Logo

Logo’s are meant to represent companies’ brands or corporate identities and encourage their immediate customer recognition.

Designing a good logo requires involvement from marketing and the design team. It needs clear idea about the concept and value of brand and also understanding the consumer.

Any Logo must:

    Communication Meaning
    Express clean Voice
    Communicate and essence
    Be Engaging
    Be Unique
    Differentiate the brand, social cause organization or company in the mind of the viewer.
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I want my Hat Back-Jon Klassen

Story summary:
The bear’s hat is gone, and he wants it back. Patiently he asks the animals he comes across, one by one, whether they have seen it. Each animal says no, some more elaborately than others. But just as the bear begins to despond, a deer comes by and asks a simple question that sparks the bear’s memory and renews his search with a vengeance.

Jon Klassen, the author and illustrator has illustrated other books like Cat’s Night out. The artwork has a watercolor look to it but are created digitally and in chinese ink in muted browns and red palette, and the expression’s of the bear are expressed just through the eyes. The typeface color matches the animal the bear is talking to.When the animals are talking to each other their eyes faces the reader which makes a funny look.

The story is in dialogue (very little) . The bear visits various animals to see if they’ve seen his hat. He (and all of the animals) tend to have this very little expression the whole time, which gives the book a slow tone, until the bear remembers where he’s seen his hat. The large silhouettes are contrasted with delicate foliage beneath each page. The use of white space also makes the illustrations look good.

The things that i like the most: the pacing of the story, the humor, the use of minimum color palette, the thick paper, the funny ending and the scene where the bear runs to the left to backtrack the story.
Children will recognize, the lies and excuses in “I Want My Hat Back,”, and this will make them want the book read aloud again and again.

Following are two of the full spreads which I think work amazingly.

Bear is sad and lonely without his hat. He is sad that he cannot find his hat ever again.
the bear runs to the left of the page to backtrack after he realizes that he saw his hat before.

Grid-1

A grid breaks space or time into regular units.

Typography grids are all about control. They establish a system for arranging content within the space of page, screen, or built environment. An effective grid us not a formula but a flexible and resilient structure.

Typogeaphy is an art of framing, a form designed to melt away as it yields itself to content.

Typography is mostly an act of dividing a limited surface– Willi Baumeister.

The new typography not only contests the classical framework but also the whole principle of symmetry-Paul Renner.

Type Terminology

Accent Marks:  Examples Acute, Asciltilde, Breve, Caron, Cedilia, Circumflex, Dieresls, Dotaccent, Grave, Hungarumlaut, Macron, Ogonek, Ring, Tilde

Ascender Height: Officially the distance from the top of the lowercase x to the top of lowercase letters with ascenders like f,d or k.

Baseline: Seems pretty obvious-it’s the line on which letters stand.

Dipthong: Ligature formed by two vowels coming together to form one character

Ear: Little boxes of type on either side of a newspaper or magazine title. Often contain the weather or inside previews.

Face: Surface of a letter that gets inked.

Folio: The page number in a document. The blind folio is a page with no number. Drop folio is when the numbers appears at the bottom of the page.

Hairline: The smallest available rule in any system. Technically 1/2 point.

Inline: Starts at the edge of a letter and goes in.

Outline: Starts at the same edge and goes out from the letter.

Online: Half in Half out.

Flush left same as ragged right.

Flush right ragged left.

Flush left and right will get you justified columns.

Kerning: Adjusting of space between letters (particularly those that don’t fit together well) to make for better looking words. But that’s a little like saying you band on piano keys to make music.
Its an art that you are either born with or you master after years of painstaking practice.

Ligature: When two letters are combined to form one, like in fi or fl. But did you know that all type that is connected such as most scripts is said to be ligated.

Metrics: All of the information about how a font fits together, like kerning information and character widths.

Oblique: Roman type that has been artificially slanted to look italic.

Parts of letter:

Apex: The point where two diagonal strokes meet as in the top of the uppercase A or M

Arm: Horizontal strokes on letters like T or E

Bar: The cross horizontal piece connecting two strokes.

Beak: A serif at the end of a horizontal stroke.

Bowl: Round parts of letters like P, B and the upper part of g.

Counter: The enclosed part of a letter such as the P or p

Ear: The little part that sticks out to the right of the lowercase g.

Eye: The enclosed part of the lowercase.

Link: The connecting line of a lowercase g between the loop and the upper bowl.

Loop: The lower part of the g, also call the tail.

Serif: The fine line finishing off the end of the stroke.

Spur: The little stick out part of some letters like G or t.

Stress: The implied angle between the thinnest parts of curved letter. Point of maximum stress is the thickest part of the curved letters like O or D

Tail: A stroke extending below the baseline, like the lowercase j or uppercase Q. Sometimes called leg.

Vertex: Where two downward diagonal strokes cross, as in an M or W.

Pillcrow: Paragraph symbol.

Pixel: Smallest point displayed on a computer screen.

Sans Serif: Without sans. Type of this sort called grotesque or gothic.

x-height: The height of the lowercase x. Referred as mean line.

Package Design

Every aspect of graphic design – logo development, type selection, illustration, color and format are used in creating a successful package design.
A Package does a lot more than just house a product. The package represents the company or individual who has created the product. It’s like wearing clothes, the clothes keeps you warm but they also show the world your sense of style.  The clothes you select can say a lot about you as an individual. The same is true with packaging. The package not only protects and informs, but the look of the package demonstrates style  – and style implies a lot in out culture.

We draw conclusions about a product, manufacturer, or service by the way their materials look. Therefore, when designing a package, like designing anything, keep in mind who the audience might be. The look of the design should reflect the tone of the product and the audience who will be shopping for the product.

While working on a package design, few things to consider:
1. Research your audience. Who is the “target”? The design should be appropriate for your audience.
2. Research the competition. The product will be competing with other like products, so spend time looking at what the competition is doing. Study their product on the shelf.
3. Research materials and construction.
4. The goal is to express the spirit or personality of the product and manufacturer.
5. Identify/ display clearly the manufacturer, product name, contents, weight and other pertinent information.
6. The package probably needs to fit into a larger system of products. The design might also need to work with a larger visual identity system.
7. The design is clear and legible.
8. Make sure the package is suitable for the product, that the spot really works, the product can easily be taken out of the package without being crushed.
9. The package will probably be seen in multiples on the shelf. 

Typeface for text

What’s the right typeface for text? How to choose a typeface for clear,easy reading over long distances.

Text type is more common than any other. Text makes up the acres of gray in books, magazines, repots and hundreds of other documents. When reading is the primary goal, its the designer’s job to ensure that the text is smooth, flowing and pleasant to read. The hallmarks of good text type are legibility and readability.

Legibility refers to clarity, its how readily one letter can be distinguished from all others.
Readability refers to how well letters interact to compose words, sentences and paragraphs.
When evaluating the choices, the operative word is medium.

1. Pick a typeface with similar character widths:
    For smoother appearance, an alphabet’s characters should have similar widths. Reading has a natural rhythm; an alphabet such as Futura with widely varying character widths disrupts it.

2. Medium height-to-width ratio:
    We identify letters by their physical characteristics-stems, bars, loops, curves and so on; the clearer they are the more legible the letter. As letters are compressed, these features get distorted-diagonal strokes, for example, become quite vertical-and so are harder to identify.

3. Medium x-height:
    The x-height of a typestyle is the height of its lowercase characters. The larger the x-height, the denser the type will appear. You want medium; unusually tall or short x-heights are better suited for specialty projects.

4. Look for small variations in stroke weight:
    The best text faces have stroke weights that vary somewhat, which make converging lines that help the eye flow smoothly. But avoid extremes. Modern styles vary too much, at high resolution their beautiful, super thin strokes disappear in a dazzle. Sleek geometric styles vary little or not at all, so are too uniform.

5. Watch out for mirrors:
     Geometric typestyles are so uniform that their letters are often mirror images. For text, this is not idea- the more distinct each letter is, the more legible whole words will be. Look for typestyles that don’t mirror.

6. Avoid overlarge counters:
    Counters are the enclosed spaces inside letters. Avoid typestyles whose counters are very large in relation to the stroke weight. In the case of Avant Garde, note how much greater the space inside the letters is than the space outside!

7. Avoid quirkiness:
    Typographic sprites are fun to look at and great for heads, but in text they wear out their welcome fast.
 
    

The Grid

A Modular system for the design and production of newspapers, magazines and books- Allen Hurlburt

A grid consists of a distinct set of alignment- based relationships that act as guides for distributing elements across a format. Every grid contains the same basic parts, no matter how complex the grid becomes. Each part fulfills a specific function; the parts can be combines as needed or omitted from the overall structure at the designers discretion, depending on how they interpret the informational requirement of the material.

Working with a grid depends on two phases of development. First phase the designers attempts to assess the informational characteristics and the production requirements of the content. The second phase consist of laying out the material according to the guidelines established by the grid.
Every design problem is different and requires a grid structure that addresses its particular elements.

Column Grid
Manuscript Grid
Hierarchical Grid
Modular Grid

 Leonardo’s classic drawing (left) established the basic symmetry of     
 the square – the principal form of the orthodox grid

       

     
   
       
       
       
       
       
       
Basic forms are often found in painting (Right) by Piet Mondrian

This includes eight golden rectangle in a Fibonacci series positioned to create logarithmic spiral. 

Design Basics

Balance: Refers to arrangement of the various elements within your layout. 

Formal Balance: All elements are centered within the layout. This creates a restrained, conservative look. Its a good choice for designs that must imply dignity, strength and dependability. Formal balance limits how you can position elements. It should not limit your imagination in how you arrange text, art, and white space on the page.

Informal Balance: Offers a great range of positioning, things don’t have to be perfectly centered. You can use elements of different sizes, shapes and contrast. Also you can vary their positions relative to the center of the layout. It creates a more casual, relaxed feel in your design.

Proportion: It can be considered in two ways, relative to the shape of the page or to the size of elements inside a layout. 

When considering the size relationship of elements within a layout, try not to have everything the same size. By using unequal divisions of space within a layout of the elements of different sizes, you attract attention and create reader interest.

Dominance: All forms of good graphic communications place emphasis on some portion of the message. 

Its the designer’s responsibility to help the reader know what’s most important on the page and steer them toward it. It captures reader’s attention and adds interest to the page. Dominance can also be created through the use of color. The dominant element should cover at least two-thirds of the layout. We have to keep in mind that in addition to capturing attention, the dominant element must also direct the reader into the copy.

Opposition: By using contrasting directions for elements within the layout, you create excitement and motion. 

Create it by pitting a series of horizontals against a series of verticals. Tilted object with a sense of movement can be very effective in attracting attention when set against static horizontal or vertical elements.
It can also be created by playing black against white and simply by setting a large, involved image against a relatively open area.

Unity : Its one of the most underused principles of design in desktop publishing.  For a layout to have a cohesive look, elements on a page should related to each other, else the design falls apart. 


Its achieved in following ways, either used individually or in combination.
Group related elements together, keeping a minimum or at least equal amounts of white space between related elements. Then, between that group and the next, white space is increased.
Overlap one element with another.
Rules and borers can be used to unify an entire layout. They also can unity individual groups of related elements.
White space can be used as framing device to focus attention. Group the related elements closely together then leave a noticeable amount of white space around the elements. 

Effective Catalog

10 Tips for creating an effective catalog

1. Make sure your catalog reflects your brand identity.
2. Don’t take square-inch analyses too literally.
3. Think in terms of the whole, not the pieces.
4. Know your customer.
5. Don’t look upon feature copes as lost selling space.
6. The most expensive product doesn’t have to be the biggest object on the page.
7. Avoid making pages overly complex.
8. Don’t rely on supplied photographs.
9. Include an order form.
10. Don’t sacrifice production value.