Graphic Communications Today

THOMSON

By William Ryan and Theodore Conover

Fourth Edition

• Australia Canoda Mexico Singapore Spa in United Kingdom United States DELMAR LEARNING

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Foreword VII Preface IX Dedicotion XIX

Chapter 1

Visual Communication The Power and Magic of Graphic Communication 2 Visual Communication: An Introduction 6 Vision: Shining Some light on the Physiology of Sight 8 Communication Models:

The Communication Process 10 Visual Communication Theory 22 Graph ics In Action 36

Chapter 2

From Cave Walls to Modern Visual

Communication

Graphic Communication Today: Connecting Post legacies 40 Design and Visualizing language through the Ages 42 Graphics in Action 65

Chapter 3

Type: The Basic Ingredient

Typography: An Overview 70 Type Function 73 A Confusion of Terms 74 Anatomy of Type 74 Type Classification and Type Graups 76 Measurement of Type 85 Type Specification 87 Important Points to Remember 101

Graphics In Action 103

Chapter 4

Crea tive Typography

Creative Roots Run Deep 106 Using Type Creatively 108 Readability Is Crucial 110 Sacred Cows Make Tantalizing Steaks 1 10 Creative Strategies: Explode Copy-Heavy Pages 124 Graphics In Action 126

Contents

Chapter 5

Design: Shaping Media Architecture

Design: Inventing Endless Solutions 130 Five Princ iples of Design: Ba lance, Proportion, Sequence,

Emphasis, and Unity 136 Design, layout, and Design Stages 156 Graphics in Action 164

Chapter 6

Color: The Wonder and Resonance

of Light

The Quest for Calor 168 Calor: A Powerful Communication Tool 178 Sight: Physical and Psychological Implications of Calor 180 Calor Terms and Reproduction 1 84 Selecting Calors for Harmony 186 Calar Strategies 188 Graphics in Action 190

Chapter 7

Art and Illustration

Il lustration: A Brief Overview 194 Commerc ial Art 202 The Role of the Illustrator 207 Info-Graphics: Presentation and Telling Stories Visually 213 Stock Art 222 Parting Shot 225 Graphics in Action 229

Chapter 8

Photography: The Magic of Light Writing

light, Camera, Magic 232 Documentary Photography: Truth with an Agenda 232 Photoiournalism: Telling Stories Visually 240 Sports Photography: Capturing Images on the Fly 251 Composition: Structuring the Photographic Image 261 The Moving image 272

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Commercial Work:

Persuasive Photography in Media 275 Techn ical Issues of Printing Photography 286 Captions: Fleshing out Ihe Image and its Relevance, Details, and Message 289

Graphics in Action 292

Chapter 9

Printing, Paper, and Production

The Art of Craking the Printed Word 296 Printing Processes 30 1

Paper 3 13 Ink: Colorful Solutions 322 Special Printing Processes 324

Pre-Production: Geijing It Right 328 Pre-Production & Post-Production Tips 331 Graphics in Action 333

Chapter 10 Designing for Public Relations

Today's Corporate Image: Black Eyes and Greener Pastures 336 Public Relations-An Overview 337 The Annual Report: The Swiss Army Knife of Communication 340 Graphics in Action 351

Chapter 11 Newsletters

Newsleijers: The Stepchildren of Marketing Communications? 356

Newsleijer: An Old Medium Comes of Age 359 A Publ ic Relations Tool 362 Designing the Newsletter 364 Newsletter Components 372 Graph ics in Action 378

Chapter 12 Identity and Collateral Materials

Identity: Hospitality, Packaging, Product and logo Design 382 Hospitality and Packaging: Dressed to Sell 383 Branding: Red Spider and Branding Strategy 390 letterheads: Making an Impression 395 The Envelope: Making an Entrance 396 Collateral : Supplemental Media 400 Delivery: Getting the Business 412 Graphics in Action 414

Chapter 13 Advertising Design AdvertiSing: Garden ar Gheijo of Commerce? 420 Design and Advertising 424 Developing a Creative Strategy: The Advertising

Concept 425 Advertising Elements 430 Outdoor Advertising: "Markets In Motion" 441 The One Club 444

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Television Spots: Art, Story board, Copy, Action 444 The Advertising Campaign 449 Portfolios: Preparing Your Book - Showing

Your Best Side 454 Advice to Aspi ring Advertising Creatives 456

Graph ics in Action 459

Chapter 14 Magazine Design and Redesign

Kit Hinrichs: Telling Stories Visually 464 Magazine Design : A Brief History 467 Big and Small Magazines Are Basically the Same 474 Basic Magazine Terminology 476

Good Design Reflects Content 47B Long-Range Decisions 478

Magazine Design: A ssembling the Parts

into a Whole 4B8 Magazine Redesign 502 Magazines: A Post Script or Parting Shot 5 1 1 Graphics in Action 512

Chapter 15 An Overview, Brief History, and

Analysis of Newspaper Design

Newspapers Today: Function, Form and Formats 516

The Development of Newspaper Design 524 The Colonial Era Format 524 The Traditional Format 526 How to Analyze a Publication 536 Graphics in Action 540

Chapter 16 Delivering the News:

Newspaper Design and Redesign

Developing a Design Ph ilosophy 544 Redesign: Age, Audience, Architecture, and Process 548

The Redesign Plan 550

Newspaper Redesign : A Min i Case His tory 552 Newspaper Redesign and Typography 557 The Front Page: Making an Entrance 561 Inside Pages 564 Future of Newspaper Design 574 Graphics in Action 577

Chapter 17 New Media: The Internet, Websites, Interactivity,

Animation and Multimedia

A Hitchhiker's Guide to the Information Highway and Cyberspace: A Brief History and Overview 582 Designing for New Media 590 Multimedia 623 The Future of the Web, Interactive Formats,

and Multimedia 635 Graphics in Action 637

Glossary 640

Index 657

A-Adam, Pegie Stark, 168- 171

advertising advertising elements, 430- 440

artwork, 430-432

body copy, 436--440

headlines, 432--436

logotype, 440

the tagline, 440

advice from Hal Curtis, 458

advice to aspiring ad creatives, 456-458

from Curtis Clarkson, 456-457

the campaign, 449-454

presentation, 450-454

Rob Siltanen, 451--452

and design, 420, 424-425

developing a creative strategy, 425- 430

image, 429-430

positioning, 427-429

research,427

The One Club, 444

outdoor adverrising, 441-443

portfolios, 454--456

storyboards, 446, 448-449

television spots, 444-449

Elizabeth Ryan, 447

Tracy Wong, 420- 424

advertising agencies, 17

All-CAPS, 94-95, 117,529

Alien, Bill, 3-5

alphabet, 44

Anderson, Gail, 136-138, 214

Anderson, Jack, 412--414

annual reports, 340- 351

compnnents of, 348- 350

art legacy, 40--42

asymmetry, 139, 140-142, 395

B back shop, 300

Barnett, Dirk, 158- 159

bilateral symmetry, 139-140

billboards, 441--443

bracketing a photograph, 287

brand image, 156

c Cahan, Bill, 337

captions (cutlines), 289-292

Carson, David, 115-116

Carter, Paul, 10- 11,244- 250

channel noise, in communication, 18

Clarkson, Curtis, 23, 456--457

clip (stock) art, 222-225

CMYK (or process colors), 184-1 86, 189,312

CMYK magazine, 23

cognitive theory, 29-30

collage, 50

calor

associations of, 178, 182

biological responses to, 180

CMYK (or process colors), 184-186, 189,312

cross-cultural responses to, 181, 383

duotone, 189-190, 311-312

employing in designs, 183- 184

for harmony, 186- 188

from light, 180

perception of, 180

strategies for use of, 188-190

systems, 182

terminology, 184- 186

on the Web, 608- 610

commercial art, 202

communication models

feedback, 20-21

the medium is the message, 15-18

message interference, 18

parts of the process, 10- 11

sender and message, 11- 15

Communications Arts, 587- 589

comprehensives (comps), 162

constructivism, 27-28, 52 contour type, 94, 116

Corporate Board Members magazine, 298-300

Coyne, Patrick, 587-589

cropping a photograph, 287

crossing heads, 124

crossover, 154,284,476 cuneiform, 44 Curry, Chris, 198-199

Curris, Hal, 458

Cushman, Mike, 19

Index 657

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, 658 Index

D desktop publishing, 63-64

digirizarion, 64

Docter, Peter, 626-628

Donclis, Donis A., 6

DunJeavy, Denn is, 242- 244

E ecological theory, 28-29

Elder, Robert K. , 272-275

em space, 86 embossing, 326 en space, 86

engraving, 324-326

Evans, Eric, 252-254

F Fierstein, David, 225-228

fine art

and commercial art, 202-203 and graphic art, 40-42

history and influences, 45-62

font, 74-75, 85

Fortul1e magazine, 196-198 Fun k, David, 356-359

G Gesta lt, 24- 25, 152, 394

Gibson, James, 28-29

golden rectangle, 142

graphic design, 130, 134

balance, 139- 142

conception and visualization, 158-1 59 design stages, 160- 163

designers' skills, 41-42

dynamic com pon cJl(s, 135

emphasis and contrast, 148-1 52 fl ow, 216- 217

ground and figure, 150

and layout, 156- 158

proportion, 142-144

sequence, 146-148

unit y, 152-156

Gray, Dave, 518- 520

greek ing, 161

Gregory, Dr. Richard, 29-30 grid design, 52

in magazines, 497

in newspapers, 141-142

in phorographs, 269

on the Web, 621

ground thirds, 142-143, 262, 273

H halftones, 288-289

hieroglyphics, 42

H ill , Angela, 214-2 17

Hinrichs, Kit, 464-467

Hochherg, Julian, 27-28

Hornall Anderson Design Works 382 388-391 " , 412

human eye, 8- 10, 180

Hu xley, Aldous, 30

Huxley-Lestcr model, 30-31 hypertext, 606

I identity media

branding, 390-395

business cards, 399

Charlie Robertson , 390-392

collatera l: supplemental media, 400-410

books a nd pamphlets, 41 0

brochures, 400-406

catalogs, 407-408

CD and AV materia ls, 406-407

PR multimedia, 408-409

delivery, 412-414

description of, 382

envelopes, 396- 399

HornalI Anderson Design Works, 382,

388-391,41 2

hospitality and packaging, 383- 390

process for designing packaging, 386- 390

Jack Alldersoll, 412-4 14

letterheads, 395-396

logos (logorypes), 393-3 95

Ralph Steadman, 386

Red Spider, 390

Saxone Woon, 383-386

illuminated manuscri pts, 44, 194

illustration

~Ht directors

advice to, 458

how to work with, 2]5

clip (srock) art, 222-225

guidelines for creating effective, 194- 195

the illustrator, 203, 205, 207

advice to, 209-2 13 how to work with, 2 14

in magazines, 496

media uti lized, 196, 203 words and pictures, 194

information (info-) graphics, 213-214

components, 219-220

maps, 222

tables and charts, 220-221

interactive, 590 interactive media. see Web & interactive media

Internet. see \Veb & interactive media

J janSport,447

just ification, 92-94, 116

juxtaposition, 269

K kerning, 96 Kesterson, Todd, 629-633

Koke, Doug, 310- 311

L language, evolution of, 42-45

leading, 75, 90-91, 113- 114

Lester, Paul, 30 light, 8

and color, 1 80

line, length of, 114

lithography, 305

Lithyem, 619-622

logogram, 44

logos (logotypes), 107, 393-395, 440

M magazines

assembling the parts imo a whole, 488- 501

the cover, 489-493

cover art, 49 1-493

essemials of page layo uts, 497-499

fcarure stories, 494-497

front and back of the book, 501

tahle of contents, 493- 494

typography, 490- 491

basic terminology, 476- 478

big and small magazines, 474-4 76

a brief history, 467-474

four Fs of magazine design

formar,486-488

fo rmula, 485

frames, 488

function, 485

Fred Woodward, 473

Kit Hinrichs, 464-467

long-range design decisi.ons, 478-488

stylebook: cover and typography, 482-483

visualization, 483-485

redesign of magazines

Connie Phelps, 504-507

guidelines, 507

National Geographic, 503-507

The New York er, 502-503

one approach, 508-511

reflecting content with good design, 478

Rolling Stone magazin e, 473

Scientific American magazine, 483-485

margins, 100- 101 Mark, Mary Ellen, 12-13, 236- 240

mark ups, 163-164

McCurry, Sreve, 2, 174-177

media planning

keep the art simple, 20

know your audience, 18-20

one-ra-one interaction, 19

plans book, 16

repetition and recall, 17

signage,22 Mondriall des ign. see grid design

Montgomery, Robb, 572- 573

multimedia, 590, 623- 635

Index 659

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660 Index

N nameplare, 133, 490, 509, 558

National Geographic magazine, 2-5, 503-507

Necker cube, 30

newsletters

componenrs of, 372-377

David Fun k, 356-359

design ing, 364-371

as a public relations tool, 362- 363

things tu avoid, 377-37g

yesterday, today, and tomorrow, 356, 359-362

newspapers

colonial era format, 524-526

funcrion al design, 528-531

optimum format, 531-532 rabloid formar, 528

traditional format, 526-527

developmenr of newspaper design, 544- 546

achieving effecti ve design, 554-556

the fronr page, 56 1-564

inside pages, 564-57 1, 574

Kris Viesselman, 54 7

objectives for good designJredesign, 554

The Orange County Register, 547

Red Streak , 572-573

Robb Monrgomery, 572-573

future of newspaper design, 574-576

how to analyze a publication, 536-540

redesign plan, 550-556

and typography, 557-561

redesigning era, 532- 536

modular or Mondrian format, 534-536

toral design concept, 53 3

successful newspaper qual ities and guidelines.

548-549

and technology, 5 18-524

Da ve Gray, 518- 520

Society for News Design (SND) , 518, 525

of today, 516-524

The New York Times, 516

visual journalism, 522-524

Nguyen, Kim, 19-20

Noah, Peter, 613-616

o omniphasism, 22, 24, 32-35

onc-ro-one inrcracrion, 19, 427, 43 3

optical center, 140, 144

optica l weight, 140

ourdoor advertising, 441-443

p pagination, 329

Parkinson, Jim , 106-107

Phelps, Connie, 504- 507

photography, 46

captions, 289-292

commercial phorography, 275-286

composition of, 261-271

common shortcomings and solutions,

261-264

strategies: form and order, 264-27 1

documentary photography, 232

examples from documentary

photographers, 232-236

Mary Ellen Mark, 236-240

a gu ide to managing photography, 286

how to work with a professional

photographer, 276-278

in magazines, 496

making effective photographs, 284-285

the moving image, 272

Roberr K. Elder, 272-275

photographs in page layours, 278- 284

sporrs photography, 251, 254

Eric Evans, 252-254

lisr of tips for, 255-258

sports photographer's kit, 255

Tom Wheeler, 258-260

technica l issues of printing, 286- 289

photojournalism, 240-242

Dennis Dunleavy, 242- 244

Paul Carrer, 244-250

guidelines from, 272

phorotypesetting,61

pica, 86

plans book, 16

plug-ins, 597

points, 86

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-POpSCi.COIll, 613-616

popular c ulture, 6

portfol ios, 455-456

positioning, in advertis ing, 427-429

poster design, 48 , 57, 59, 137-138,441

postScript programming language, 63-64

printing

Doug Koke, 310- 311

ink,322-324

main trade customs of U.S. printers, 330-331

pa per, 313-314

characteristics of, 3 17

how paper is made, 314-3 17

new papers, 320 the right paper for the job, 320-322

sizes and weights , 317- 319

pre-production, 328-330

pre-production and postwproduction tips,

33 1- 333

Thomas Ryan, 296-300

printing processes

col or printing varia tions, 3 11-3 12

digital printing, 308-310

Ilexographic printing, 304-305

gravure priming, 303

laser printing, 305

the letterpress, 301-303

offset printing, 305-308

screen printing, 304

special processes, 324-328

prototype, 605

public relations, 336-340

Bill Cahan, 337

fo ur-step plan, 339

newsletters as a tool, 362- 363

SamataMason, 336-337

pull-quotes,125

Puma, Carlos, 9-10

R ream,322

rebus design, 94, 11 6- 117

Red Spider, 390

Red Streak , 572- 573

Robertson, Chariie, 390-392

Rolling Stolle magazine, 473

roughs, 161

Ryan, Elizaberh , 447

Ryan, Thomas, 296-300

5 Sakai, Masa fumi, 19

Sa mamMason, 336- 337 Saochez, Rodrigo, 130-134

sa ns serif rypefaces, 75, 81 - 82

scaling, 288

semantic noise, in communicarion, 18

semiotics, 25-27 serif typefaces, 75, 82

signatures, 440, 478

signs, 25

Si ltanen, Rob, 451-452

site map, 601

Slim bach, Robert, 70-71

Sm ith, Kevyn, 593- 596

sound, in advertis ing, 448

Steadman, Ralph, 386

story boards, 446

used in adverrising, 44 8-44 9

00 the Web, 630- 63 1

Stout, D.J., 40-42

subrractive process, 160

swipe lile, 161

symmetry, 139

T tag (or tagline), 440

telev ision spots, 444-449

The New York Times, 5 16

The New Yorker, 198, 502-503

The One Cl ub, 444

The Orange County Register, 547

thu mbnails, 160

tracking, 96

transposition, 151

treatment, 447

Trezzi, Michael, 619-622

Tschichold, Jan, 106

Index 661

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• 662 Index

rype display type, 88

fa milies of, 84

groups of, 77-84

justification , 92-94 margins, 100-101 , 122-123

measurement of, 85-87

posture, 98, 120 readibiliry and legibiliry of, 80, 110

reverses, 89, 111

series o f, 85

specifications, 87- } 01

style, 84-85, 99, 120-121

as the voice of the message, 11 0

weight of, 96-98, 118

width,98

rypeface, 99, 107

typography classifications and groups, 76- 84

creating new, 108-126

functions of, 73-74

u

introduction ro, 70- 72

in magazines, 497 strategies for copy-heavy pages, 124- 126

terminology, 74-76

on the Web, 605-608

Ulriksen, Mark, 208- 211

v Viesselman, Kr is, 547

vis ion EYE-TRAC device, 146

eye-tracking system, 27- 28

how we see (physiology), 8-10, 180

Z-readout, 146

visual communication, 6-8

visual communication theories

cognitive rheory, 29-30

constructivism , 27-28

ecological theory, 28- 29

Gestalt, 24-25 Huxley-Lesrer model , 30-31

omniphasism, 22, 24, 32-35

semiotics, 25-27 visual education, 6- 7

w Web & interactive media

aesthetic differences

Kevyn Smirh, 593-596

aesthetic simil arities, 590-593

a brief history, 582-585

Communications Arts, 587-589

Patrick Coy ne, 587-589

designing for c-commerce

Karen ina Susilo, 599-600

rhe future of, 635- 637

multimedia 3-D animation, 629-634

computer animation, 625- 629 an overview, 623- 625 Perer Docter, 626-628

skills for animators, 634-635

Todd Kesterson, 629-633

site planning and arcrutecwre, 600-605

assembling a website, 619-622

coding, 617- 619

calor, 608-610 interactive technical issues, 604

Lirhyem, 619-622

Michael Trezzi, 619-622

Peter Noah, 613-616

PopSci.com, 613- 616

typography, 605- 608

usabi lity consideratio ns, 613- 617

writing style and guidelines, 610-613

technical and other considerations, 596-599

Weegee (Arrhur Felig), 30-31

weighr, of type, 96-98

Wheeler, Tom, 258-260

Williams, Rick, 22, 32- 35

Woog, Tracy, 12, 14, 21,420-424

Woodward, Fred, 473

Woon, Saxone, 383-386 word and le [(er spacing, 96, 11 5

x xerography, 310

x-height, 75-76, 89

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