aren’t enough readers who will either notice or know how to correct it properly.
Bad grammar provides an unfavourable impression, and adds to the illegible factor that litters publications in so many areas. Signs and banners are particularly prone to this affliction, due to insufficient grammatical training in their authors. There is nothing worse than seeing a beautiful design ruined by a hideous spelling mistake right smack in the middle! And all due to ignorance of correct punctuation within presentation.
22 June 2007
Clear logos – fashionable versus concise
Logos are difficult things to create. Yeah, anyone can make a logo, but is it effective? Does it send the correct message? Do your customers ‘get’ it? Does it truly reflect your corporate image? What is its target audience?
And above all, is it clear? Logos in the past were fussy, old fashioned things, following tradition and spawned off coats of arms, etc. Now they have to be instantly recognisable, snazzy, fashionable, easy to produce, look good in black and white, powerful yet unassuming. That’s why logos are difficult things to create.
Everyone’s talking about the new London Olympics logo. And above all, how much it cost. Does it do anything for you? It certainly has benefited from the ‘yuk’ factor, as bad press can create good publicity. But is that a good thing? Is it sending us the right message? Do you ‘get’ it? Is it clear, concise and uncluttered?
Take a good look at your logo and put yourself in your customer’s shoes. Consider if it could be made clearer, more recognisable, simpler even. Are the colours right? Is the font fashionable? Does it consist of meaningless initials, or would an image be more appropriate? And, for photocopying purposes, does it still look good in monochrome?
And then all logos should be accompanied with a catchy strapline, but then that’s a subject for another blog…
And above all, is it clear? Logos in the past were fussy, old fashioned things, following tradition and spawned off coats of arms, etc. Now they have to be instantly recognisable, snazzy, fashionable, easy to produce, look good in black and white, powerful yet unassuming. That’s why logos are difficult things to create.
Everyone’s talking about the new London Olympics logo. And above all, how much it cost. Does it do anything for you? It certainly has benefited from the ‘yuk’ factor, as bad press can create good publicity. But is that a good thing? Is it sending us the right message? Do you ‘get’ it? Is it clear, concise and uncluttered?
Take a good look at your logo and put yourself in your customer’s shoes. Consider if it could be made clearer, more recognisable, simpler even. Are the colours right? Is the font fashionable? Does it consist of meaningless initials, or would an image be more appropriate? And, for photocopying purposes, does it still look good in monochrome?
And then all logos should be accompanied with a catchy strapline, but then that’s a subject for another blog…
10 June 2007
Postcards and clear presentation
At a recent networking meeting, someone showed me their quick sketches for some postcards they wanted to produce. In spite of the fact that they were going to see someone else about getting them designed and printed, I gave them some small pointers to consider during their meeting.
First, the pictures on the front. Each had an obvious subject which I felt was not highlighted enough. The eye of the reader should be drawn unconditionally towards that subject, which should either be placed centrally and largely within the space provided, or slightly to one side with the ratio of 3:5 if the background is important. Avoid irrelevant background or white space which detracts the eye from the matter at hand. Wording should be carefully placed so to not obstruct the content, and should be in a colour and style that is legible. If the picture is strong enough then words will not be needed, and can be saved for the reverse.
On the reverse of the postcard, there isn’t a lot of space for copy or text, so the reader should not be bombarded with irrelevant material. First thing to think of is a really good headline, which could make or break your promotion. Remember to put yourself in the shoes of your customer, and consider exactly what their needs are. Try forming a question so that the answer will be yes, and put the most important words at the beginning and the end.
Then work out what the benefits, not features, are of what you’re trying to say. Analyse your customer’s pain, and then focus your benefits as the solution to their pain. Avoid any jargon - use ordinary English. Present them as a series of bullet points, as these are much easier to read, especially for a busy person scanning your postcard. Again they should make your customer say yes.
Next should be a call to action. Not only should you tell them to go to your website or whatever, with a given time to respond, you can offer them an incentive or vouchers; people like gifts or something for nothing. By driving them to your website you can then gather their details so you can form a relationship with them in the future.
And don’t forget to make your contact details clear and placed in an obvious position, and there’s nothing wrong with repetition. If a customer can’t see how to respond, what is the point of the postcard in the first place?
First, the pictures on the front. Each had an obvious subject which I felt was not highlighted enough. The eye of the reader should be drawn unconditionally towards that subject, which should either be placed centrally and largely within the space provided, or slightly to one side with the ratio of 3:5 if the background is important. Avoid irrelevant background or white space which detracts the eye from the matter at hand. Wording should be carefully placed so to not obstruct the content, and should be in a colour and style that is legible. If the picture is strong enough then words will not be needed, and can be saved for the reverse.
On the reverse of the postcard, there isn’t a lot of space for copy or text, so the reader should not be bombarded with irrelevant material. First thing to think of is a really good headline, which could make or break your promotion. Remember to put yourself in the shoes of your customer, and consider exactly what their needs are. Try forming a question so that the answer will be yes, and put the most important words at the beginning and the end.
Then work out what the benefits, not features, are of what you’re trying to say. Analyse your customer’s pain, and then focus your benefits as the solution to their pain. Avoid any jargon - use ordinary English. Present them as a series of bullet points, as these are much easier to read, especially for a busy person scanning your postcard. Again they should make your customer say yes.
Next should be a call to action. Not only should you tell them to go to your website or whatever, with a given time to respond, you can offer them an incentive or vouchers; people like gifts or something for nothing. By driving them to your website you can then gather their details so you can form a relationship with them in the future.
And don’t forget to make your contact details clear and placed in an obvious position, and there’s nothing wrong with repetition. If a customer can’t see how to respond, what is the point of the postcard in the first place?
Backgrounds - how can they be made clearer?
During half term my parents treated my family to a London activity, which issued specially designed tickets for entry. While enjoying a cream bun in the café, we examined these tickets within a graphics point of view.
The first thing which struck us was that it wasn’t easy to read. OK, the wording was reduced in size to fit the ticket’s dimensions, but the combination of the black background and white writing decreased the legibility factor, especially for the more mature audience whose eyesite isn’t as good as it once was. This trait seems quite popular at the moment, as I can think of one programme of events that is totally black with white text – I suppose it’s considered trendy (especially amongst male designers) and is designed to make the pictures stand out more.
Background colours should be carefully chosen so not to swamp any wording (for example a pale grey background and white writing) or make other colours ‘jump’ (put red and green together and see what happens). White is certainly safe, but it can also be boring, and sometimes a nice neutral colour will highlight the contents or design. Also be careful with some colours on a white background, red or yellow for example, as they can make words illegible.
Background images shouldn’t be stronger than the foreground or main content, therefore diverting the reader from the purpose of the publication. Logos or pictures can be ‘greyed out’ or made more faded, with a strongly coloured and catchy title ‘pinging’ out in front. Be careful of intricate backgrounds that distract or confuse the eye, especially with a frequently repeated pattern.
And moving backgrounds (as in websites) are a complete no-no!
The first thing which struck us was that it wasn’t easy to read. OK, the wording was reduced in size to fit the ticket’s dimensions, but the combination of the black background and white writing decreased the legibility factor, especially for the more mature audience whose eyesite isn’t as good as it once was. This trait seems quite popular at the moment, as I can think of one programme of events that is totally black with white text – I suppose it’s considered trendy (especially amongst male designers) and is designed to make the pictures stand out more.
Background colours should be carefully chosen so not to swamp any wording (for example a pale grey background and white writing) or make other colours ‘jump’ (put red and green together and see what happens). White is certainly safe, but it can also be boring, and sometimes a nice neutral colour will highlight the contents or design. Also be careful with some colours on a white background, red or yellow for example, as they can make words illegible.
Background images shouldn’t be stronger than the foreground or main content, therefore diverting the reader from the purpose of the publication. Logos or pictures can be ‘greyed out’ or made more faded, with a strongly coloured and catchy title ‘pinging’ out in front. Be careful of intricate backgrounds that distract or confuse the eye, especially with a frequently repeated pattern.
And moving backgrounds (as in websites) are a complete no-no!
Spacing - can this be cluttered?
Another concept of ‘clear, concise and uncluttered graphic design’ is the subject of spacing.
But I would like you to consider whether a piece of designed work is ‘cluttered’ or not by taking a look at the amount of ‘white space’ in it.
There are mainly two kinds of design to consider: those who don’t have enough, and those who use too much!
OK, perhaps there is a lot of material that needs to be crammed onto a small sized page. Sort out what are the most important areas that need to be highlighted to grab the reader’s attention (like headlines and dates), either through colour, shapes or banners, and and slot the corresponding material beneath. Using columns can create white space and a format to force the eye to go in the right direction, as shorter lines enable quicker reading, like as in a ‘newsletter’ scenario. Pictures, although extremely useful, must not overlap, obscure or fall behind the text, and a fancy background accompanying a lot of information, especially if it needs to be absorbed, can be distracting.
Now white space also is important between lines in the text and before and after headings. Neither should be too close to each other, and it takes an ‘eye’ to visualise how much is needed. A great tip I was told was to hold the page in front of you and screw up your eyes. This will show what merges together as a grey (or coloured) haze. If there is too much, then everything is too close.
Some designs have masses of white space, absolutely blinding you on the page. But then where is your content? Is it presented in a tiny font, ‘cleverly’ positioned in a corner somewhere, either with a huge or equally tiny picture or image, and you have to hunt to find the information you crave? If a reader has to ‘work’ to receive the message, then you’ve lost them.
Design should make it easy for the recipient to understand exactly what you’re trying to say in a legible and easily readable format, eye catching and instantly recognisable. Never mind about fancy imagery, leave that to those who have more money than sense.
But I would like you to consider whether a piece of designed work is ‘cluttered’ or not by taking a look at the amount of ‘white space’ in it.
There are mainly two kinds of design to consider: those who don’t have enough, and those who use too much!
OK, perhaps there is a lot of material that needs to be crammed onto a small sized page. Sort out what are the most important areas that need to be highlighted to grab the reader’s attention (like headlines and dates), either through colour, shapes or banners, and and slot the corresponding material beneath. Using columns can create white space and a format to force the eye to go in the right direction, as shorter lines enable quicker reading, like as in a ‘newsletter’ scenario. Pictures, although extremely useful, must not overlap, obscure or fall behind the text, and a fancy background accompanying a lot of information, especially if it needs to be absorbed, can be distracting.
Now white space also is important between lines in the text and before and after headings. Neither should be too close to each other, and it takes an ‘eye’ to visualise how much is needed. A great tip I was told was to hold the page in front of you and screw up your eyes. This will show what merges together as a grey (or coloured) haze. If there is too much, then everything is too close.
Some designs have masses of white space, absolutely blinding you on the page. But then where is your content? Is it presented in a tiny font, ‘cleverly’ positioned in a corner somewhere, either with a huge or equally tiny picture or image, and you have to hunt to find the information you crave? If a reader has to ‘work’ to receive the message, then you’ve lost them.
Design should make it easy for the recipient to understand exactly what you’re trying to say in a legible and easily readable format, eye catching and instantly recognisable. Never mind about fancy imagery, leave that to those who have more money than sense.
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