DiMarco J. Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques

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ChaptEr 4 Conceptualization and Planning 113

Books cover all communication goals: to inform, persuade, educate, and

entertain. This book’s goal, for example, is to educate. Book covers and spines,

page layouts and spreads, and interior illustrations and photography are all

components that digital designers conceptualize, plan, and produce when they

design books. Manuals, handbooks, and directories are also types of books.

Typical sizes:

Perfect bound (glued spine) books: 4 × 6″, 5 × 7″, 7.5 × 9.25″, 7 × 10″, 8 × 10″,

8.5 × 11″

Figure4-9 Various book jackets designed by Angus Hyland (top) and a book cover

and spread designed by Kit Hinrichs (bottom).

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PART ONE Theory and Principles114

Brochures and Collateral

Brochures and collateral materials present information in one to several pages

and include folded brochures, booklets (little books), and yers (small posters).

Brochures are used by organizations to describe who they are, what they do,

and how they do it. They are most often used to persuade or inform. For exam-

ple, a yer might be used to announce an event location or to sell a product. A

brochure must have high readability: it should be attractive and hook the reader

with strong type and/or thought-provoking images.

Typical sizes:

Brochures:

Classic: 8.5 × 11″ or 8.5 × 14″, folded to t in a No. 10 business envelope

Flyers: 8.5 × 11″

Booklets:

Full size: 11 × 17″ folded to 8.5 × 11″ saddle stitched (stapled)

Half size: 8.5 × 11″ folded to 5.5 × 8.5″ saddle stitched

Any size using a spiral or comb binding

Figure4-10. P o r t f o l i o

brochure in the form

of a small booklet with

spiral binding. Design

by Kristen Crawford.

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ChaptEr 4 Conceptualization and Planning 115

Calendars

Calendar creation combines text styles and (usually) images to generate a

useful tool that has a perceived shelf life. The calendar is used for persuasion

in advertising and also for entertainment, as with thematic products such as

swimsuit calendars or dog breed calendars. Calendars must have both high

readability and high legibility in order to attract consumers and provide an accu-

rate table of days in each month. Grids are a main feature of calendar design.

Typical sizes:

Wall calendars: 11 × 8.5″

Desk calendars: various sizes

Figure4-11 Pop-up desk calendars. Design by Turnstyle.

Catalogs

Catalogs are tools whose focus is selling products. The catalog uses grids to

arrange products by categories and provide indexes and images that allow read-

ers to skim the catalog to nd what they want more quickly. Although used for

persuasion, catalogs rely on strong information design to organize and present

large quantities of product data.

Typical size:

8.5 × 11″, with multiple pages saddle stitched, or perfect or spiral bound

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PART ONE Theory and Principles116

Figure4-12 Laurence King catalog cover and spread. Design by Angus Hyland.

Direct Mail and Direct Response

Direct mail pieces are brochures of varying sizes, sometimes sent with a sales

letter. They always contain a panel for the customer’s address. Direct response

pieces are a form of direct mail that includes business reply cards or tear-off

panels. The goal of direct mail and direct response pieces is persuasion; they are

used frequently for sales, advertising, and promotions.

Environmental Graphics

Environmental graphics provide the visual aspects of waynding, using

information design to communicate brand identity or to shape a sense of place.

Environmental graphic designers create exhibits and themed environments,

architectural graphics, signage, entertainment environments, retail and store

design, and information design, including maps (Society for Environmental

Graphic Design 2009). Environmental graphics are used to inform (waynding

signs), persuade (retail stores), educate (museums), and entertain (casinos and

stadiums).

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ChaptEr 4 Conceptualization and Planning 117

Figure4-13 H a l l o w -

een direct mail piece

promoting Turnstyle, a

Seattle-based graphic

design rm. Design by

Turnstyle.

Figure4-14 S e a t t l e

University Redhawks

environmental graphics.

Design by Turnstyle.

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PART ONE Theory and Principles118

Internet Design

The Internet is an interconnected network of computers that forms the World

Wide Web, which enables all users of the Internet to share information digitally.

Web designers create Web pages that are linked to form Web sites, as well as

online advertisements and banners and animation and motion graphics. The

Web’s technical specications present possibilities—and limitations—different

from those of print design. Web design is used in achieving all types of commu-

nication goals.

Typical sizes:

Web pages: 800 × 600 pixels, 1024 × 768 pixels, or a custom size.

Animations: 320 × 240 pixels, 640 × 480 pixels, 720 × 486 pixels

Online advertisements: 728 × 90 pixels (leaderboard), 300 × 250 pixels

(square), 160 × 600 pixels Skyscraper, 120 × 240 (small skyscraper)

Web pages, animations, and online ads can be various sizes.

Figure4-15a Singer Kelly Rowland’s Web site. Design by Tommy Spero.

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ChaptEr 4 Conceptualization and Planning 119

Figure4-15b AIGA Web site page. Design by Kind Company.

Letterhead and Stationery (Corporate Identity)

A company’s or a person’s letterhead consists of a logo, name, address, tele-

phone number, fax number, e-mail address, and Web site address, or URL (uni-

versal or uniform resource locator). Stationery includes envelopes and business

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PART ONE Theory and Principles120

cards. Because consistency is critical to corporate identity, which is the visual

representation of the organization driven by design, all pieces share the same

concept. The letterhead and stationery are used to inform.

Typical sizes:

Letterhead: 8.5 × 11″

Business card: 3.5 × 2″

No. 10 envelopes: 4.125 × 9.75″

Mailing envelopes: 6 × 9” or 9 × 12″

Figure4-16 Turnstyle letterhead and stationery. Design by Turnstyle.

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ChaptEr 4 Conceptualization and Planning 121

Logos

Logos are symbols that represent a company or brand. They are vehicles of persua-

sion created by designers using illustration and typography techniques. Designer

Milton Glaser said “a logo is an entry point to the brand” (Wheeler 2003, 4–6). A

logo is a symbol with distinctive visual form that triggers sensual or rational percep-

tion and encourages meaning in the consumer. Simplicity is the key to logo design,

so that recognition is effortless. The brand is the meaning of the organization and

provides the nucleus for all communication designs within an organization.

A logo should be able to t comfortably on both a 3.5 × 2″ business card and

(scaled up to a much larger size) on the side of a building. Put another way, logos

must be clearly visible at 1 × 1″ and at 100 × 100′. They are typically designed in a

vector application such as Adobe Illustrator so the le is scalable to any size.

(a)

(c)

(l)

(i)

(j)

(h)

(k)

(e)

(d)

(f)

(g)

(b)

Figures4-17,a–k

Logos. Designs by

Milton Glaser (a, b),

John DiMarco (c, g),

Turnstyle Studio (d),

Stefan Sagmeister

(e), Tommy Spero (f),

Michael Gericke (h),

Paula Scher (i, k),

Justus Oehler (j).

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PART ONE Theory and Principles122

Newsletters

Newsletters cover a variety of topics and carry information to special reader-

ships, such as employees, customers, or members of an association. A newslet-

ter is usually eight pages or fewer and combines text and graphics in a format

that can be read quickly. Newsletters can also be electronic and distributed on

the Web. E-newsletters are comprised mostly of text and also use an easy-to-

read format, with short articles and bullet lists. The newsletter is used for infor-

mation, education, and persuasion.

Typical size:

11 × 17″ folded to 8.5 × 11″

A multiple-page newsletter would usually be saddle stitched.

Figure4-18 Alumni

newsletter. Design by

John DiMarco

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