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#21 (permalink) |
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Award Winning™
Join Date: Mar 2003
Posts: 14,586
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can i suggest just one little thing and dont go off on one Stick to facts - some of the suggestions are design choices and that can become subjective. (example - addresses above - I could show 4 better ways that are design choices as opposed to grid layout). but crackign stuff mate - next chapter! |
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#22 (permalink) | |
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Something
Join Date: Jan 2008
Posts: 7,177
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Quote:
Thats fine - I completely accept that. I know i am putting myself out there for criticism and I know theres ppl on this forum that know more than i do so Im not trying to say this is all gospel, its just things that i have obseved really. Feel free to correct me, Im sure theres stuff you could put out there that ppl, myself included could learn from. |
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#24 (permalink) |
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Something
Join Date: Jan 2008
Posts: 7,177
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STRAIT LINES & "SWISS LOOK" Going on from my last example of reinforcing the structure and underlying grid, I'll show you another way of creating a hard let adge favoured by the swiss. As mik rightly points out, this isnt a definative way of doing things and is a design choice, but it's no bad thing to try an emulate some of the swiss stuff out there. once you got all this under your belt then you can go off in whatever direction you like. going back to what i was saying, the page edge itself can be used as another device for creating hard vertical lines and strict structure to your design. ![]() The first is a design i did for a paper sample, the second a popular tshirt design using the infamous helvetica. What i have done is created relatively small margins for the top and left hand edges of the page then set the type hard up to those edges in favour of the strait uniform look. This wont be suitable for many designs especially books where text would dissapear into the spine. i would only reccomend using this on stand alone pages where its not important to have good clearence of the edge. |
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#25 (permalink) | |
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Something
Join Date: Jan 2008
Posts: 7,177
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Quote:
but..but..but i'll have to re-create everything then. Besides akkurat is the new helvetica |
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#30 (permalink) |
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Something
Join Date: Jan 2008
Posts: 7,177
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GRID EXAMPLE - LETTERHEAD CONSTRUCTION Being a designer its good to know how to create one of the most basic documents, The Letterhead. I have used a modular grid to create this, I'm not going to go into too much detail on this there is already some brilliant books and tutorials on grid creation. What we have is an 8 column grid which is further divided into 12 rows giving us 96 grid units in total. Which gives plenty of scope for numerous different text layouts. What you need to remember with the a letterhead is that your sender information, thats your name, your logo and your address should occupy the top third of the a4 sheet. This is so that when it folds down into a DL envelope, you have the address and logo fitting neatly within the top folded portion of the page. The bulk of the letter, the letter content should go in the lower 2 thirds of the A4 sheet. Some letterhead designs will also put the recipient info in the top third. Theres no hard and fast rules on this, be creative! What you will notice as well is that i have used a text measure or line length on the letter content which is consistent with the ideas that I showed in the other earlier bit. So the copy is comfortable length and makes for an easy read. |
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#31 (permalink) | |
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Something
Join Date: Jan 2008
Posts: 7,177
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Quote:
Yeah i'll have a go at this in a bit **awkward - paragraph shouldnt go to right hand side margin. Do you mean I should have left a larger margin to the right? |
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#33 (permalink) | |
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Something
Join Date: Jan 2008
Posts: 7,177
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Quote:
Right - i see. Yeah that makes sense. There seems to be a lot of companies that don't bother with binding edge, does need to be considered though. |
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#37 (permalink) |
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Something
Join Date: Jan 2008
Posts: 7,177
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GRIDS & MARGINS Margins on printed publications are a really important and often overlooked aspect of design. "Just as every problem is novel and different from others, so the grid must be concieved afresh every time so as to meet requirements." "Along with the depth and width of the type area and size of the typeface, the volume of the text and the number of pages must be taken into account. If there is a great deal of text to be accomodated on a few pages, there will have to be as larger type area as possible with relatively narrow margins and a comparitively small typeface" Muller-brockmann ![]() ![]() If you take the example of the 2 pages spreads above i have constructed the grid of relatively narrow margins to accomodate large volumes of text. This was also possible because the document was to consist of few pages, so it would effectively lie flat meaning that text close to the spine would not be dissapearing. The bulk of the copy has been set over a third or the wy down the page in this case, had it of been set closer to the titling at the top it would have had a top heavy effect with the text appearing to rise off the top of the page. ![]() Note how on this second images the margins are much more generous. I have taken the dimensions directly from I technical manual that I own. The book is over 300 pages in length and is quite thick in volume. So given the thickness and the overall quantity of text it becomes a functional necessity to use larger page margins. The book can be gripped from either edge and held without obscuring the text and also the inner margin is such that the text does not dissapear into the spine. Going back to what is said in the quote at the beginning, no publication will be exactly the same so its important to start afresh and be practically minded when constructing your format and page margins. TOP TIP Whatever you produce will eventually result in a physical item, so always print out at the layout stage so that you can examine whether your publication is working proportionally, you can't tell this on screen!!! Last edited by CharmingMan : 17-12-2008 at 13:10. |
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