Thursday, December 20, 2012

Pull-Quote

Definition:

Used to attract attention, especially in long articles, a pull-quote is a small selection of text pulled out and quoted in a larger typeface or using some other formatting distinct from the rest of the article. A pull-quote may be framed by rules, placed within the article, span multiple columns, or be placed in an empty column near the article.

A pull-quote is sometimes referred to as a call-out but not all call-outs are pull-quotes. A pull-quote is a teasers or visual signpost that draws readers into an article just like kickers or eyebrows, decks, and subheads.

A pull-quote may or may not use quotation marks, or the quotation marks and other punctuation may be used as decorative elements. From a design and layout standpoint, pull-quotes should not appear too close to the spot where the text appears in the article. If appearing too close together it can create the sometimes disorienting impression for the reader that they have lost their place and are re-reading the same passage.

The following are not hard-and-fast rules, but general guidelines and common practices. Multiple pull-quotes in the same article should use a consistent style. In a newsletter where most articles use a common style, usually best to stick with the same pull-quote style throughout the publication. In a magazine where different styles (columns, fonts, etc.) are common from one article to the next, different styles of pull-quotes are common. In a book that tends to have the same style from chapter to chapter, pull-quotes should also be consistent in style from chapter to chapter. Use style sheets and paragraph styles in your desktop publishing software to create one or more styles of pull-quotes for consistency and ease of formatting. Hanging punctuation is frequently used with pull-quotes. High-end software often has tools that automatically creates hanging punctuation. When placing a pull-quote within one or more columns of text, use the text wrap options of your software to flow the body text around the pull-quote just as you would wrap text around a graphic.

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Wednesday, December 19, 2012

Paper Grades

You've designed the perfect printed piece. But now you need to put it on paper. Which paper? Hopefully you considered the kind of paper you needed before even starting your design project. If not, or if you are just getting started, here's a look at your primary paper options, regardless of the color, size, or finish for your printed masterpiece.

Unless you are really into paper, a recitation of the various paper grades won't be nearly as helpful to you as choosing a paper based on the project. Find your project (or the closest match) from the list below to see what grade of paper is usually used for that type of document. Then go to the page describing the recommended paper grade to learn more about it.

Of course, you are always free to be different and choose another kind of paper but these are generally safe choices. Always discuss your paper needs with your paper supplier and your printer as early in the project as possible. Paper grade is only the first step in narrowing down your specific paper needs. You'll also want to explore paper finishes and colors.

This chart applies primarily to projects for commercial not desktop printing although some of these papers are available in inkjet/laser safe versions.

Other types of paper not specifically covered here include coated and uncoated, manifold, onionskin, and safety papers.


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Proximity

Definition:

When faced with random objects on a page, the viewer will often try to find connections. Designers can aid viewers by arranging objects (text and/or images) into groups in order to convey meaning and help disseminate their message. This closeness of these groups is proximity, a principle of design.

Proximity creates a bond between page elements. How close together objects are placed can suggest a relationship. Objects placed further apart can suggest differences.

Although sometimes considered a separate principle, unity or "how well parts of the document work together" is sometimes used to mean proximity. Proximity is closeness. However, elements lacking close proximity can be unified by introducing a third element. An example: an arrow connecting a text label in the margin with a point in the middle of a map. In this way a relationship or unity can be achieved between elements that are far apart but belong together.

Grouping objects can be done with obvious spacing, by placing physical barriers between groups (such as rules), and even by the use of shape, color, or texture to visually group like items and visually separate unlike items.

Avoid overwhelming the viewer when there are a lot of individual elements on the page by using proximity to group items into discrete units. Keeping captions close to images not only makes it clear that the caption goes with the image, it creates a single visual unit from two separate ones. Grouping elements such as address, phone number, email address, and Web address not only puts all the contact information into one easy-to-spot unit it creates a single spot for the eye to rest (and get information) rather than four spots to jump around to and possibly overlook. If there are many elements to be grouped, consider sub-grouping. Using the contact information as an example, group them together but use spacing (or other means) to create a sub-group of, for instance, multiple phone numbers.

Use proximity to group elements in a way that aids in navigation. Keep the headline close to the body copy (of an ad, a newsletter article, etc.) if you want to lead the reader right into the text. If an accompanying visual is especially important to understanding the text, instead you might put the visual immediately after the headline. The 5 Step Ad Design Formula based on the work of David Ogilvy typically arranges five types of content in a specific pattern that tends to lead the viewer through the ad. Proximity can also be used to group material that makes up those five types of content.

Help the viewer understand complex pages or information-packed layouts by using proximity to bring together elements that go together and separate other parts. For example, a brochure for a seminar that consists of many separate workshops spread over multiple days and locations can easily overwhelm. Use proximity (along with other elements and principles of design) to keep information for each individual workshop (title, description, date/time, location) grouped together while also providing a grouping that gives overall details such as how to register, cost, and contact information. On a Web page you might use proximity to group the main and auxiliary navigational links (whether text, tabs, or buttons) into groups according to their function (such as shopping/catalog, weekly specials, and technical support). Proximity articles from around the Web. Unity (another name for proximity) in Web Design (from About.com Web Design) Law of Proximity as one of the Gestalt Laws of Perceptual Organization (from About.com Psychology).

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