1. Design for Effective Communication 1

2. Hi I’m your friendly marker I’m going to mark your Product and Documentation I want to help you pass IPP First you need to know about the … Design Principles 2

3. Why do we produce documents? To communicate Design should enhance communication Pretty does not help if no-one reads it You can communicate … … or just make pretty shapes 3

4. Design Principles help us To recognize good design To design for good communication They are important tools You need to understand them … … so you can use them (or break them) 4

5. The Design Principles What are the Design Principles? Developing skills with Design Principles Bibliography 5

6. The Design Principles CRAPCRAP ontrast epetition lignment roximity 6

7. Proximity Refers to how close together items appear GRITGRIT roup elated tems ogether K eep unrelated items apart 7

8. Consider Enfield 5085Grand Junction Road (618) 8262 1468 David Roberts Enfield High School Grand Junction Road David Roberts Enfield High School (618) 8262 1468 Enfield 5085 Gathering these together shows they are all to do with the school 8

9. Now look at this SOUTH AUSTRALIAN THEATRE GUILD WHAT’S HAPPENING IN SIR ROBERT HELPMANN MEMORIAL THEATRE DECEMBER 2001 THEATRE COOPERATIVE SOUTH AUSTRALIAN THEATRE GUILD DECEMBER 2001 THEATRE COOPERATIVE WHAT’S HAPPENING IN SIR ROBERT HELPMANN MEMORIAL THEATRE This also looks better organised. You can see what belongs with what. 9

10. You can make more sense of lists By grouping Books Teacher tools Videos Children’s CDs Educational CDs Entertainment CDs DVDs Early learning Language arts Science Maths Children’s CDs Educational CDs Entertainment CDs DVDs Early learning Language arts Science Maths Books Teacher tools Videos Cables Input devices Mass storage Memory Modems Printers and supplies Video and Sound Cables Input devices Mass storage Memory Modems Printers and supplies Video and Sound Within each group things are similar Different groups contain different items That’s good Proximity 10

11. Proximity helps to make use of White Space Books Teacher tools Videos Children’s CDs Educational CDs Entertainment CDs DVDs Early learning Language arts Science Maths Children’s CDs Educational CDs Entertainment CDs DVDs Early learning Language arts Science Maths Books Teacher tools Videos Cables Input devices Mass storage Memory Modems Printers and supplies Video and Sound Cables Input devices Mass storage Memory Modems Printers and supplies Video and Sound That’s the space where nothing seems to be happening It makes the different groups quite separate That’s good Proximity 11

12. What should you look for? Where are the headings? This heading belongs with the text below it. It should be closer to the text it belongs to. We call it a Floating Heading That’s better Proximity 12

13. What should you look for? How are things arranged on the page? The articles listed here belong in four groups. These are all about Design Principles These are all about techniques used in Desktop Publishing These are about techniques used in web page design And this one stands alone It would be good if they were all arranged in their groups 13

14. What else? That’s better – but … They are Design Principles. Keep the words together even if the other words have to change 14

15. What else? Could we make the groupings clearer? What about different colours for different groups 15

16. What else? We can see clearly the articles which belong together The colours help the proximity We could put boxes around the groups, too, (but that does not look so good) 16

17. So why is Proximity important? It helps to organise the page Related objects become a single visual unit Helps provide a logical reading path Uses white space more efficiently This makes information easier to read and remember 17

18. How can I use Proximity? Avoid too many visual elements on a page Avoid just filling space ie placing items in the four corners and the centre Avoid equal spacing between all items Strengthen relationships that actually exist Avoid creating relationships between unrelated items 18

19. That’s Proximity Now for Alignment 19 Return to Main Menu

20. Alignment Refers to how items on the page line up with each other Can be Left – centre – right alignment Top – middle – bottom alignment Text can be justified (right and left aligned) But you knew that 20

21. Good design Every item on the page lines up with something else Nothing is placed randomly on the page 21

22. Remember the business card Everything started off well aligned Enfield 5085Grand Junction Road (618) 8262 1468 David Roberts Enfield High School Grand Junction Road David Roberts Enfield High School (618) 8262 1468 Enfield 5085 Top LeftRight Centred both ways Bottom Proximity was poor So we grouped things Notice the alignment. Everything centred Boring!!! 22

23. Remember the business card Let’s try changing the alignment Enfield 5085 Grand Junction Road (618) 8262 1468 David Roberts Enfield High School Grand Junction Road David Roberts Enfield High School (618) 8262 1468 Enfield 5085 Right Hard right alignment. Still a visual connection between the elements 23

24. Beginners just centre everything A typical, boring report cover Centring is Safe and Easy Report The History of Desktop Publishing on by David Roberts Enfield High School More mature designers look to do something better Report The History of Desktop Publishing on by David Roberts Enfield High School Hard left alignment - said to look more sophisticated Improved proximity helps, as well 24

25. Or you could set it hard right Report The History of Desktop Publishing on by David Roberts Enfield High School Report The History of Desktop Publishing on by David Roberts Enfield High School That also looks good 25

26. If you really want to centre Don’t be boring Like this Today is the tomorrow you worried about yesterday You can hardly tell that it’s centred Be brave!!! Today is the tomorrow you worried about yesterday Make it obvious like this … or even this Today is the tomorrow you worried about yesterday 26

27. If you really want to centre You could be really intrepid … And centre off-centre Today is the tomorrow you worried about yesterday Today is the tomorrow you worried about yesterday Perhaps with the aid of a graphic To add interest 27

28. If you really want to centre Even with an unusual font And white text on a coloured background Today is the tomorrow you worried about yesterday Today is the tomorrow you worried about yesterday Today is the tomorrow you worried about yesterday 28

29. What should you look for? What is not lined up? How many different alignments can you see? I can see many M arley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge's name was good upon 'Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail. Mind! I don't mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a door- nail. Scrooge knew he was dead? Of course he did. How could it be otherwise? Scrooge and he were partners for I don't know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend, and sole mourner. And even Scrooge was not so dreadfully cut up by the sad event, but that he was an excellent man of business on the very day of the funeral, and solemnised it with an undoubted bargain. The mention of Marley's funeral brings me back to the point I started from. There is no doubt that Marley was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate. If we were not perfectly convinced that Hamlet's Father died before the play began, there would be nothing more remarkable in his taking a stroll at night, in an easterly wind, upon his own ramparts, than there would be in any other middle-aged gentleman rashly turning out after dark in a breezy spot -- say Saint Paul's Churchyard for instance -- literally to astonish his son's weak mind. Scrooge never painted out Old Marley's name. There it stood, years afterwards, above the ware-house door: Scrooge and Marley. The firm was known as Scrooge and Marley. Sometimes people new to the business called Scrooge Scrooge, and sometimes Marley, but he answered to both names. It was all the same to him. Oh! But he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster. The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out ………. shrewdly in his grating voice. A frosty rime was on his head, and on his eyebrows, and his wiry chin. He carried his own low temperature always about with him; he iced his office in the dog-days; and didn't thaw it one degree at Christmas. External heat and cold had little influence on Scrooge. No warmth could warm, no wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn't know where to have him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often came down handsomely, and Scrooge never did. Nobody ever stopped him in the street to say, with gladsome looks, ``My dear Scrooge, how are you. When will you come to see me.'' No beggars implored him to bestow a trifle, no children asked him what it was o'clock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the blindmen's dogs appeared to know him; and when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails as though they said, ``No eye at all is better than an evil eye, dark master! '' But what did Scrooge care! It was the very thing he liked. To edge his way along the crowded paths of life, warning all human sympathy to keep its distance, was what the knowing ones call nuts to Scrooge. Once upon a time -- of all the good days in the year, on Christmas Eve -- old Scrooge sat busy in his counting- house. It was cold, bleak, biting weather: foggy withal: and he could hear the people in the court outside, go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement stones to warm them. A Christmas Carol By Charles Dickens Chapter 1: Marley’s Ghost How a restless night for one man brought peace to many others CDCD A Dickens Classic From 1843 Too many 29

30. By Charles Dickens Chapter 1: Marley’s Ghost shrewdly in his grating voice. A frosty rime was on his head, and on his eyebrows, and his wiry chin. He carried his own low temperature always about with him; he iced his office in the dog-days; and didn't thaw it one degree at Christmas. External heat and cold had little influence on Scrooge. No warmth could warm, no wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn't know where to have him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often came down handsomely, and Scrooge never did. Nobody ever stopped him in the street to say, with gladsome looks, ``My dear Scrooge, how are you. When will you come to see me.'' No beggars implored him to bestow a trifle, no children asked him what it was o'clock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the blindmen's dogs appeared to know him; and when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails as though they said, ``No eye at all is better than an evil eye, dark master! '' But what did Scrooge care! It was the very thing he liked. To edge his way along the crowded paths of life, warning all human sympathy to keep its distance, was what the knowing ones call nuts to Scrooge. Once upon a time -- of all the good days in the year, on Christmas Eve -- old Scrooge sat busy in his counting- house. It was cold, bleak, biting weather: foggy withal: and he could hear the people in the court outside, go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement stones to warm them. M arley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge's name was good upon 'Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail. Mind! I don't mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a door- nail. Scrooge knew he was dead? Of course he did. How could it be otherwise? Scrooge and he were partners for I don't know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend, and sole mourner. And even Scrooge was not so dreadfully cut up by the sad event, but that he was an excellent man of business on the very day of the funeral, and solemnised it with an undoubted bargain. The mention of Marley's funeral brings me back to the point I started from. There is no doubt that Marley was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate. If we were not perfectly convinced that Hamlet's Father died before the play began, there would be nothing more remarkable in his taking a stroll at night, in an easterly wind, upon his own ramparts, than there would be in any other middle-aged gentleman rashly turning out after dark in a breezy spot -- say Saint Paul's Churchyard for instance -- literally to astonish his son's weak mind. Scrooge never painted out Old Marley's name. There it stood, years afterwards, above the ware-house door: Scrooge and Marley. The firm was known as Scrooge and Marley. Sometimes people new to the business called Scrooge Scrooge, and sometimes Marley, but he answered to both names. It was all the same to him. Oh! But he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster. The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out ………. A Christmas Carol How a restless night for one man brought peace to many others CDCD A Dickens Classic From 1843 What should you look for? Compare the two Can you see here how everything lines up with something else It’s better - not perfect Can you suggest more improvements? By Charles DickensChapter 1: Marley’s Ghost shrewdly in his grating voice. A frosty rime was on his head, and on his eyebrows, and his wiry chin. He carried his own low temperature always about with him; he iced his office in the dog-days; and didn't thaw it one degree at Christmas. External heat and cold had little influence on Scrooge. No warmth could warm, no wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn't know where to have him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often came down handsomely, and Scrooge never did. Nobody ever stopped him in the street to say, with gladsome looks, ``My dear Scrooge, how are you. When will you come to see me.'' No beggars implored him to bestow a trifle, no children asked him what it was o'clock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the blindmen's dogs appeared to know him; and when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails as though they said, ``No eye at all is better than an evil eye, dark master! '' But what did Scrooge care! It was the very thing he liked. To edge his way along the crowded paths of life, warning all human sympathy to keep its distance, was what the knowing ones call nuts to Scrooge. Once upon a time -- of all the good days in the year, on Christmas Eve -- old Scrooge sat busy in his counting- house. It was cold, bleak, biting weather: foggy withal: and he could hear the people in the court outside, go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement stones to warm them. M arley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge's name was good upon 'Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail. Mind! I don't mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a door- nail. Scrooge knew he was dead? Of course he did. How could it be otherwise? Scrooge and he were partners for I don't know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend, and sole mourner. And even Scrooge was not so dreadfully cut up by the sad event, but that he was an excellent man of business on the very day of the funeral, and solemnised it with an undoubted bargain. The mention of Marley's funeral brings me back to the point I started from. There is no doubt that Marley was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate. If we were not perfectly convinced that Hamlet's Father died before the play began, there would be nothing more remarkable in his taking a stroll at night, in an easterly wind, upon his own ramparts, than there would be in any other middle-aged gentleman rashly turning out after dark in a breezy spot -- say Saint Paul's Churchyard for instance -- literally to astonish his son's weak mind. Scrooge never painted out Old Marley's name. There it stood, years afterwards, above the ware-house door: Scrooge and Marley. The firm was known as Scrooge and Marley. Sometimes people new to the business called Scrooge Scrooge, and sometimes Marley, but he answered to both names. It was all the same to him. Oh! But he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster. The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out ………. A Christmas Carol How a restless night for one man brought peace to many others CDCD A Dickens Classic From 1843 30

31. What should you look for? Look at the alignments here The article titles have all been centred. They are not obviously aligned Now the alignments are clear, sharp, hard The issue and date do not align with the magazine title 31

32. What should you look for? Look at the alignments here The article titles have all been centred. They are not obviously aligned Now the alignments are clear, sharp, hard White space trapped between the headline and the picture - looks unbalanced A Christmas Carol Marley was dead, to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge's name was good upon 'Change, for anything he chose to put his hand to. The Adventures of Oliver Twist Among other public buildings in a certain town, which for many reasons it will be prudent to refrain from mentioning, and to which I will assign no fictitious name, there is one anciently common to most towns, great or small: to wit, a workhouse; and in this workhouse was born; on a day and date which I need not trouble myself to repeat, inasmuch as it can be of no possible consequence to the reader, in this stage of the business at all events; the item of mortality whose name is prefixed to the head of this chapter. A Tale of Two Cities It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way-- in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. Great Expectations Ours was the marsh country, down by the river, within, as the river wound, twenty miles of the sea. My first most vivid and broad impression of the identity of things seems to me to have been gained on a memorable raw afternoon towards evening. At such a time I found out for certain that this bleak place overgrown with nettles was the churchyard; and that Philip Pirrip, late of this parish, and also Georgiana wife of the above, were dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and Roger, infant children of the aforesaid, were also dead and buried; and that the dark flat wilderness beyond the churchyard, intersected with dikes and mounds and gates, with scattered cattle feeding on it, was the marshes; and that the low leaden line beyond was the river; and that the distant savage lair from which the wind was rushing was the sea; and that the small bundle of shivers growing afraid of it all and beginning to cry, was Pip. The Old Curiosity Shop That constant pacing to and fro, that never-ending restlessness, that incessant tread of feet wearing the rough stones smooth and glossy--is it not a wonder how the dwellers in narrows ways can bear to hear it! Think of a sick man in such a place as Saint Martin's Court, listening to the footsteps, and in the midst of pain and weariness obliged, despite himself (as though it were a task he must perform) to detect the child's step from the man's, the slipshod beggar from the booted exquisite, the lounging from the busy, the dull heel of the sauntering outcast from the quick tread of an expectant pleasure-seeker--think of the hum and noise always being present to his sense, and of the stream of life that will not stop, pouring on, on, on, through all his restless dreams, as if he were condemned to lie, dead but conscious, in a noisy churchyard, and had no hope of rest for centuries to come. David Copperfield Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show. To begin my life with the beginning of my life, I record that I was born (as I have been informed and believe) on a Friday, at twelve o'clock at night. It was remarked that the clock began to strike, and I began to cry, simultaneously. Dickens First Paragraphs A collection of the opening paragraphs of Charles Dickens’ novels A Christmas Carol Marley was dead, to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge's name was good upon 'Change, for anything he chose to put his hand to. The Adventures of Oliver Twist Among other public buildings in a certain town, which for many reasons it will be prudent to refrain from mentioning, and to which I will assign no fictitious name, there is one anciently common to most towns, great or small: to wit, a workhouse; and in this workhouse was born; on a day and date which I need not trouble myself to repeat, inasmuch as it can be of no possible consequence to the reader, in this stage of the business at all events; the item of mortality whose name is prefixed to the head of this chapter. A Tale of Two Cities It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way-- in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. Great Expectations Ours was the marsh country, down by the river, within, as the river wound, twenty miles of the sea. My first most vivid and broad impression of the identity of things seems to me to have been gained on a memorable raw afternoon towards evening. At such a time I found out for certain that this bleak place overgrown with nettles was the churchyard; and that Philip Pirrip, late of this parish, and also Georgiana wife of the above, were dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and Roger, infant children of the aforesaid, were also dead and buried; and that the dark flat wilderness beyond the churchyard, intersected with dikes and mounds and gates, with scattered cattle feeding on it, was the marshes; and that the low leaden line beyond was the river; and that the distant savage lair from which the wind was rushing was the sea; and that the small bundle of shivers growing afraid of it all and beginning to cry, was Pip. The Old Curiosity Shop That constant pacing to and fro, that never-ending restlessness, that incessant tread of feet wearing the rough stones smooth and glossy--is it not a wonder how the dwellers in narrows ways can bear to hear it! Think of a sick man in such a place as Saint Martin's Court, listening to the footsteps, and in the midst of pain and weariness obliged, despite himself (as though it were a task he must perform) to detect the child's step from the man's, the slipshod beggar from the booted exquisite, the lounging from the busy, the dull heel of the sauntering outcast from the quick tread of an expectant pleasure-seeker--think of the hum and noise always being present to his sense, and of the stream of life that will not stop, pouring on, on, on, through all his restless dreams, as if he were condemned to lie, dead but conscious, in a noisy churchyard, and had no hope of rest for centuries to come. David Copperfield Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show. To begin my life with the beginning of my life, I record that I was born (as I have been informed and believe) on a Friday, at twelve o'clock at night. It was remarked that the clock began to strike, and I began to cry, simultaneously. Dickens First Paragraphs A collection of the opening paragraphs of Charles Dickens’ novels Notice what I did with The Adventures of Oliver Twist. That’s improved Proximity 32

33. So why is Alignment important? It helps to organise the page It helps to unify the page Even distant objects appear connected if aligned with each other It can help determine the look of a page as Sophisticated Formal Fun 33

34. How can I use Alignment? Always be conscious of where you place an element Try to align it with some other element Try to find a strong (obvious) alignment and use it Try to minimise the number of alignments on a page Centre consciously, not because it is the easy way 34

35. That’s Proximity And Alignment Now for Repetition Repetition 35 Return to Main Menu

36. Repetition Repeat some aspect of design through the whole document It could be A font (or a font style) A thick line (rule) A bullet A colour A particular format Repetition leads to Consistency But you knew that 36

37. Repetition in this presentation Much of this presentation is set up using master slides White background, Calibri font used throughout The blue wave pattern at top of every page Black 26 point for ‘body text’, 50 pt teal for headings Body text wipes in from left (the way you read it) Body text enters with click For consistency, and in addition, Graphics all dissolve in Dialogue in cartoons always 14 pt red on yellow background 37

38. Remember the list We started with this Books Teacher tools Videos Children’s CDs Educational CDs Entertainment CDsDVDs Early learning Language arts Science Maths Children’s CDs Educational CDs Entertainment CDs DVDs Early learning Language arts Science Maths Books Teacher tools Videos Cables Input devices Mass storage Memory Modems Printers and supplies Video and Sound Cables Input devices Mass storage Memory Modems Printers and supplies Video and Sound Teacher Tools Books Teacher tools Videos CD ROMS Children’s CDs Educational CDs Entertainment CDsDVDs Educational Early learning Language arts Science Maths Hardware Plus Cables Input devices Mass storage Memory Modems Printers and supplies Video and Sound Teacher Tools. Books Teacher tools Videos CD ROM + Children’s CDs Educational CDs Entertainment CDs DVDsDVDs Educational. Early learning Language arts Science Maths Hardware Plus. Cables Input devices Mass storage Memory Modems Printers and supplies Video and Sound We grouped items to make sense of the list. This was Proximity. Repeated bold headings make the groupings more obvious Repeated graphic elements (rules, ticks as bullets) Make groupings more obvious 38

39. And the business card We aligned everything hard right Enfield High School Grand Junction Road David Roberts (618) 8262 1468 Enfield 5085 What did your eyes do when they reached the bottom? Usually they will just wander off the page What happens if we make the last line bold? (618) 8262 1468 The repetition of the bold format connects the top and bottom lines. Your eyes tend to bounce back to the top. 39

40. Repetition leads to consistency How do you know that all these belong together? 40

41. Repetition leads to consistency Have a look at the SACE Board website http://www.sace.sa.edu.au/ Follow some links See how the designers have made it obvious that the pages belong together The fonts The navigation What else? 41

42. What should you look for? What is repeated? The article titles are all in the same font (18 pt Calibri) The repeated left and right alignments provide a sense of belonging Three colours are repeated to show which articles belong together 42

43. What should you look for? What is repeated? How do you know that all these belong together? Obviously the logo And the rules (lines) top and bottom Did you notice the fonts? 43

44. These are flyers for my theatre company’s last six shows There is a lot of white space That is cheaper to print than solid ink 44 How do you know that all these belong together?

45. 45 A4 flyerA5 programmeTicket How do you know that all these belong together?

46. So why is Repetition important? It creates unity – elements belong together Consistent formatting aids understanding Used effectively it adds visual interest to the page 46

47. How can I use Repetition? Extend consistencies by emphasizing them Consider adding elements to create repetition Use the basic elements of consistency Consistent fonts Consistent colours Consistent graphic elements Bullets Rules Logos 47

48. That’s Proximity And Alignment And Repetition Now for Contrast 48 Return to Main Menu

49. Contrast Created when two or more things are different If two things are not the same, make them Really different Don’t be a wimp! 49

50. What do you see here? 50 A black circle!!! But it was on a blank page Good Contrast Made it more noticeable

51. Contrast – Standing Out Contrast is what makes things stand out We achieve this in many ways We can change colour to make some words stand out We can change the font to make some words stand out We can make some words stand out by changing their size We can make some words stand out by changing their style ( to bold) If nothing much stands out there is not much contrast 51 A picture stands out in a page of text

52. What should you look for? What stands out … and why? Find at least three things … First the picture – because all the rest is text Then the title – A different font bigger and darker And of course the logo at the bottom – Also bigger and darker By Charles DickensChapter 1: Marley’s Ghost shrewdly in his grating voice. A frosty rime was on his head, and on his eyebrows, and his wiry chin. He carried his own low temperature always about with him; he iced his office in the dog-days; and didn't thaw it one degree at Christmas. External heat and cold had little influence on Scrooge. No warmth could warm, no wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn't know where to have him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often came down handsomely, and Scrooge never did. Nobody ever stopped him in the street to say, with gladsome looks, ``My dear Scrooge, how are you. When will you come to see me.'' No beggars implored him to bestow a trifle, no children asked him what it was o'clock, no man or woman ever once in all his life inquired the way to such and such a place, of Scrooge. Even the blindmen's dogs appeared to know him; and when they saw him coming on, would tug their owners into doorways and up courts; and then would wag their tails as though they said, ``No eye at all is better than an evil eye, dark master! '' But what did Scrooge care! It was the very thing he liked. To edge his way along the crowded paths of life, warning all human sympathy to keep its distance, was what the knowing ones call nuts to Scrooge. Once upon a time -- of all the good days in the year, on Christmas Eve -- old Scrooge sat busy in his counting- house. It was cold, bleak, biting weather: foggy withal: and he could hear the people in the court outside, go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement stones to warm them. M arley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge's name was good upon 'Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail. Mind! I don't mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a door- nail. Scrooge knew he was dead? Of course he did. How could it be otherwise? Scrooge and he were partners for I don't know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend, and sole mourner. And even Scrooge was not so dreadfully cut up by the sad event, but that he was an excellent man of business on the very day of the funeral, and solemnised it with an undoubted bargain. The mention of Marley's funeral brings me back to the point I started from. There is no doubt that Marley was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate. If we were not perfectly convinced that Hamlet's Father died before the play began, there would be nothing more remarkable in his taking a stroll at night, in an easterly wind, upon his own ramparts, than there would be in any other middle-aged gentleman rashly turning out after dark in a breezy spot -- say Saint Paul's Churchyard for instance -- literally to astonish his son's weak mind. Scrooge never painted out Old Marley's name. There it stood, years afterwards, above the ware-house door: Scrooge and Marley. The firm was known as Scrooge and Marley. Sometimes people new to the business called Scrooge Scrooge, and sometimes Marley, but he answered to both names. It was all the same to him. Oh! But he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster. The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out ………. A Christmas Carol How a restless night for one man brought peace to many others CDCD A Dickens Classic From 1843 52 Anything else? Could Contrast be improved anywhere?

53. What should you look for? What does not stand out … and why? The red and brown text near the bottom is almost unreadable Notice the difference made by a contrasting shadow 53

54. Some colours work well on screen … But project badly, depending on the background What should you look for? On a black screen the first three colours look fine but … they do not project well 54 Royal Blue Purple Red Green Green on a white background Is similar

55. Something you should notice Where is the contrast greater? The text is the same size in both banners REMOVING BLOCK CAPITALS and bolding the text increases contrast but uses less room We could even increase the size And still take up less room SOUTH AUSTRALIAN THEATRE GUILD DECEMBER 2001 THEATRE COOPERATIVE WHAT’S HAPPENING IN SIR ROBERT HELPMANN MEMORIAL THEATRE SOUTH AUSTRALIAN THEATRE GUILD DECEMBER 2001 THEATRE COOPERATIVE WHAT’S HAPPENING IN Sir Robert Helpmann Memorial Theatre

56. So why is Contrast important? It makes the document readable It helps organise the page It adds visual interest to the page 56

57. How can I use Contrast? Emphasize differences Use a second font that is very different to provide contrast Change the properties of the main font Size Style Colour Use graphic elements Bullets Rules (lines) – and you can change the weight of the rule Pictures 57

58. This is most important 58 This is less important, but more important than … This … Which is more important than … This … the size tells us about the importance of each item A Text Hierarchy is an example of good use of contrast

59. Now you recognise the Design Principles CRAPCRAP ontrast epetition lignment roximity 59 Return to Main Menu

60. Developing skills with Design Principles Look critically at documents using the Design Principles 60

61. Contrast 61 All block capitals Poor contrast All the same font Poor contrast Heavy border Reduces contrast By reducing white space Logos in corners Reduces contrast By reducing white space Some different size text ie Some text hierarchy Provides some contrast

62. Repetition 62 All the same font Good repetition (Perhaps 2 fonts would be better, allowing Contrast) Logos in corners Good repetition But cause problems by reducing white space

63. Alignment 63 Everything centred Boring alignment Logos all aligned with each other Text aligned with graphics top and bottom

64. Proximity 64 Little grouping of text Poor proximity They are Theatre Supplies Poor proximity People mixed up with objects Poor proximity Properties hyphenated Poor proximity And goes better with Professionals Poor proximity Phone number poorly grouped Poor proximity Quotes are Obligation Free Poor proximity

65. Can you improve me? Decide on the focus Make it large and bold Set it in upper/lower case What should be grouped together? Set the groups together Leave space between groups Align elements strongly Use effective repetition 65

66. Bibliography Tollett, J and Williams, R. 2001, Design Workshop, Peachpit Press, Berkeley Williams, R. 2008, The Non-Designer’s Design Book, Peachpit Press, Berkeley Weildon, C. 1990, Communicating or Just Making Pretty Shapes, Newspaper Advertising Bureau of Australia Ltd, North Sydney Further Reading Williams, R. 1998, The Non-Designer’s Type Book, Peachpit Press, Berkeley Cohen, S. and Williams, R. 1999, The Non-Designer’s Scan and Print Book, Peachpit Press, Berkeley Robin Williams’ website 66