With well-formatted headlines
Design must convey a message that is received before the words are read
Set you apart from competition
Design provides a framework for navigating the message. Use headlines, subheads, pull-quotes and sidebars. Break down long pieces of text into chunks for easier consumption.
Some ideas are more important than others so use emphasis but sparingly.
Text should be easy to read with sensible choice of font, size, case, style and spacing of words and lines. Reading often involves skimming, looking for key words, phrases and messages without reading every word and syllable as if out loud. The eye moves quickly from left to right (in western scripts) and anything that blocks this will discourage the reader.
Information should be obvious. Words, numbers and ideas should be concise and accessible. Words alone are not good at communicating comparisons, hierarchy or sequence. Pictures may do a much better job.
Design should speed up the process of communication, not slow it down. Use templates, styles and built-in colour schemes.
Certain colours naturally communicate the following:
Use of white space - white space can make designs easier to read, making them less cluttered and cramped.
Type faces communicate a message to readers, often unconsciously. Type face should be appropriate to the message and design and should be easy to read. Decorative fonts communicate a message in themselves.
Photographs, illustrations, cartoons, business graphics, borders, tables, backgrounds and rules (lines) all contribute to design and must be placed carefully. Be especially careful with text wrapping around graphic objects, the objects should not interfere with the ability to read the text.
Start by identifying the goals of a project. Outcomes? Actions taken? Obstacles?
What are the readers' expectations of image? Cheap or expensive? Traditional or contemporary? Friendly or professional? How interested are the readers? The less interested the readers the harder the design will have to work to grab their attention. How old are the readers? This will affect choice of type font and size.
Elements include: word count, reader clues (headlines and subheads), text elements (sentences and paragraphs).
Design must be distinct from competitors. Strong and weak points of design? Key design characteristics? Consistency in application of characteristics? Competitors' design characteristics?
How will the message be distributed? In a magazine or newspaper? By hand? How many copies?
Budgets are not limitless. You must know what you can spend and make your design accordingly.
You will have to work to get read.
Break down long messages into smaller bite-sized chunks. Use headings, subheads, sidebars and pull-quotes.
Avoid: excessive text formatting, too many graphical features (rules, borders, etc.), overuse of colour.
Keep design consistent between pages, don't flit from one design to another.
Use no more than one serif and one sans-serif font throughout a publication.
Pictures speak a thousand words! Tables, charts, time lines.
Amateurish design will make readers reject the message. The two must fit together perfectly.
Selective emphasis is important. Use typeface, size, case, style, weight, background, colour, position, indentation.
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