Job No:01077 Title:The fundamentals og Graphic Design
3RD
Proof Page:6
001-023 01077_C2.qxd 9/5/08 12:38 PM Page 6
Job No:01077 Title:The fundamentals og Graphic Design
3RD
Proof Page:6
Areas looked at in this chapter
Basic tools
p150
/ Specialist colour
p156
/ File formats
p160
/ Print finishing
p162
148 The Fundamentals of Graphic Design The production process Procuring work < The production process > Appendix 149
In-Cosmetics (opposite)
This brochure created by Research Studios helps to establish a visual identity and platform for cosmetics innovation. The use of a
colourful, dreamy image alludes to how cosmetics provide a wealth of possibilities, which interact to improve the appearance of the
people using them. The fine detail and the importance of image quality to the business of the client meant that high-end filled paper
stock with excellent printability and colour-reception characteristics had to be used. In this example, minimal dot gain is vital to
avoid registration problems. High opacity and whiteness are necessary to provide a crisp, clean background that allow the colours to
reproduce as intended.
Chapter 6
The production process
This final chapter looks at the basic tool kit a
graphic designer uses to create and produce effective
designs. The tools unleash and channel creative ideas
from the design process into workable and physical
products – through the printing process or for
electronic applications such as web pages. This section
also includes basic information on how to ensure that
control is maintained over the use of images and
colour.
How to get the most out of this book
This book introduces various themes related
to the practice of graphic design. Each chapter is
illustrated with numerous examples from leading
contemporary design studios, all annotated to explain
how they relate to the design process.
6 The Fundamentals of Graphic Design How to get the most out of this book
Chapter openers
Each chapter opens with an introduction
that provides a clear guide to the topic
being discussed.
Captions
Each example has a caption to
highlight the key points of reference.
Chapter previews
The preview shows the main
sub-topics covered by the chapter.
001-023 01077_C2.qxd 9/5/08 12:38 PM Page 6
Job No:01077 Title:The fundamentals og Graphic Design
2ND
Proof Page:7
Marque
An icon traditionally used for car branding but now used more extensively as a general brand term.
Refresh
Updating a brand to modernise it and give it a fresh look while maintaining its essential qualities.
Rebrand
Redefining the brand identity of a product, service or organisation to alter its message a.
Consumerism < Id
entity and branding > Social responsibility 47
The Crafts Council
The programme covers featured here were created by INTRO
for The Crafts Council. The new brand identity was part of a
refresh for the organisation. The heritage and recognition of
the old ‘C’ logotype was maintained and modernised in the
rebrand by replacing the original fine-serif font with a bespoke,
contemporary type style, optimised for clarity and legibility.
The logo is used in a clear position to ensure coherence across
a range of publications. It was implemented across a range of
media, including stationery, marketing materials, catalogues,
signage and website.
These programmes
prominently feature the new
C Crafts Council logo while
the main image relates to a
different aspect of craft.
Identity and branding
People tend to use the terms ‘identity’ and
‘branding’ interchangeably, but they refer to two
different concepts. An identity is the sum of the
qualities that are synonymous with the level of service
of an organisation. Branding is the process by which
this identity is given a visual expression.
46 The Fundamentals of Graphic Design Influences and creative elements
Visual identity
The creation of a visual identity seeks to take key
behavioural characteristics of an organisation and
use them to build an image that can be presented to
target consumers, other stakeholders and the world
at large. A visual, or branded, identity can take one
of three forms: monolithic, endorsed or branded.
Visual identities present a consistent image that
is instantly recognisable and reflects the essence of
the organisation. In creating a brand identity, a
designer tries to instil meaning and various qualities
into the brand or m
arque by using a combination of
colour, typography, imagery and style to evoke a
certain feeling in the viewer.
The interpretation of a design or a reaction to it
may change over time and lose immediacy with the
target audience. This is one of the reasons why brand
logos are periodically redesigned so that they
continue to present a fresh and appealing face to
the consumer.
A visual identity goes further than just creating
a brand mark, however, and covers every presentation
element from colour schemes to typographic
structures.
Monolithic identities
A monolithic identity is one where all products
produced by a company feature the brand. This is
the umbrella logo that is used by all subsidiary
companies on all products.
Endorsed identities
An endorsed identity is one where each product
has a separate and unique brand, but the brand also
identifies the parent company.
Branded identities
This is a fully branded product in its own right and
does not include a specific reference to the parent
company. In this case, products are identified by
separate and unique brands and it may not be
obvious who the owner or parent company is.
Built environment
The physical world constructed around us that includes both the interior and exterior of buildings.
30 T
he Fundamentals of Graphic Design Influences and creative elements Graphic design: art or craft? < Industrialisation > Technology 31
Contagious (right and below)
These spreads from Contagious
magazine by Why Not Associa tes show
how design boundaries are constant ly
challenged. The publication abides by
conventions, but is also surprising and
engaging. The layered graphic devices
and convergence of type and image
create a single, unified piece.
Westminster Academy
(right a nd below)
Studio Myerscough’s des ign for
Westminster Academy in London
features environmental graphics in which
typography is an int egral part of the b
uilt
environment. In this example, the
relationship between the designer and
architect, Allford Hall Monaghan Morris,
results in bold, engaging and optimistic
graphics that clearly inform people of
the ir locat ion.
How to get the most out of this book 7
Navigation
Chapter navigation helps to determine what section
you are in and what the preceding and following
sections are.
Detailed texts
The texts discuss the topic in hand and why it is important.
Box outs
Box outs provide additional detail
about key terms that are underlined in
the main body copy.
Images
Images and designs from contemporary
and historic designers are used to
explain key points.
001-023 01077_C1.qxd 8/21/08 9:05 AM Page 7
..................Content has been hidden....................
You can't read the all page of ebook, please click here login for view all page.