ai COMPLETE GUIDE TO the graphic designer's key to the new media Consultant Editors Bob Gordon and Maggie GordonTHE COMPLETE GUIDE 70 DIGITAL GRAPHIC DESIGN ‘Consultant Eaitors: Bob Gorton and Maggie Gorcion Completely revised and undated developments inthe field, The Camplete Guicle to Digital Graphic Design s an inspiring review ofthe evolving processes andnevs technologies in the fast- changing world of graphic design, and is essential reading for anyone studying or practising inthis broadest of industries. Starting with a showcase of Some of the|beGt/prectitioners inthe fields of print, exhibition design, advertising signage, rackacing, multimedia and the Web, this profusely llustrated ] ( authoritative Handbook also provides in-depth ‘ondesign basics sich as tyoe, colour andimages j Tho succinct ct comprehensive coverage of the multitude oftechnica issues conttonting today’s graphic designers, coupled with stunning examples of graphics tom around the world, makesthe book — ideal both fF these studying Graphic design and for those erpployed in graphica who feel the need to hone their and theoretical skis. flect new With 520 colour ilusirationsTHE COMPLETE GUIDE TO>>‘Any copy ofthis book issued by tbe publisher a6 peperbacce sold abject othe condition thai ohall net byway ottadocr atherwise be lent, real, hired out oF herve ceeustd without the pablo pine consent inany frm ofbining r cover ther than hatin which is publehod and witout a szdar condition incucing ‘hase words baing imposed on asubsequeet purchaser. Fist pubs in th United Kingda in 2002 by ‘Twat & Hupgow Loo IIA High Hetborn lendon WIV 7K -worvcthameeandudson.com (©The os Pree Limited 2002 ar 2005 Revised exon 2005 Right Reoeved Noppartof tis pabieaion may be reproduced or tans in any form ot by any ana, ‘lcroie or mechanical eluding photocopy recording tor my ther nformiion storage an eva yea ‘etic prior pesmson wring from the aber This book was concave, aig, and prosucod by ‘i ee Press Lee 23 StAnckews lace nome Ete Suse ENT 1UP [LEXisan imprint Te lox Pras tt [AxtDiocor: Alastair Campbel Designer: Jonatan Raimes. Design Manager: Tony Seddon Project Etor: Lachlan Maine Revised Eaton Bator Adam Banks Potreraoarch: Heather Vickers, (Conroe: jonathan Ramos ln Chiver, hard Gooch, Kah Martin Sue Prk, Jonathan Sith, Paul Springer, Pa Taylor Bri Library Calon in Publcaion Data ‘Acatniogie reorder his beck avalabie om {he eis ibrar ‘siw0-500-2660.8 Printed and bound in Cian ar mone norman on tie vist ‘wrewiweb-Hnked.com eg :NTRoDuCTION ‘ SHOWCASE. rin a PACKAGING i SIGNAGE e exHiBrTIoN ey wreRNer 2 MULTIMEDIADESIGN BASICS oo. "THE VALUE OF DESIGN BASICS PRIMARY SHAPES POINT LINE, ANC AREA Dynamics, EuPtAsts, AND CONTRAST “THE MECHANICS oFTvee DESIGNING WITH TYE. THE DESION PROCESS Layout ocunent SIGNPOSTING Mase seLecrion worm coLouR ‘SURFACE DESIGN oa. DESIGN FOR PRINT ‘THE SOFTWARE SCREEN TO PROOF PROOFING ‘THE PRINTING PROCESS FinIshine, CHOOSING PAPER case wisToRY 2.02 DESIGN FoR ADVERTISING SPECIALIST PEOPLE besten CONSIDERATIONS. ‘CORPORATE (ENTITY I ADVERTISING BRANDING PLANNING CASE HISTORY 02.03 DESIGN FOR PACKAGING KEY KNOWLEDGE Deston CONSIDERATIONS PLANNING AND CASE HISTORY 02.08 DESIGN FOR SIGNAGE. GRAPHIC DESIGN Deston CONSIDERATIONS. PLANNING ‘wD PRODUCTION CASE HISTORY 02.05 DESIGN FoR EXHIBITION EXHIBITION DESIGN EXHIBITION GRAPHICS esicn CONSIDERATIONS PLANNING AND PRODUCTION CASE HISTORY uz ry CONTENTS [ox [a2 02] [03 |[04] DESIGN FORSCREEN 3.01 DESIGN FORTHE INTERNET THE INTERNET eRowseRs ‘THE CHALLENGE FOR MONITOR ResoLUTiON resizes cououR ano "TyPOGRAPHY ‘orrturzine Wes, GraParcs, wr wrsiwye interacriviry JAVA AND JAVASCRIPT DEVELOPING AWE: DESIGN STRATEGY ‘vo pRODUETION CASE MIsTORY 03.02 DESIGN FOR MULTIMEDIA smuurimenta ano WEB DESIGN THE DESIGN PROCESS AUTHORING ‘APPLICATIONS PLANNING AND prooueTion CeASE MIsTORY 03.05 DESIGN FOR GAMES 136 ry TYPE /COLOUR IMAGE. 180 oan NPE. wa oz ‘cotour 18 RANGE OF ACHIEVABLE COLOUR “THE ATTRIBUTES OF coLour ey 0403 TMAGECREATION 196 UNDERSTANDING DIGITAL MAGE WAKING 0 SCANNING AND RESOLUTION an FILE Fonmars FoR BITMAPPEDIMAGES 207 workin wir BITMAPIMAcES IN PAINTING PROGRAMS. 20 DraWNG (VECTOR) rocRANS uossary a4 siouiocrapay = nig INDEX ne icruRE ACKNOWLEDGMENTS. 228INTRODUCTIONINTRODUCTION ‘igi ‘ghaphle abd design’ have become the vary potent wordsia our ‘ooabulaty/Theve ean be fo people living inthe developed world wees He bas net neen touched or iluencea by infomation an desicm technology Personal Computers and the nbicutousslicon chip have found their way inte the homes and vcelplaoss ofmalions of paople irmepective of background, age, or cute (One ofthe mest cormman words Eandied abut as an all encompassing) escriptoris dujtal Thisis almost inevitable since computers depend on steam of electionioally generated ‘cts to function So we have digital telephone lines, digtal printing digital rico and digital elerision among ‘he many areas conaeced vith information, communication, anddosicn, \Viwallyalidata whether tis the form cf words numbers images, cour or movement can be diaized and tansinited using arange of technologies Disitizstion has ereatoda common method cfrecorcing axel wansmating {ata alloning a high level of nteracivty across many forms ofmedia ‘Thue maractty allows 2ound image text andether creative elements 12 wworktouelhierin asingle context andhas radically changed designe ‘working methods by providing aocessto the vast storehouse ofknomledae ‘onthe Iniernet and corrorate inaneis and enabling them te senciand receive a ange of media elecionically va email fom the ow computers. Digital data transmission speeds are constiained by the size offles the nrediiim through which data flows, and the speed at which computer [progessors can handle the information Bit every day sees an improvement iallofilicae areas —fles canbe compressedmore efficient broadband {nlere! connections and high-speed vineless networking are being used more and more, and processor speeds are getting faster and faster. Together with inoreasosin tansiniseion speeds, there isa growing convergence of ‘media whichis Bringing abouta mercing ofpersonal computing, television, radia telephone, publishing games vel ema, and evommerce, Computer enslTVmonitors are geting ager wih erystal clear Mat screen technologies replacing ORT while mobile phones and other portable devioes gai ull Colour displays hie takes usinto an eraviherethe quality ofvieualccntent ‘vilplay anincressinaly important rolein the way ve communicate oa widar Tange fansiences. The qualtyof visually eceived informations the Tegionsbiliy ofthe digital graphic designer. 5 fat 8 nestion ‘Design finds its way into every aapect of dalylite.Fromthelockcfciothes, dings, andoonsumer goods toreacing matter, fentersinment inferior andexterior lenionments almost every form ofmodem: ‘commisnication ad producion graphic lesion playsan smportant part isalmost impossibieo avoid being bombarded by visual messages ‘Much of whats published iprintoron screens a tendency tobe visually {issatcant orjubled partly because ofthe speed with hich tcan newlbe Genorated and etivered in thiosntormation-andimeasage- orientated world itis nereasingly important forthe qraphie desionorte strive for oréer and Clty Urlersandingthew auciences reaction vsualmaterial theirlevelacfeoncentraion andcoraprehension and hiew tey cathe influenced by cultural or fashion tendisis beso the problem salvingprocess Equally ‘inportantis understanding how eye andorain pork: togelierin scanning and processing ‘worms pietaes. and the suber visual cuss ‘fform| colons anc composition. Stice prehistory humans have usedtsions and slapes to communicate information fan iceas aboutthe real world as wellasto ‘express what they saw intheir imagination. ye the aarhestamibes could pernapshe peel asthe fist Graphic desiapers'— arranging extinaloaical and oficent way —it ‘asthe vention ofprinting, with is potential formmass production, that formed the bedrock foramphieciesi as arecognizahletrade ‘The development ofmevable type inthe smud-15ih Conny widaly atsiautedta Johann Gutenberg 2adially changed the (design ofletershapes Whereas the handivastingoftie scribe hag evolved siowy enegenty over conturies,vitasrmuch ‘emphasis placed on composition and. enibolishment as onletio: formsytype ‘Gesign now became a relatively fast moving ‘Gomnmessialpronass Teter shapes Were ‘sandarcized and it vas necessary 0 devies Ciflerent varisnestohelp convey meaning(Graphiodesign contimied io valve asa ss much fo mathematics, engineering, ard psycliology as io the ine atts (Changesin ae fashion and taste, dramatic advancesiareprographictechnoleeses, and the changing demands of commerceand Iestyle exerted massive inluence| along wilh the creative contribntione of inmumerablo artists typooraphers, designers and stylists Yetche ‘overwhelming impressien givon By tne more fafluenilal giphisclesighers of recent tims! fl caloatedtetuctange to draw on history Following WerliWarl members ofthe ‘Thereare however several aspects of graphic desiom that remain elatwely unatiacted by technology These inside Generstingand developing ideas and concerts design and ‘typographic prinsgles and creative probiers solving — al satnbouteethat distinguish graphic design rom oter profaesions Happily digital technologies ave provided many fist class tools fox exploring extending and realising ideas in faster mare THaible ane more cost-effective ways, Printing has ractionally comnitated tne way m whieh stapme designers work: felds such as packaging, exhibition design, endadvertising are lage defined by the differantprinsing processes asfocislediwith them Burfhe printing methods hat Digital devslopments have given designers arange of frst class tools for exploring, extending. and Jealizingiceas in faster, mote flexible, and more costeetfective ways. [Bauhas Sehool sawhistory asdeae convention, and/preferredio redefine orrejee:tho [Parameters vahin which thelr predecessors Thad worked. Alavant-garde thullang- amar component ofgeaphie design ~ sdriven by the eedie escapefiamthepastin olerio explore the possibilities ofthefatre ‘The emphasis fihis bookis on dal crack design, affeldorexted by the devetopment not ofthe computer itselfbut ofthe graphical user interface! (GU) -the means hy which users can shietac wih Gaphiesymbols onsereen. The ‘Apple Macinieshin particular, by adoptinga (GUin place ottext-baed operation, allewed ‘he innovation ofa graphical screencisplay tobe ‘exploited far tha creation of graphical content, ape ius dita crap tesign Was born. ‘Sinep the lalineh afte Mac 1984 the distal evelitionhas overtaken traditional graphic esigarwotking pinations with cinmondinary speed. Many ssectalstttades andcraftshave production has shifted to he computerized tdesop, and designers themselves ae recited tomasier an ever expanding new sklse, anging from fie operon of different cofware ‘paclages to te digial epresentatin ofeolour andthe processes imolvedin reproducing digital contentin print and on soreon ‘doainated the major par ofthe twentieth century have coon sg revotitions Dung the 1960s cise lithography fockove: fom he labour intensive leterpt6ss prining anciwiun a ‘decade became the moat common form ofseprodiction This major change was followed closely by computerized typesctirg, ‘hich was finally absorbed intopersonal computer aystoms ‘Taday aPDF (portable document formal) Sle containing all the ‘formation necessary te eulpu a printed document - whether single Plack-and-white page 198 color magezine —canbe ‘tanamatted direct tethepmnter’s factory floor, whet ‘computerized equipment eter makes plates ready for offset Iho printing or outputs the job dizecllyto paper usingacital press Colouralipration can be performed automaticaly ‘hroUgoat te proces from obtaining linages from cameras enclecamereto cutputingthamon presi Inpractice designer ‘wil and should sll aiscusd a éomplexjob wi the printer sho wil oversee some ofthe finer technical sttrigs. The fact emalns that nis oW an everyday event ior paces, posters signs andeven three dimensional objects to beprocliced wit: ‘vimllyno separation between thedesignor and the final resut Digital eohnology is by non so welleosablishedthar many yours ‘designers may question whether the word digital’ need even be sed. But graphic design finds itselfin a sate of permanent sevelution Web design for instance; iaa dsciplina loss yan ‘decade old yet iis basic methods have already changed beyarc! recognition asnew generations ofsoftwarohave been developad ‘and nevr standards, hott: technical and practioal, adopted Whe Jmnows whatmedia we may be dlesignins for andwith what tooS, inanctnor decade? As tha saying qoos Iiwe.cansee into he fate, then-werenotlocking far enough heedTHE ROLE OF THE DIGITAL GRAPHIC DESIGNER Paradoxically arena that hasseen many icustes and professions having o specialize inorder to survive, the distal aanhic designer hasbeen required to diversify The most significant growth is inthe explosion ofthe Interiet arclmaltimestiaindustry Many graphic designers are fily engaqedin webpage desiqn involving ypoqtaphymagery,animnaton, moviea,andeven coud The computerization of graphic design work wit the evelopment ‘ofnumerous disparate, yet oten overlapping; {olivate programs has greally enlarged the rofessional graphic design will continue to thrive, eative eye cannot be packaged! Tangectivork inwhich ‘graphie'designers ‘can he involved, In addition ta the rich creativ elements of many programs there are snurgeyous buittin preduetivty an Tabor saving lectures, Many previously specialist areas of graphic design now share siilar sefvare programs forimage and text cricination ‘Thedlgial power readily avalable tothe ‘designer isimmense Every aspectofa project oan he ereated and finiahedtoaigh professionallevel ona sinule Apple Maciniosh ‘FPO workstation, Not only has the originaion process been macle easier, battha waysin ‘which he finished result canbe previews by both designer and chent has transformeditne Way ciBativ Heople work Afloable colour proofers she how printed materials willleck, tecimolosios suchas PDP Mescllow instant tuangmission and dist ution, walk through sofwarepreviews threo. dimensional creations; [packaging software folds ancimnakes up packs from flat designs; and slide shows and movies 10 parton. itetcton ‘bring presentanone lle. Many atthe chores assooisiod ‘ah repetitive design or editing laskshave been reduced considerably by automated eattues oultinto most applications search andeplace spelichecking, graphic and ‘typographic style sheets’ and content management systems, toname justa few you canttfind a feature that automates a repaitive task you can probably cresteit yourseiby recorcing ‘sequence of commands asa macro, script or ‘action’. As oraphi¢ designers.can work across so many fields they need tobe familiar wih awide range of different production and ‘lanufacturing procasses and related support prefessions and sills This may include Photographers, Wustators musicians, writers and 5im makers as wellas ectmical specialism web design databese programming and other fields. Digitization feound nage animation, movies snd prociction processes thas enabled professionals o collaborate aid workacross an increasingly wide specttum, ‘The emergence of he personal computer and desktop [Publshingprograms tagethar yith these nde avaabiityto ideas and innovation, good composition, and non designers could have signalled tie hegnningofthe nd forthe practising graphic designer, Photography, as a ‘profession, could alsa have died out ae high-qualily automatic Decaine accessible andl easy touse for anybody and ‘everybody. However like professional photography, ;professional graphic design will confine o thrive because ‘leas and innovation experience the instinct for composition, anda creative eye cannct be ‘packaged! as anoft-ihe-shell product for dientslacking the relevant Salls and talent (Graphic desianis anammensely exciting end visrant activity spwhich olbeinvolvedi and, ac euch is arewercing profession follow Butstrequires vision, stamina and.geed hurnour Combined with cralivity,imoration, ardanaivicaland ‘methodical ways ofwor¥dng Designers needa wor¥ang mnowledgeofbudgels manufacturing, andseproduction processea Successh graphic designers aimto devise mentive ‘Solitons to isa commnication problems intesponseto lenis needs and inorder fo dosooken norkclosely with conten formulating a bute and woking strategy prior to startingany visual work: A good understanding of human mate ‘andthe culnmalenironment, as wellastheibiliy'o lend or be ‘team player astequired ogether witha keen eyefor deta dlstinguish the truly excelleni designer fom the averageTHE COMPLETE GUIDE TO DIGITAL GRAPHIC DESIGN Teall tts books fo botn spire ana infowntthe reader ny exploring awiae ange olvisual communication and graphié design contexts while mlroducng ‘essential relates design methodology ancl concopison whicito build It explores the diversity of graphic design and showcases the work ofinventive and talented designers using digital mecia forthe development realization and production ofpnjects, ‘The Complote Guide to Digital Graphic Desionclemonstates diferent facets ol ‘gia graphic design anciseeks tc demyesiy some ofthe technicaljargon that {a olen associcied wits computing and the design word ‘The inroductory pagesstiow examplesct work: fom a wide ange of visu ommuticationconiexts seting the soans for furthers: depth exploration vihin individual sections Part One, Designflasies, explotes same of he fardamental principles that ‘underpin good and efficient graphic design his sections in essence, avay from the soreen ae involves thinking and creative provesses related to idea {generation andinformed design decision-making ltincludes an appreciation of the fbuiltineylocks! easental’o good graplhio design shape and form, svatal Aawateness whet type is and how to work wiht The emotive usecfcolour and hoy colour canwarkfor the digital designer is aleo looked at, asa powar‘ultoo] rather than ust decoration Part Two consis of sb sections that explore defined aroas of surface graphic (design, These inchide\ Design for Print Packaging, Sionage, Advertsing and Exiubition and Display Design, Part Three loks al ves asic forthe iternct inkanets and ltimscta This partie ‘pareulary seh or nooo ho may fos somiewhatswampecny tbe terminology in ‘bis ase Isha Seariyhow designers eomta weer an acany natty of splay by ctierantweb browsersand computor platforms amaexpiainsine _sghifiance ofrew stavlacs ef good prachoe for aocessinity tocisabled uses ‘leasmgpracttnens rom cach eldsake min Gepthlcol atthe acca areas “Where equipment or sftsiue, acim tothe core lst introduc these sections, ipconsidered important thieishighlighted Specialist procceses, which include four colour offset agraphicprining are ciscussed,ogether wilstnerelsted creste anv suppor pmfessionals as appropriate Bt he ond of each section, acase history ie explored.andthe Key cestve and producson stages volved in arriving atte fal design are explained) art Four ikea focused lookatthie ‘echnicaliniieacies of Colour Type, ata TmageMaking ‘Theuseofcolour s discussed heDesian ‘Basics section hutitis essential for he practising graphic designer to udesstand ‘how colour is ereatediand wy for instance, fliferent setsofprimary colours are used fx discus nis suave (ROB) oa ‘those usedim printing (CMYE), As mixing, controling, and adjusting colour plays such ‘animportantxele im graphic design the altibutes and fermuoleay ofcoleuranc ‘how ilworks ate looked at closely Digtaltype teo,tiasa language ofits own the Design Basics sacion cevers working, ‘wih type tom an aesthetic anafunctional ‘point ofview but on technicellevel the ‘gniphic designerhasicappicciaiehow ts ishandied by the computer What arebitmas and outine fons for example? How can font bedelivered along witsclocuments wether forprining or viewing? Tyeotaces apa font files managing fons, font ibraries, buying, fonts, and font copyright are also explained (Computer programs have made retouching rmontaging, and technical aud fine artmage making readily aocessibietothedesiqner ‘and arti, The essential way in whieh bitmap programs work comparedto the very. ‘ferent vector based programs ismade clear, Tha creation of specialeects the use unling proglamss or drawing programs ‘andhovrthey interact with each other is @lsoussedl and explainedDESIGN FOR PRINTwha ako eae fin Cond 8DESIGN FOR ADVERTISINGDESIGN FOR PACKAGING ovr: Wrapping a exible and imately simplest orm a trample designed Summa fora ceding olden detiatessen ema, meats vegetable fh, andreas products 16 porto. mteucton ‘exition aston design by J Ritistwas ity esigestone carvegar handbag, Desired by ze, UK ‘Roh When packing comes feremony of Zeman Interactive arts centreinSan Franca, nvtesreceived a vetet drawstring bag fentaning a brick of modeling clay slagarty wrappdinthe ‘ovation HeeDESIGN FOR SIGNAGE.etmests igh: Thezeslgnage lone for Chole of materits srelteratesintsret rte, ing oby é the teongcalaursusedforthe {Georges Pompidea Centrein Paris Desi ove Signe are at bys ipl designe as uch Tis (andar and works muchasDESIGN FOR EXHIBITIONDESIGN FOR THE INTERNET re Ghreats ove: abla ok Brtihdesgnes Rnardeacon Designers AdamandNick Hayee Bile to showcase their osgnee website not sectanotering tents nd eter 22 0. itotatona nse si = oe oe Gum aoc 00DESIGN FOR MULTIMEDIA AND GAMES Abowd Multined co produce ettective ei Thesescreens reasampletrom Dimedatexpling the we! technkcalimeaing equipment lo Itertteh rested thie Peplatins The broader proact. omprised eo, travelingTop: Nod Fe Speed Underground 2DESIGN BASICSTHE VALUE OF DESIGN BASICSPRIMARY SHAPES Thef dimensional r shapes~s There is very “The square like the cube, isa wholly stati form with no ia i braducethesame tect. Line essentially indicates direction andso Loto with ompetiont bath leadsthe eye. Tewillabo encouragethe eet MebanéCD-ROM designers of consnsebeyndislenth.Itmaybeciher Sethe clon inet japon cm eet ‘of depth (linear perspective) (agras6 7). oe Sreceernmicue Lines my alebewe osu fom, oe delnat cok oi ener and fctaavial martes igrans 891012) Rag at roo ‘Areas defined surface or plane, andl opertionsdisionotspace itactsasa visual container, drawing atention _fenbeanettectvewayof visually Z feoraiatingraialyeiterant twits contentor edges. GraphiedesignersareSReatienentemunineante ‘concerned with area sameans of defining design oncept. suchas an format and proportion and asa way of pacing exibitan er apay. Ey wai aesI. Historieand contemperary tesindowntonn Manhatten are linkedin series of walking ours, tach colour-coded ane physic producing tim commer yetowbitespacegiesthe design a rare that arms the the viewing within a design at ny veal. Itis easy tobe distracted by disparate clemenis on thesurice without realizing thavaren is also powerful clementin itsown ight—“empe adesign and ean he used to drees the eye from one place to another. This energy'is, known as dynamie white space Choice ef format (rectangular of otherwise) maye dictated by ether ob content or production practic ities or both Thereare some time-tested formats that have proved tobe particularly suited oa ‘wide range of wes. Print, for example, makes frequent use ofthe international standard seties of Aand It papersizes, which are based ove: Simple nes, rately pace, spnbotze saxophonist ance, ant-urpet-plajr Tale faynamic postoning ledesigned 0 onarecanglelevingsidesintheratioof__Samepetienigisdesnnedo 11414, the later remarkable: SR eee the square root F2. Repeated folding parallel Pee este to the shart side allows paperinrhis wig i umber being proportion tobe halve into further reetangles~alln the same I:1414 proportion giving the designer flexible ran of proportionally related sizes with which to work ‘Although creen-design formats generally follow the ‘maximum allowable vertical and horizontal dimensions there is no reason why this must be rigidly adhered to, qual division ofan area conveys tai feel, whereas contrasting division communicates greater dynamism, The golden section has been used for centuries asa formula for ‘creating harmony, In this formula, te relationship of the reat the larger area is equal tothe relationship of Peet eae erDYNAMICS, EMPHASIS, AND CONTRAST Visual emp! nformation by ¢ wer, ordering comp h creating visual hasis are thro. Headline Le Tpesiaisgneraly sats os expacios que se aman, que se besan, pour una puerta que no se sabe si separa o une, Aqui todo tien¢ la suficente claridad y la deliciosa oscuridad de la armonis No nos sabemos dentro hasta {que tunos pasos mis alls de la primera puerta, nos encontramos fuera del smallgrint Dropeagsthelarge sreusestoindcatethestartafa edificio; manea ssbemos qué es demasiado, Todo recuerdo de este viaje seri el instante en que abandonamos esa sensacién de recogimiento, ‘memoria irrecuperable de un espacio inmenso, inmensamente fuga Ips ASta) ne sesunyenw ont Simonsen stomach, Aveve-The contrasting pesize Fight Uisbooksprenetegtierwith ihe placomeatotanelomentwithinan fiagonlinarddecionctthe _areowilpresice a faes opperance Image. bring thereaderdrecty _lagram 2:Placingan element cueltirsatalargescle tightly wllencourage the eto travel keringtemandreducingth scale upwards boven. ofthesurertomtcntheleters, _agram 3: Placement thet axcentatstheametonandérama, anéathirot the way down il Design 2 Barney Pears “ra ne je denna x2 pro den ais nasis is a means o ating a visual hier size, weigh pecifically directing ts. Four ‘and highlighting ar, and disposition (placement) The skilled use of emphasisis essential to communicating with clarity and pace, and works to focus and progressively direct the viewer through or around a design. Emphasis, like all other design basis, should alwaysbe considered in relation tothe design as awhole. Many examples of size, weight, colour, and disposition used as emphasis canbe seen visual paces in newspapers and magazines whe broken down into small parcels of information. These areidentifed (or emphasized) in many diferent ways, for example, bya heading (size), bold introductory text (Weight) a coloured rule or tonal chan setting (colour), placement or discrete arrangement of elements (disposition). Size reates emphasis through contrasin proportions of format, type, image, relationship of, elements, dimension (length and height), and volume (ares and depth). Reducing an element 0 a small size ona lage format canbe just as powerful a enlarging itto fill he area, ifnot moreso, Weight suggests visual substance and mass, which ca range from heavy or bold tolight. Itisofen used in conjunction with size but works successflly when used across uniformly sized elements. Contrast in weighe alone between individual words or lines can he effective in large amounts of text. Changes of weight herween elements or blocks of continuous displayBel: The Trocadero complex Landon makes use the nee energy ectement an power within isexcudedinfvour of brantclour png. Where ton shineres sere independent contrtied Upntcources, rotating bila, avieo gta entertainer cestiration. Letcthe signage system éeetoped ‘alours ane shape drety design ofthe hosp bling ottsown andthe sins have tbe vorydtnctvointhemeabes yet ‘ely Lik ith. Ths i eke dptha strong celeursndgirky ‘urinated internat arias weights othe same pete variants canbe ectvaty used teaver with tone andtestreyparaphie celourltote ‘text will setup different spatial planes and ean influence the viewing and reading order. Degrees of density and openness in textand the tonal value ofimages can be used to increase oF decrease levels of emphasis The use of colour not only highlights, but also adds depth to every aspect of emphasis through association, temperature, and emotion. Appropriate colour choice can be based on any one oF a combination of these areas. Random choice or personal preference i the use of colour can wrongly ‘emphasize of detract from the content or message. Interaction and/or contrast between individual colours together with the level of saturation (intensity) and brightness (cone) will signifcanely modify the degree and volume of emphasis (ee Designing with Colous). Typographic colou created by weight change from one body of text to another can also be used asa ‘means of subtle emphasis or contr. Disposition ike colour interfaces with every aspect ‘ofemphasis Its so integral to wsual comnsuneation that ite potential is often undervalued. Disposition is inextricably linked to area and is concerned with the strategic placement of elements. Itean subtly or dynamically daw attention to ‘or example, the sal folio sitting on its own atthe bottom ar top ofa page does no clement within the overall design area shout but is instantly found by the reader through its unique positioning. Similarly an indent (¢he placement or disposition ses aONE ST E-P CONTACT LENS SOLUTION PEROXIDE SYSTEM n plthe sz, angle, and ih he es ot sat laht 2.DiagonaLarangement eed “ofthe frse word in sequences of paragraphs) quietly ereates pace for the reader. Its surprising how successfally judicious use of disposition ean work without recourse ro other methods ‘of emphasis, However, poorly considered placement of Contrast used to ereate and sustsin visual intrest, in the same way that rone and intonation add interest to speech, Without contrast, graphic communication would become dull and flat, with lie to attract attention or sustain interest. Contras ras on visual opposites or dissimilarity to emphasize differentiate, set up competition, attract and change the reading pace. Ieean be both quantitative and qualicative, obvious or sube Is use should always be considered in direet relation tothe concept and the design asa whole. Asthoreis lite limit to the areas in which contrast may be usd, itcan be helpful to looknitilly for potential within the main emphasis 2, colour, weight, and disposition Everyday visual opposites (loud and quiet, warm and ool, balance and motion) can also be «source of in for graphic contrast. To he effective, contrast needs to be appropriate to the conceptand be closely linked to emphasis, (Overuse may resule ins lack of focusin the desig, with clements fighting forthe viewer’ attention and the eye bei pulled in different directions.THE MECHANICS OF TYPE The designer needs to understand how type is constructed and assembled as wellas having an aesthetic appreciation oft. Letters of the alphabet are made up of complex combinations ofstraight lines and curves that give them their individual character. “Abyl cesertr cnt decanter ihe themselves and tothe typeface, for example the ear of lowereate g or the til of uppercase (Q. However, although leterforms are recognized by these specific characteristics, the overall shape of the characters and the counter-shapes (enclosed areas) also contribute tothe character ofa typeface Although there is considerable ividuality All letters have commen, notional points of reference in their cltneverston neapande-heht—Glysiel make-up, reganlessofthe ypetsce design, se, or TICS Sa between fourtyetces ofthe ye, These notional points ae the bascline (the line on which Sincragserieechisher shores E-Palating mam the ascender ln dhe extent of the vera upstoks of Palatino mam DRE ieee aeed | | nen enn pasar en an : SN SD cedtent pn: ‘A Bodoni Santis capaeaniaeeares gh pena teeing cies ain GS Garamond om Times Palatino, Bodoni Garamond. ‘within the different characters ofa typeface, Si SsCeuset pelsmeie monk me Niece Sandestin IherAguindtien monies ta que no 4 abe a siemens abaaes tees Chtiel 75 Senay descro b ‘ypefces are designed to forma cohesive whole and give a global eolourand texture when typeset. Appreciating the physical make-up of type helps the designer to idem points to look for and so facilitates typelace choice for different purposes ra Although the size of type is described feaaustuers ddr, cao hen ecu BY Acommon system (usually in points), you sempsdenain, aged to be aware that different typefaces a, say; 10 pt, may look quite different in size Gee ‘ie ele man me Zorn te ‘Mamie siacnde Semi oe sme examples shove). This happens beeawse of ge chain be ean the relative proportion of the characters. ae ee elves, for instance, has large x-heigoe Speen ea and comparatively shoreascenders and rs descenders, whereas some Garamond’ havePoINTs ano reas. ah Theamall ur, he pins 38134 mm, about V7Zofaninch Thataror unt hepa sade pet 12 points Alpe size Imeaeured over theovera one Pica EM athe ype are speiiedn points. 12pts Larger distances eecily inaeeredinpeae though many Sita dcgers re preter a relatively small «height and longer ascenders and T2pts descenders. These ferences in proportion reli diferent ‘ypographic colour when text ise ~the bigger the height, the more open te rextare and colour, making seni look tliferentsample settings. Forthesume reason the fortypey millimetres foraeaor page sine, Selo Dat rc despers ‘number of characters that will ft on a given line length varies and inches for scanning resolutions (dp). ind themselves working wit terren typefies atthe same size. Even if this makes ite “The em (without the pics) a Sedeeetonens diference to all amounts of op, ican make measurement nodonaly based on thewith Tar rgeesetuaat consierable difference o many pages of ext of capital M. Therefore thevalu ofthe ert lenetn and temisthesame asthe point size being sed, nestor mage reno THE POINT SYSTEM Units of digital leer spacing and character Fret atwarecan Dig proc allows dsgnersto workonseresnins constuction at based on diviingthe em tftesytten alll range of interchangeable messirement stems tothsirown ofthe given type size (eit peor fees ee Choice, However, when dealing with ype, most people nd 24 nto hundreiths or thowsandths~ enone mest prarare jemoreprctica to work witha common system that allows infinitely more subtle than in earlier times. tathytauitateserenson everyone to gra and quickly appreciate the values being ‘heigepciditbons ante talked about. The point system used for measuring type ‘unique to the printing indstry has, surprisingly remained |i atone the same sinee the days of metal type Inthe days of phototypeseting, an attempt as made to use millimetres as «basic unit for pe measurement, but it was never taken up, ‘Type size 2s shown in the diagram, is determined by the size ofthe type body (which, in the past, was apiece of ‘movable metal) rather than by the actual lewer. Nowadays, the body can be considered a the distance between the top of| the highest partof the lererform Casually an ascender) to the boveomn of de lewest (4 descend), plus uutoual amount of clearance, which varies from typeface to typeface. “The tymagrapher’ point is approsimately 0.3 mm or 1772 inch, Sucha very small units necessary when deseribing very small sizes 2 type. However, attempting to express large measurement in points is eambers 12 pt the pica en, isused. In many programs, iis possible to select pica ems or pica asa unit of measurement, for ngs ocements Kerning: 20. oem ne, soa larger unio cxaimple, horizental measurement for setting column widths In practice, digial graphic designers will probably find Cama) a9 themselves working in several measurement systems ~ pointsDESIGNING WITH TYPE When working with type, the graphic designer automatically draws upon the influence of centuries of development. Typeface design evolved slowly as printing technology developed, but, given the flexibility of digital technology, recent typeface design has had few constraints, Radically different and newletterforms, often challenging typographic convention, have emerged alongside the redrawing and digitization of many classic typeface families originally designed for older typesetting methods, Rather tha eng limited ew fonts ied numberof size, the digital designer wil pally have aces to hued oF ‘ypeices that can be instantly sald to an ize required Each on, moreover isinereasngly likly t contain extra characters beyond ‘heb aphanumenie se nclading symbols igs (ter combinations), actions, accents, and even foci aiphabers ‘Many specs filo one the following broud gros: serif sanssei lpi, decorative and dipley, eie,blaelete, anv contemporary. More recent, innovative gal rypetce designs, howerer fallow thir own ules nd do nt feat into these romps. The terms sed are derive fom basic characters such ssiwhether or not the eters have sf, the shape of any serif the contrast between thea hin strokes, andthe angle of ses oF asiso the eters. These characteris combine give a ypefice ‘tsuniqe haracter, ypogrphic olor andshythen. They should be catflly considered when ou chose a ypfice Tying oat Aiferent tet settings lay afin asvesing the ypogrphic ‘clour and rythm in pariuar conte oe page 38), Although leteforms are necessarily restricted in shape and alos lways monochromatic it woud be blinkered to aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa aaaaaaaaaaaa 8 pr sin sie Zest ancry ABCDEF GHIIKLMNOPQRSTUVWKIZ abedefghijkimnopgrstuvwaye YagRaunées ABCDEFGHIJKLMNOPGRSTUVWXYZ abcdetghijkimnopgrstuvwxyz rank ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkimnopgrstuvwxyz Sapam ABCOEFGHIJKLMNOPORSTUVWXYZ abcdefghijkimnopgqrstuvwxuz ABCDEFGHIJKLMNAOPQRSTUVHXYZ UN BCORRG HET EAN D.AGR STEMI Y 27S lt: Adobe's Maitile Masterton ‘ormat made itpoaibleogenerte Lnesevarlatons inwight, report, and sty the sme basictpetece. though he has enabled he development of someremariable-endunigly djfost ypetaces Design by Abe, USA ove: Recent inmratieypetace thsige ered predoce gai tow har nutes and storottteasy inthe stanearé ‘ypeoraphiat tray groups.thin trates, unbracketed lor minal brackete £Geomstrc Sas Sarit normally simple geomet shape. ton ina single stareylawercase's 1. la Fae: marke asinine’ mete sue ange rom ‘Diktothininshointerstroks, bracketedaerti that re ngled 2. ranstonal ax thatisghty inciedtothelailean alse be—_eninscrgins etertrms with ertcal bracketed seis thatare two-storey owercase's ad's {naedon the ascaners {Stab Ser moetine a with sbruptcontrastbetweenthickand —srkas. Unbractea es cei, a as me UL) consider type asa limited graphic medium, because it can ‘equally well beused in its own right as ‘image’. Ina context ‘where pictorial images ae inappropriate or do not exist, ‘heading, single wor, oF letterform can be inventive used as graphic focal point to ereateineerest, evoke mood, o set the scene for the res of the design scheme. Visual onomatopoeia, in ‘which typeis made to suggest the meaning of the word visually and ‘tall’ o the viewer, also an engaging way of getting the message actos. DECIDING ON A TYPEFACE Typefaces are the voiees of words and determine the visual tone of the text. The success of typographic communication depends as much on the choice of typeface as on the use of space and lout, Deciding on one typeface over another isa matter of visual judgement, fitness for purpose, and style, A close look at the basic characteristics of diferent ypefices ‘within the broad groups will help to make the choice more manageable, Atypeface can be specifically chosen to reflect, for contrast with the content and mood ofthe text in relation to fee! ofthe overall desig, but care should be taken to Abqoe Abqoe Abqoe Abqoe Abqoe Abqoe Signsatthe Melbourne Exton Centra werka ata pewertl espe lament. Although eroppedand paced std angles, the type stl fetans step Tis dynamic ‘ypoarepic signage integrals ‘Me buling, edngtoeunique censure that this docs notconllce with the message or overpower the look: ofthe tex. emtiiying the purpose and context of the rising, signage, packaging, print, ‘Web, or multimedia, the audience and the text -adv location in which i willbe read willinforn the choice of size, weight, and syle of type “Types used for informing, encerainirg, providing reference, instructing, directing, or ‘otherwise involving the reader in some way Bach ofthese contests wll require a different level of concentration and reading pace, and both of these factors ate relevant tothe choice ‘of typeface. For example, road signage has be instantly recognizable: using a decorative face for a directional road sign might dangerously distract the driver’ attention from the road while he or she deciphers the information, Reading may be sustained (8 for book), intermittent (s for a magazine, on ‘website, package, or exhibition panel) oF focused (as for a ser of instructions oF reference soures). Text may need tobe read under compulsion as fora warning), or as an option (as for disclaimer). The choice of Sze, weight, and style ofthe typeface sethe type iuelf, should be linked to the reading pace. For example, it would be inappropriate to set instructional texein small, closely spaced, bold type: the difficulty in reading and understanding woul be reflected inthe reader attitude tothe tas Ieis generally fle cha ef rather chan sans serif, typefices are easier on the eye and less tiring to read over lengthy continuous text. Magazines commonly break the rule, but complete novels are noc often set in sans serif. Discussion ofthe relative merits of serifand son tauee xneste ight anges Instat Compressed Inert oi Compressed Intra ak Compressed Interstate Light Condensed Interstate Light Condensed tale Interstate Condensed Interstate Condensed Italic Interstate Bold Condensed Interstate Bold Condensed italle Interstate Black Condensed Interstate Light Interstate Light Italic Interstate Regular Interstate Italic Interstate Bold Interstate Bold Italic Interstate Black Interstate Black Italie Blow: Lively, characterful letertoms,symbotzing te past, Celera the start the Library's rong andinterosting enough o oh ebe ane ube tor Lit Aseectonttypeace om Usingrelated tpeeces withing socumentillhelpteercures| profesonl-leokingreau Below Thestarkcontrast nie sive cover arange eels oFinerestintypeasimase and ere colarged and teresting abstracted shapestayered using gh: ariants init nd Muhiple mestst Photshop.The typeface deve proportenereshownin his speciaiforthe project cestes 8 trample ots MatpeMster typefaces: vievaltensionbahween the ary infinite flexibility character ofthe eter sy arronestapadcountershaps, NutiptaMastorfntsareveryestat | ataltnglarly “, Design a Sty pograi UK wheres bras osgraphichearehy F Wg pea low price : il Lm gh: Tis oe space and facade for Genter Desion Sen, cn dosign approach. Iovate Inter, were india ‘Thonsi¢ions were, it dingbat above theentrance mak foranusut "ypogrephiimagery. Tony sin igentixing the carpenrisvory lower right hand ie Agro ofbaselieshitrastorm 4 inele word ito above "ypooraphicimpassein tis spread fromthe bolt One More, The relatontoth page togetherPostetrcking Modernism, as we have know it, has served as the aesthetic, spiritual and moral conscience of our time. It embodies the essentially democratic idea of the creative artist as the inventor of a personal style, a unique vision of the world sans serif txt faves will inevitably continu. Display ices ae suitable for setting afew wordsat «lage size, rathor than continuous text. Quirky or gimmicky typefices are usually best reserved for display work, Tx faces canbe sealed to display sizes, buteare should be taken to consider whether the ltterforms al look well proportioned, and the overall charscter spacing (racking or ringe kerning) may need tobe reduced, “Mase rypeftce are designe with basic roman (apright) and tre italic style (or oblique, for sans serif facss) and perhaps one or two other weights ight, bld, ec). Those intended for profesional textsrtng, however, may have extensive families of weights ranging from extra- light to ultrs-black and of syles ranging from condensed to espanded. This can be wsefal when complex information needs diferent levels of Negatve tracing Modernism, as we have know it, has served as the aesthetic, spiritual and moral conscience of ourtime. Itembodies the essentially democratic idea of the creative artist as the inventor of a personal style, a unique vision of the world. Modernism fosters a dynamic COT OU a eee s sPacine TYPE “rot itches Waid ‘Sesion fapan vali Sotosesl plea oer arc ora digg be sine per Theme eld nce ony nd ogi TYPE FoR soREEN DISPLAY Cray Railuiaks Stalag eas asi gl openly Te formontordplymubesettsiaslargerthelnogriedeopeie oy wing unis asl as oehousndth ofan em than for print, since small letterformscannot be S**TeadereesenseoFbeing Drie] sypeface designers program special adjustments to the Tomedlegbiybyce reared number opts SIMMER Se emingf i pais of characters ch nazeen Si pees ic eioere SARUM Ved Tino cr eta foe wap ne Cina eacen lplyeeeos ine deren oa ee pete recog a a towincherendang Many pe maces Toweer lta be acceso make one-off emphasis it willensure that changes of type will aor: Negative teading workwell rogethersplisialy. The sim should be between the three words ot eel oe ae thistoek ile creates simple ‘ypoqrphicimage that echoes imapeat a pertet eon to choose a smal set ofideal weights for e given purpose, however, not to mix dozens of variants now offer faces optimized for screen display, such a8 AglMonotype’ ESQ (Enhanced Sereen Quality) series. The colour of background and type needs ext: consideration; coloured or dark backgrounds ex ease monitor glare. _ The space between net _ lines of type is known _as leading Word djs kerning, pa ialy i headlines Tnereasing or decreasing the spacing across several words or lines is known as tracking or range kerning, and can bbe used to alter the visual ‘colon of the typeface or on rare ‘occasions as. cheat to help fic the text tothe space availabe, ‘When texts justified across aeolumn (see page 47), rules must be set up and carefully tweaked to tell the sofware how spacing is to be adjusted to achieve the required line length. Word spacing can be controlled independently to hel> balance excessive character spacing against unsightly gups aNeue ‘. Helvetica 85 Neue | Helvetica 55 a | ilsteates ow awhile range ‘rapicscan de developed byTHE DESIGN PROCESS Design is normally carried out in response to a need, and inevitably involves a certain amount of planning. The parameters may not always be clear in the first instance, as clients can have difficulty npinpointing their exact requirements. Graphic designers are normally employed to bring thei: individual creative ability and practical understanding to solving a particular problem. fovtaer | Acquiring an insight into the clients’ businessesis an imporcant partof informing the creative process. This en often be done ‘imply by listen ng toad learning from cients, who usually know their own businesses intimately, Sometimes alien may bbe convinced thata particular medium or conte isthe best ‘way to promote product or service but, aftercare analysis “lhe bret by the designe, an entirely different medium oF approach may emerge 2s more suited tothe actual, rather chan the perceived, needs ofthe client. “The designer needs to make a reasonably accurate assessment ofthe size and complexity of the job and level of| budget allocation. Is, for instance, unwise to embarkon ‘corporate identity design without frst agreeing which specific clements are geing to need design consideration —is ea logo or letterhead, o- will there also be a requirement to look at packaging, vei-le livery, and uniforms, a signage system, ‘website and design standards manual? Even a small-scale design can invo ve unexpected work, such as having to include, * mothers day ‘oor: Tis poster formed part anin-stre campaign ora (partment store tat aimed to ‘ove avayrom ides an ceapressthe real sprite Mother's Day Design tars Murray Hare, UK Avo et Tha fortis. classic Design's Saturdayin London. ‘Tecventcombined business sri seth inventve snd ity teansormetion othe pimary shapes suggests Design by an Fletcher, UKIUSA corsework highly complicated diagram, Preliminary inquiries have to e made ss to the feasibility and timescale oF any reprographie and production processes From ‘the completion of digital artwork before a realistic imetable eas he worked out sd agreed with the client These nial planning stages ae all essential othe design process. ‘The ony eal drawback wo digital designs ‘that allows designers to explore endless variations ofidess and eolourwaysin a proces where time s usally ata premium and decisions have o he made quickly. ‘When i comes othe creative clement ofthe desig process, there iil dou st pape, peel and digi software can work ‘well in partnership, Paper and pencil are ‘valuable basi tools for the digital graphic designer ~ mc creative inspiration cn ‘come from dosing and note-making both on-and of screen. Whichever starting point you use, your creative approach shoule alwaysbe informed by the brie. Basic _sidelines fr posible approaches ean be set upby denting fom within che brie the answers to fur simple questions. This exercise will also elp you to lari your intentions forthe design. ‘The questions are What —is the message to be communicated? isthe reason forthe brief? isthe problem to be solved? Why ~ does the cant want to communicate the message? Where ~is the message going to communicate, and under what conditions? Is the intended audience or market? 8 noWorking out and evaluating the answers to these questions should give you a springboard for idea generation that will help you maintain a reasoned link between the briefand even the most lateral approaches, One or more key words, ima ‘or points should emerge from the analysis. These ean be used asthe basis of shore butincensive visual brainstorming sessions on paper or sereen to help stat ideas and associations flowing. Deawing need nothe restricted to paper for these sessions, as many designers find working with a digital alee prepare a focused brief outlining the aims, purpose, format and context ofthe image-making: This should be agreed with the client and photographer or llostrator, an supplemented with dedsiled instructions concerning appropriate fie formats and suse ad | tssonsles eee Graton, very aspect of an image should contribute in some degree tothe overall message and mood of the design Images may clarify, contrast, enhance, and partner text or ‘other elements, but they should never be used as gratuitous earn oalkale vcaiclmeatewcies dd-ons. Sealing and cropping images and deciding on a Maxygenannvalrepertioilutate desired genie characerses— presentation method (colour, black and white, duotone, how the companys new Fano worids aay rom faring ‘cutout, squured-up) need considerable care and attention, technology, malecular breeding Design Associates, USA and should also beara direct relevance tothe overall design. Jusicious cropping can substantially affect the visual impact and balance ofthe image isalf, 5 well as influencing the message and other design elementsoe eer eens Eee ered Coat ees es Chapter 8 peace eresDESIGNING WITH COLOUR Colou reflects thi al communication. I : ich t strong common language with w’ ‘The digital graphic designer has an almost limitless colour palette with which to work and evoke specific responses in the viewer. Colour can be used as appeal, insp entertainment, a focus, oran identifying marker Colours always relative and never works in isolation. ‘The viewer responds to colour within a context and in association with other colours and graphic elements Environmental and lighting conditions affect the way colour isperceived, which isa particular consideration when choosing colours for packaging, signage, and exhibitions Colour can be used as means of identification and ‘coding, as in pie and bar charts, where a range of different elements of equal importance need to be identified. In such contests, care should be taken to mix colours (hues) of similar ‘tones (brightness) and intensity Sacuration) to avoid giving “undue emphasis to any one element. In a situation where itis necessary to create levels of relative importance, a change in colour intensity or brightness or both can be used as hierarchical device Combining complementary colours (true opposites en the eolour wheel will et up a natural vibrancy ifa sense of ‘excitement and energy is needed. To use colour emotively, itis ‘essential t have an understanding of the design subject matter and the audience to which itis directed, vo that colour choice ‘an be appropriately related. Colours can be considered as 54 day world and humz xpres mood, emotion, and signific ‘warm or coo, soft or hard, light or dark, passive or active —all of which characteristics ‘can be wsed individually orn association with cach other. Mood is greatly affected by colour temperature Colour association forms an important part of colour language in allareas of graphic design. This. greens ate used for freshness, blues and whites for hygiene, red for danger, and purple for richness. There are many examples of colour be seen inthe way that combinations that are associated with polities, nationality sport, religion, o cultural and social conventions. The designer has to be aware of ll of them, in order to avoid reating confused messages. For example, red and green are recognized across the world as symbolizing stop’ and go’ onto Farle Colour benusseto greatatectinthiseammerdattor Procter 8 Gamble Vibrant righty Dackgroundto lustrat tat Let Thisovenve anual reportforthe Liner Teenstoay Corporations made upof wo ontrstng books = Distt and Liner packaged inthis bright sleeve. The Dgitalbok is Indecpheabiestresmingasci fede, The Lineartok ramatially rake he point hat Dita ans pages of rillant gta colour ra secnct, aecessible ackTYPE AND COLOUR all well applied to type. Colour may modify the way in which type works bold type can be softened, hierarchies can be Jeveloped without recourse to change of size or weigh typographic empt be subely enhanced When designing with coloured type oma coloured background, che d must carefully in order to ensure legibility: In icantly contrasting. Dark type on Icis imposible to provide a set of les for pate These unas according to dfferentenironments, fashions, and culcure, __smlnroma bonne mimic The designer may consider setting up disharmonies asa way eee of creating shock or provocation, which may be a perfectly imate way of communicating a message Graphic att software provides tools for selecting and mixing colours in a variety of models. These gi er colour creation and usage (ee Colour) The hue, saturation, and brightness (HSB) model Jarticularly useful as itenables the ereation either of different a the same hue Designers should be aware that their eolour perception s s z 3 4. A Itis advisable therefore, coset the monitor to a neutral gre when working intensively with colour, and to paint desipale background, will reslt in less gare (particulary with sereen-based designs, for example on webpages). Type and backgrounds of equal brightness (tone) will legibility considerably. Colour ean be used with type ro createa sense of " ‘quality and suggest depth and perspective The reading pace and seque display type ean be further controlled throngh the use of colour ygresson and recession, to enhance spatial of text and Setting type in dark colours may be unsuccessful ifthe letters have's smal surface area with which to.cary colour; the result bbe poor version of blac, Type, particulaly text type has lle surface may appear area compared to the background surface on which itappeas, so dark-coloured type generally appears darker and light-coloured type generally appears lighter. A heavier weight of ype can be used to compenste for dhs phenomenon, Interest iy, the millions of easily accessibl gta colours have also brought a ray tothe use of black and white would not be underestimated Colour anetype reich Soletors,enteningand rather formal, pecoptinof ‘helegatprofsson, distinctive chee fora coordinating used amean olfcsting the eye ther merchandise, The ropes onthose staf aprons shew ce usedascoding or ish mest, Subject areasarerouped topeherinta discrete galery ‘hepan ran the abst by {ies nd oor lan, felts ‘hough ne vast butag owSURFACE DESIGNnology used but sated —including the wil dictate not only the type of printte also the way the production files are c appropriate choice of ype and the size ofthe haltone dot The 00ts of graphic design fe in our desive to communicate information “The computer has ehaped not only conceptual ally by the aray{yoment ofype and pictures on aprinted page. _dasign, by encouraging freedom oflayout andthe breaking Although the development qf digital technology hasmade the possibies of typographic conventions but also thelinear process of wirtwaly miles, qraphis design and prin remain inextricably linked, sransferring the design rom acreento printed page. The (Graphic design for the medium of print embraces an extensive traditional boundaries ofthe design for print process have and varied range of products, These inclu brochures, leaflets, yer, direct mal, catalogues, ane posters. Business rmmonly an Jipple Macintosh, inks sromotional applicato been blurted. The designer equipped with aPC, ormore toa desktop ecanne ‘communication tools include ed Internet connection reports, or memus. The publishing industry pe newspapers is still one ofthe largest sectors employin With everin ‘market and cent preas catching, ianovative ways of presenting printed information, there are jobs tha tationery. newsletters, training manuals, a colour ouput device, ane a high-sp today even scing can take conceptual ideas trough to press an printing pres itslfmay be acta device With the adoption of Adobe's POF (porta men! format) ag a medium for delivering press-ready >e virtually no human intervention ‘andthe printed produc. call for mote specialized print processes, The wse of materials other than paper ‘last, metal, or even fabric ~ i also becoming more prevalent DESIGN FOR PRINT | tripe pred spa clos ‘heceloursere chesento a0ROYAL ACADEMY OF ARTSTHE SOFTWARE Over the past few years, there have been significant developments in software dedicated to both design and production, providing more streamlined digitally driven systems that take design directly to print. As a result, the definition of ‘publishing’ has been greatly extended. DESKTOP PUBLISHING Deskcop publishing (DTP) applications have evolved from the fundamentals of word processing ino fully fledged design ‘ool, streamlining the creation of layouts in whieh al text and pictures can be precisely manipulaced, and simplifying the construction and management of long documents Text ca be Jmported and then styled tothe designer’ exact requirements. Vireually limitess type ateributes can be applied, and H&ds (hyphenation and justification), horizontal and vertical scaling, leading, keming, and tracking canal be finely tuned. “Theleading DTP applications are available in both Apple Macintosh and Mierosofe Windows formats, Serious graphic designers will almost invariably use a Mac; the main exceptions are PC-based administrative workers who need to produce well-presented documents and designers in felis such as CAD (Computer aided drawing) who need ceresin specialist programs thatare unavailable for Mac. [Adobe PageMaker was the first DTP package of note, bu during the 1990s was overtaken by QuarkXPress as the choice of profesional designers and major publishers. PageMaker has now been superseded by InDesign, which is "apaly growing in popularity. Both QuarkXPress and. InDesign are vector-based, dealing primarily with ‘line work’ those elements of page layout — including type, rales, and tint boxes ~ that canbe represented by scalable geometric descriptions. InDesign, however, integrated the ability to ‘manipulate images and add effects such a transparency and soft shadows. Quark-has caught up with a numberof similar capabilites, albeit not quite so comprehensive or seamless ‘Common to these applications (along with afew low- cost DIP programs available only for Windows) is the use of frames, Picture and text frames can have their exact position defined and ean be pre-formatted with type, tnt, border, and run-around specifications allowing the designer to lay out documents with fied structures independently of content. Frame tools include rectangle, circle, andl polygon shapes all drawn simply by licking and dragging. Using frames defined with Bécier curves ext ean be made to an within or 82 per 2 sate ei around any shape. Frames can be layered, locked, aligned, or repeated at precise intervals “Each frame can contain multiple text columns, and frames can be linked, allowing textto flow automatically through a document. or long. documents frames and pages can be alded ssitomaticlly to suit the length ofthe tex. Flexibility is farther enhanced by the vse of layers a feature previously sen in drawing and image-editing programs. Layers ‘ean be on or of, locked or unlocked, ‘out of view: They can be exported and printed independently: Mulkple yers serve a number ‘of purposes: for example, you can erate several ‘edivions using differen languages, or add notes and comments without affecting the layout, Colour technologies that, only afew yeas ago, were the preserve ofthe high-end ‘prepress market have been incorporated into DTP software. Industry-standard ICC colour management is builtin, helping to preserveSp Cor O—_ Magenta = 100 Ye —<—<—<—<——— 0 4p caer Renal zi eoprec ws B] Does ands page: Beste ner ver iferon birth datos dhs, QuarkXPress and Inesign share any featresin common Fir simiartolboxes tomadivelementsontnepage, show adage pasons ant suchascolour specications and style sheets. Nonetheless, Suteing between th two fidelity when pictures are imported from other sofeware or directly from devices such as earners and scanners, Special colours can be set up as spot coleurs to be outpar on separate plates, oF colour specifications such as PANTONE can be converted tothe neatestfourselour pracess values Despite their growing feature set, DTP programs are ‘rarely used alone. Photoshop is needed to adjust images and convert them to the required cd our format and resolute while detailed graphics are prodaced asing programs such a¢ lustrator or Macromedia FreeHand, Built-in features can be supplemented, however, bya wile range of third-party ‘plug in of ‘extensions that add tools oF automate pecialis tke MAKING READY FOR PRESS ‘The document file generated by a DTP program usually includes only the line work, with a low-resolution preview of {imported images. To send the jab for printing, the designer rust gather together the pictute files and fonts required for final output. This chore is automated by a feature called Collect for Outputin QuarkXPress or Package in InDesign. ‘A more sophisticated approach is‘preflighting’, which not only collects the required files but also ensures that images are of a sufficient resolution, colour specifications are captr oes tpt 63—— | ve TSIM) Sree SEE Eines nc a appropriate to the printing process being, used, and s0 on. Both ofthe leading DTP applications now include a degree of preflighting, but separate programs such as Markoware Preflight Profesional offer more advanced checking, typically in fields such as ‘magazine publishing where itis vital that cach page is reproduced perfecty every time. Collecting for output and preflighting re stil relevant when documents are supplied tw the printer as PDFs (see page 70), because the PDF file wll not be created successfully ‘unless all files and settings re present and correet. Adobe Acrobar, the standard program for generating PDFs, provides inereasingly sophisticated prelighting, while, gain, various third-party alternatives are available. In some cases high-resolution images ‘may nocbe available tothe designer — for ‘example, because photos are nor yer scanned so layouts ae created wsing low-res vet sur sketshes, eferred to a8 postional’ oF EPO" (for position only). These are replaced later by the prepress bureau. With OPI (open prepress interface), the bureau ean pre-sean photos, keeping a high-res copy of each, and send low-res images back to the designer for layout. When the nished DTP file is output, the high-res images are automatically substituted, This avoids designers having tohandle large files, but wth today’s ast ‘compaters nd higher-handwideh ‘communications, OPI less often required. = or: Some of OsarxPresss producti features: the syle ‘sheet setup daigboees ono syle onc th desgner is nse wth the ajout. These {an be appended any ther “teument. The Fna/Change feature can change ndival words, punctuate, onto size singe clk. Coltect or Output placer aquired fs int ene ce elder inorder house. The Measurements bar shows ll the atte a the a_i (Berle) ei ob = Fame ouG PRODUCTIVITY FUNCTIONS Productivity and consistency ae greatly improved by features such as style sets and master pages. Paragraph and character style sheets expedite the styling f text. Headlines, cross-heads, stand assigned a paragraph style sheet comprising all aspects of type formatting. Changes ean then be made globally by amending the relevant style sheet. ach syle sheet can also be ‘base on” another, making it even easier to change, for example, the typeface used chroughouta publication. Character styles can be applied to individual leters or words. As part ofa style sheets options, rext eam be locked toa fixed “baseline grid ensuring ines of type in different frames ae aligned. Production can he further streamlined by using master pages, which may contain text, pictare boxes, nd guides. Each new page inherits items from a chosen master page, including (optionally page number tha changes automatically. The designer canereate any number of master pages, allowing several alternative layouts to be used within a document, andl InDesign users can also base one master page ‘on another, with any changes tothe ‘parent’ propagating to the ‘child’, Pages ean be set up singly of fcing exch ocher in spreads, and special layouts suchas gatefolds ean be accommodated. Master pages syle sheets, colours, and H&J setings ean be appended from one dacument to another; (QuarkXPress users can work within a ‘project’ that may ‘comprise several different layous sharing master pages, sxyle sheets, colours, and so on. 1s, body text and capciors, for example, can each be in 6sSCREEN TO PROOF 1 Once the creative proc the design, the more practical satisfied with -ssential, PREPRESS nail recently, most commercial printing involved producing. film separations from which printing plates were crested, and this meant the designer would require the services of prepress bureau or printer’ own reprographic department, lay, an increasing numberof documents are sent to press digitally: platemaking equipment for offset litho printing works directly from the designer files, or the jl is outpaton a digital press ~ usually based on inkjet technology — with no plates required, This snot to say that bureaux are a thing of the pas. Although desktop scanners have greatly improved, only high-end bureau equipment will guarantee professional image reprocetion from materials suchas 35mm transparencies. A bureau can also be invaluable in managing the conversion of files to Acrobat PDF format ee page 70), although printers are increasingly likely to offer help with cis. Teis important to have a good working relationship ‘with your bureau and/or printer. You wll need to know csacely what they expect from your files, whether PDFs or DTPdocuments collected for ouput. The bureau will be able to advise on what settings you should make to speed up production, keep costs toa minimum, and make sure that the ‘end resol wll print without mishap. Issues range from fairly obvious to the highly areane, so initiating a discussion isalways better than making an assumption. Ifcolour tints or ‘mages “bleed” off the page, for example, the amount of bleed (osually 3-5 mm) needs to be agreed with the printer and set, up accordingly in your documents. While too litte bleed can mean unsightly gaps, too much can cause output problems. Fonts area perennial bugbear of prepress work Never use the faus’italc and bold type syle functions in your software, as the RIP (ee page 69) will probably ignore ‘or misinterpret them; you must ue true italic and bold fonts (Check whether ‘True ype or OpenType fonts ean be use in ‘many cases only PostScript fonts will work reliably. When the job issent, make sureall the fonts are colleeted for output: itis an infringement of copyright to supply the fonts to the burens 65 e le of product ion takes bres, buldesktop scanners costngessthan €1R000re ‘Starting oral her eapabiies, Below Among the arcana toveld unsightly moi patterns is complete and both de: igner and the client ar the page layouts ‘or printer unless italready owns therm Gee Font Copyright, page 186), butitiswtal to ensue they have precisely the same versions you have wed, Sending jobs as PDF ges around this issue, sinee you can ‘embed the fonts used ina document. Ihe bureau is likely to be asked to mae last-minute text corrections, however, problems can arise Only a‘subset of ach font is normally inchuled leaving oue unused characters 10 reduce filesize, but thismeans the omitted chanaeters wll not be available. Some new fonts also have their digital ‘permissions set to prevent them being used, when embedded, for any purpose other than viewing ot printing, meaning the bureau will be unable to make changes unless a purchased copy of the fonts installed, The bureau or printer ean mang ‘other issues tha the designer may not wish ‘or need tobe involved with. Trapping is the function of overlapping edges of colour areasFight Imposton atypia shrteen-pay section Eight pages av printed none ithe paper Isthonturne and printed again on the oor side. grat, your ocuments short enough asingle platecan be made sowing both of allthpapes. Tiss printdononesigeot the paer. to.compensate for poor registration on pres. Each colour can have its own custom trapping, and blocks of colour ean either ‘knock out any “underlying graphics or overprine them (black normally overpints). Even ifyou set your own, trapping preferences in your DTP software — perhaps fora one-off purpose such as ensuring a Dlck graphic knocks out you may find the imogeneting RIP overrides them, Although ‘Adobe Acrobat now allows you to preview separations and overprints in PDFs on sereen, nnotall RIPs meet the atest PDF standards. [Here the designer, brea (ifany) and printer ‘must all work together to get the right result. IMPOSITION A document of more than ewo pages will normally be viewed on screen asa series of ddouble-page spreads. When 2 multi-page side. Cutting the sheetsinnal’ Finished pages, when re feded upthepubication, oun One id ats ection ready tobe rimmed, ldo, fndastombled. Th rest besiteen consecutive eges. Designers generally worton spreadevithin yout ware, seeing what wl appear finiched apes. withthe technicalities of enposton tt tothe dure or pointer documents printed, however, the pages will be arranged on a larger sheet to be cut and folded into sections. A page has two sides; a single fold creates four sites; fold aguin and you have cight sides; and eo on, Printer’ sections are, therefore, made ‘up of multiples of four. The commonest section size i sixteen | ages, with eight pages printed on each side, although some web offset litho presses ean print arger sections. The planning ofthis process is called imposition. “mposition is wuallyearred out by the bureau, before running the film, or by the printer prior to platemaking, You should be aware ofthe most economical use of paper, and plan ‘the page count accordingly ~ another eonversation to have withthe printer. Then draw 3 ‘tpl’, simple diagram indicating the content and position ofeach numbered page ineach section. Using DTP softvare, you can prinea flatplan showing a thumbnail image of ech page for easy reference. [Because each side ofeach section is printed separately, some variation in colour and alignment is inevitable between pages indifferent sections there may also be slight variation seross each side. Hehe design of spread incorporates an ‘mage that crosses over the gutter, the two halves will be separated when printed and when the publication is bound slight misalignment or colour tariation may be apparent. copter 02. ds or prit 8wot set cou cr) va: SPECIFYING COLOUR Most colour dacuments ase printed using the four-colour process, or CMYK. Grapies are broken up into percentages of eyan, magenta, yellow, and black inks, each printed in torn ‘using a separate plate, These separations’ ean bbe generated by your DTP software, bar your bureau or printer may use other means. PDE fies can contain separations, but are more ‘commonly ereated as composites, withthe critical stage of separation left to the printer. Spot colours ~ specific inks applied to blocks of expe or graphics — have plates. Any spot colours defined within a Alocurment bat not used should be deleted to ensure plates are not generated unnecessarily. In the past, the names given to spot colours “within software were nt significant, since the designer would brief the printer on the inks to be used, Increasing automation makes it advisable to stick tothe naming conventions ‘of an ink brary such as PANTONE. If images or arework containing spot colours are bs o# © i oe 95 010 © AHHHHAanBAH| recon Sack) va: boy ant OuaresPres tre the proprctoryspotclour system pets toc MK rey for our= Colour print ouput, lating felected aourata glance. {imported into DTP software frm aher programs the colour ames mst be a exact math to those st up in your vost, nen in the ‘sme colour wll appear on ciferent plats. Colour systems such as PANTONE can be used t lp choose colour even ifyour document isto be proses print Selects PANTONE swatch fom the se displayed in your software then pick the opion to convert ito the neret CMYK values: earn mind that nota colour cn be reprodced accurately; you can buy PANTONE swatch books that show how the proces versions compre Forsold bck areas, denser colour cn be achived by underprintinga ‘shine’ colour, sucha 100% cyan on the same area. Since 100% back overprnts by deft, you cn do thissimply by duplicating the graphic, colouring i 100% ey, and sending it behing, Spo colours canbe srengthened sing 2 double it, prncing the stme pate wie in the same color. ore Bele Fr our-colour process priming thecolourbariusesby Printers tassess the performance ofthe press. ging intrmation thelnage, itis ater timmadet 6a ronton sane teigeRIPS ‘Most page layouts, supplied either asa ‘native’ QuarkXPress ‘or InDesign file or as a PDF, are output to an imagesetter through a raster image processor or RIP (pronounced ‘ip This device ~ usually a PC or Mac running specialized software ~ changes the outlines ofthe type and drawings from PosSerip, the vector-based programming language used by computers to describe page layouts nto a imap (an array of dots that can be printed by a filmserter or digital press, Part of the RIPS job is to manage the creation of the ‘halftone’ patteens into which images and tints are broken up lor printing. Although the DTP files may contain instructions tothe RIP, the printers RIP may not understand all of them or may beset, for very good reasons, to ignore them, ‘Late binding’ is aterm nsed to describe last-minute changes made within PostScript files while they are in the RTP, such as adding trapping and imposition information. Files that are ‘RIP friendly’ will be processed faster, and in some cases ~ particularly where you have an ongoing relationship with a bureau or printer ~ this may help keep reprographic charges low, For instance, ifyou use Photoshop to prepare bitinaps of che required size and orientation, rather than scaling and rotating in your DTP software, the pages will RIP faster. This must be balanced against the extra work for you and the flexibility you may be giving up. More importants the need to supply files that will go through the RIP without errors. Not all image formats that can be imported into QuarkXPress or InDesign can be reliably ripped, The best format will depend on your bureau or printers equipment, but will usually be EPS (encapsulated PostScript) or TIFF, pre-convereed to CMYK rather than RGB. cslous. The ubiquitous JPEG format is not well suited to press work, although JPEG compression can now be applied within ind TIFF files, and will be correctly handled by many IPs, TIFF files with LZW compression retain fall image duality (unlike JPR ‘but as with JPEGs the compression wil take extra time to rip. 35) while saving considerable file space, 26 slow: Abureauis no lngor a0 ‘hn but may til be request reduce high-quality sans. age {ayaus storedlternthenatve format ofa stanéars OTP package corsePOF lesen sent delly ‘wom designer toprinerand cuttin, iret tom or aga press whout any further fn) When using a digital press, however, you may be asked to leave images in RGB format, and high-quality JPEG files may work fine. Artention should also be paid tothe ‘widths of ines end rues, Strokes set to “sirline’ or ess than 0.25 pe may print much Finer than you expect, or may disappear on press, as may tints of less than 5%, DELIVERING THE GooDS IF you and your printer both have broadband Internet, many documents can be emailed, transferred via FTP (file transfer protocol), or exchanged using Apple’ iDisk facility. Larger files can be couriered or posted on recordable CD or DVD, or proprietary disk formats such as Zip or REY. High-volume users may considera subseription-based digital delivery service such as WAMENET. For electron transmission, files should be compressed using a program such as Allume Stuffcon the Mac or WinZip ‘on the PC. These utilities allow a folder ‘containing all the relevant files tobe quickly compressed, typically to around halfits actual ‘ine, thas potentially reducing transmission time. Zip format (unrelated to Zip disks) is ‘usual for PC users, Stile (sit) for Macs,SCREEN TO PROOF 2 Adobe introduced the PDF (Portable Document Format) as a universal file type for transmitting and printing business documents. Itis now the standard format for distributing cross-platform manuals, technical drawings, marketing information, and proofs, PDF has b future of prepress, eliminating film, plates, and repro bureaux. THE FUTURE OF DIGITAL WORKFLOW PDFs secondary file format, created from other files Instead of sending separate page layout, font, and image files to the flmsetter, designers are able to se all these files t0, create asingle PDF document file. The total filesize is much sinaller, making ie quicker wo transfer electronically, and can be ouiput to any proofing device and eventually run on any press. However, there are hazards that inhibit eis perfect scenario. Irisall to eas, for example, olet unconverted RGB images slip through tothe final ile, resulting in a monochrome image when the printer tips the Sie. There are options for automaticaly converting images to CMYK, but these can also produce unpredictable results. Designers may negleet to ‘embed all the necessary fonts, oF may se the wrong image compression options, resulting in poor-quality output. Afer being left out of esrly PDF specifications, rapping and overprints can now be correctly handled, but notall RIPs are up co date. “To realize the dream of blind exchange’ - designers sending PDFs to press without any need to thrash out problems with the printer ~a number of standards have been agreed and incorporated into PDF ereation sofiwate, These 10 parton. suas bore: AltAdobe's rapes plications supperteret envrsonts POF. Other software through Acrobat ister, though Youray tilbe aleto tte his process withoneclck POFS canbe Suture trem Dusen, tnd MacuserscanoutpitPOFe feature ulin Mac 05x, although th evel ofcontatis nt realy sutient for rape work Thedistiing process isalmost ‘ake minutes tor large documents een heralded as the key to the include PDP/X-La, which demands that certain items mast be ineladed in the file— such as fonts, images, and essential specifications lke trim and bleed —and prohibits others chat enuld cause errors. In short itpre-empes many ofthe problems identified in the previous pages. On the other hand, PDF/X-Ia also prohibits ICC colour management (ee page 194), which isitselfa valuable tool for ensuring printed pages appear as you intended! As time goes by, more and better PDF standards wll be established, but an equally useful approach is for your printer vo supply its own preferred PDF specification for you to ‘work to. This isthe method adopted by some Internet-based print services, whieh offer low prices on prinejbs on the basis that you, the client, will prepare and submit PDF files ready to run, Despite the potential pital, the results usally curn out fine.PROOFING Only the designer knows how he or she expects the final printed product tolook. ‘The proofis the last opportunity to check for text errors, misalignment, and colour problems, and. itis ultimately the designer's responsibility to clear it, or most ofthe history of desktop publishing, typically done from fil, using plastic laminate systems such as Matchprine and Gromalin, often ealed dry proofs’. Coloured proofing was powders or pre-coated sheets matching the process colours are exposed using filters and laminated together onto white paper. Although dry proof can only pprosimate press outpat, they are accurate enough tobe used as contract prob to which press ovtpot shouldbe matched, These types of proofare expensive, butcheaperthan wet proof produced on flatbed proofing press, Wee proofing has the advantage thatthe actual paper stock selected forthe job ean be used for the proof Over the past ew years, digital colour management and inkjet technology have made it posible to generate accurate proofs quiekly and at low enst, Options range from desktop proofers with built-in RIPs, from under $1000, ‘through solutions based on similar hardware wih advanced IPS, to high-end packages such as Creo’ Vers, Bureau produce! snkjet prootsare someumes referred to a5 ‘Iris' proofs after an early ‘brand-name soltion, but there are now dozens of options. The quality of the RIP is acleastas importants thatof the hardware ‘connected to it base inkjet printers though they my offer high resolutions and impressive photo printing, rarely even support PostSesp, meaning that page layouts are output quite dilferently fom the prepress coin, if they cin he output a ll youinvestina proof ; lear how the system works and make sure your workflow is properly colour managed (see page 194). You «an then feel confident in taking the proofasa reliable guide, znd making changes colours ‘be mailed, the weight of the stock will affect dhe cost of postage. (Of course, budget may als limi the choice of paper. ‘Your spending power can be maximized by choosing the size and format wisely taking into account the sizes of paper the printer can use so that costly wastage can be avoided. Paper is manufactured in Aand B sizes according to an international standard based on the ratio 192 (the ratio ‘maintained when sheets are folded in half. IFpossible, your document showld be designed to fit within a standard size. Remember to consule the printer and allow for any bleeds and orsulficient free “gripper edge as requited by the press. Ifthe brief calls fora special finish, such 2s varnish or lamination, the printer will advise on suitable stock: Do not overspecify: it is not necessary to use ¢ gloss stock if you are adding a gloss varnish ‘Types of binding may be influenced by direction of grain (the ‘way the fibres lie), s0 prior consultation is important. ‘You or the client may also have strong views on the environmental impact ofthe chosen stock. An increasingly atersctive range and quality of recycled papers is available; new paper from sustainable forests another option. Even recycled papers are often bleached with chlorine, releasing extremely harmful by-products. But many papers are now ‘chlorine-free’. "The printer should beable to supply sample books from paper merchants and mills. [risa good idea to build a library of these some are inspirational works of design in their own right 80 pron. sutace deneten ght. Mage Paper iene pect tei prodct with stone se of prin techniques, de cuting and binding, clverty om_ CASE HISTORY LIVING IN THE CITY “The Architecture Foundation andthe Design Museum reared a number of printed graphic elemento both promote the exhibition and explain the architectural, anceps proposed by the winning ents, “The designer was brief to produce the exibition phic scompanied by promodena pose, advertising, 2nd various invitations to openings ad private views. The inal bee algo incnded eatlogue However, tthe resus he competion ative from the lnternational architec prt beac apparent tat amore brat Publction would be required, anda book waspropoed. Ble: Paetayes gragesin ‘Although theeaiition was fnded throogh Ort Text was nated sponsorship supplied by basins and hare ut, the ‘meme erro Durdget was imited, preduding the we ofa photorpher or ‘Sus aeons ceapensie production methods The gaphieand exibition cnvrtatogHYKTEY Res desiqers worked closely to ensure the graphic clements pr tpeatianngonthepone. would complement both the display stands and the exhibits [An architectural sheet pasticmateri ws employed 0 crete the stands themselves, and itwas decided owe dis theme as 1 bas forthe raphe inagery. ‘The materials tranducen and igh coloured Cont and pracy ued out the we of the ctl materi san inert binding concep Instead, the designer sed a Giga camera to create cse-p images of the mater wing light and reflection for architectural ee. To adda farther level of wanspareny, the bok was covered with tracing paper ‘wrap simply printed in one colour, The tracing element was slko bound into the publication to create section divisions. Tewas deemed part ofthe designer’ brief eo liaise with re-sampled to TIFF oF EI 30(dpi CMYK files suitable for printing. Text ‘was supplied a a digital word-processing file by email and run into the page layouts. The pages were designed entirely on screen and frst stage proofs created as PDF files. A set of hard-copy page proofs were also supplied the client to ensure the fel” was balanced and the weights of eype sympathetic to the design. Aer final corrections were taken in, the digital files were sent on disk to the lithographic printer based in Belgium The printer ran the files to plate and supplied page proofs so the designer could check there were no file errors or incompatbiliies chat might cause poor-quality imagery, or font conflicts. the architects wordwide to collect the illustrative content of the book. These included digital photographs of architectural ‘models, drawings, and three-dimensional renderings. As the time-scale was critical, electronic transmission had to be ‘employed to collate these elements from all points of the lobe, The images were supplied in a numberof different formats, fle types, and resolutions. Mest were compressed. as JPEGs to speed transmission. Allthe images had to be 8 pron. satac tien3 z A 102.02 he practices of advertisingfcorporate identity and branding cut across cotter sections inthis book, pt he profession of advertising has a distinct character that connects it obely with corporat identity and branding ut seis it apart rom other firms of visual and commercial practice, "Ths section iherelore looks at advertising, branding, and corporate Sdentity together, Athough they usedtohe billed as separate practices ‘hat incorporated graphic expertise, the nee aspects became more interconnected, as matimedia agencies, developed in te 1990s, were able to mix graphic and advertising sks and to take on entize promotional projec. Essentially, advertising aims to produce a campaign —a strategic though! voiced in cflerent ways to surprise, delight, and inform people Like advertising, corporate identity aims to coordinate the {nerpretation ofa product or service wih a distinct visual or verbal ‘look by which it can be recognized, Branding became prominentin the 1990s PART 02. SURFACE DESIEN ‘wit the rise of multinational companies that wanted to extend their promotions oulsde the normal territories of conventional advertising. Before any other quality all three areas recpire ideas 10 be expressed with absolute clarity. THE SIGNIFICANCE OF ADVERTISING IN CONSUMER SOCIETY Imeach area, graphic design skils are essential, Branding and corporate identity require typographers to craft letierlorms and distinguish brand character; and computer: skiled graphic designers o coordinate the connections betwen all graphic elements, format material for printers (ondisk and over the Internet), and define rules that govern, the graphice applleationo cilferent media. In advertising, 1 graphic designer's sense of organizations essential in order to ensue the flow of information and consistency of, ‘teatment, Word-based advertisements depend on skilled and sensitive typography. Most significantly establishing, a brond and developing its corporate dentiy in an advertising campaign demands graphics expertise, DESIGN FOR ADVERTISING Opposite stove Ths Coke campaign dv an th beans famousmarquelectiely reminding the viewer oft tstablihed amt and Ugueness The ar rection frown the brand's pre-enisting chiraimagery which lasts ‘hesirengths ofl image ‘manipulation scanning, eesti {egmenting, ndenhanc) Let This reli ona ght relsioncip between the ort leecton ad copy. The forgniation of ops our ‘densiy, ane pcre space has ‘bon careful arranged wt the shops nd eight oh eet. Note the itn! iu sje ond placement of rand name aoe. Thesereinfrce the bandineme organized while the message arial identity. ‘rust be punchy ansuccinet Buckworth Fon Grobb Waters UK Rainey Kal UK pposte blow: nits tecatlon bilboard nastobe striking, uk Understood an eas oassolte seh the prodct or brand The loyoutherforemastbe clearlyY= ota ont (Haale| | SPECIALIST PEOPLE Within the set-up of amedia advertising agency there is typically a creative team that shapes the campaign and feeds ideas to graphic designers and typographers. Designers are usually called when ideas need to be presented at pitches, at review s of campaign development varies between agenci CREATIVES “The creative departments made up of art directors, who construct the artwork, and copywriters, who determine the use and wording of copy. Both are answerable to creative directors, ‘who control the averll direction of eampaigns with Financial snd planning directors. Ardirectors and copywriters often ‘work asa team, an approach that emerged from New Yorks “Madison Avenue in the 1960s ll three ereative jobs require graphic design taining, and it is with the creative department ~ usually called ‘the creatives’ ~that graphic designers, ‘ypographers, and brand-design specialists work most closely. ‘The input required from graphic designers centres on turning rough ideas inthe form of seamps (ee page 95) into finished digital artwork that brings together all elements ~ "ype, image, and corporate branding. Images can be developed digitally and sen va email. Graphic designers need to ensure thatthe campaign appears consistent with the other spplicatons of branding and corporate identity FACILITATORS ‘The media campaign is usually connected to, and co- cordinated with, other areas of brand-buildng, such as price promotions and more targeted direct advertising, This is ‘sually negotiated with the client’ own marketing department and the project management team, which consists of the ‘ereative director along with planners, who translate the clienes needs into the eretives’ brief, and account handlers, who control the finances ofa campaign. In all aspects of advertising freelance work, graphic designers ae likely to come into contact with facilitators (often called suits), who employ typographers, illustrators, animators, computer graphic layoue specialises, and production specialists on a project basis. Graphic designers are also likely co come into contact with projet time-planners (called “raf; their job {sto ensure chat deadlines are met. Medlia-space buyers negotiate with billboard site owners, press, and other media ‘owners to organize che placements of advertisement. Tn some 86 rte. utc esas ‘ages and for final artwork. The precise nature but one would broadly expect to find the following: cases, specific advertising sites require designers to tsilor chee artwork at short notice in liaison with the media-space planning team Graphic expertise is usvally introduced when the creative direetion has been agreed, although the brief on which designers work tends to he established early inthe process, Increasingly, because brand- marketing divectors move jobs frequently,