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DesktopDesktopDesktopPublishing

What is Desktop Publishing

DesignRules Detail

Designing a Document

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Alignment Summary................61Before You Start......................5Brochures................................72Business Cards........................79Color.......................................44Contrast..................................65Designing A Document...........56Flyers......................................74Four Principles........................60Letterhead & Envelopes .........82Lines........................................21Mass........................................33Newsletters.............................84Newspaper Ads.......................77Postcards................................76Proximity Summary................67Question To Ask ................18Repetition Summary...............69Textures..................................37Tips.........................................91Typography.............................87Web Sites................................81What is Desktop Publishing...............................4

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What is Desktop Publishing?Before You StarDesign Rules DetaildtpbginfosummaryBackground Info DetailQuestion to Ask

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AN INTRODUCTION TO DESKTOP PUBLISHING

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What is Desktop PublishingDesktop publishing is important as a tool that can enhance communication by making it possible to quickly and ef ciently produce printed and electronic documents. Desktop publishing and graphic design can make doc-uments look better, prettier. But its about more than just appearance. Desktop publish-ing, used properly, enhances visual commu-nication and streamlines the process of dis-seminating information of all kinds.Desktop publishing is a term coined after the development of a speci c type of software. Before the invention of desktop publishing software the tasks involved in desktop pub-lishing were done manually, by a variety of people and involved both graphic design and prepress tasks which sometimes leads to con-fusion about what desktop publishing is and how it is done.Desktop publishing is the use of the computer and specialized software to create documents

for desktop or commercial printing. It is the process of using the computer to produce documents such as newsletters, brochures, books, and other publications that were once created manually using a variety of non-com-puter techniques along with large complex phototypesetting machines. Today desktop publishing software does it all - almost. But before InDesign and other desktop publish-ing software there were e-scales, paste-up, and other non-desktop computer ways of putting together a design for printing. Properly speaking, desktop publishing is the technical assembly of digital les in the proper format for printing. In practical use, much of the graphic design process is also accomplished using desktop publishing and graphics software and is sometimes includ-ed in the de nition of desktop publishing. Desktop publishing and graphic design are different.

What Is Desktop PublishingIt is the process of using the computer and speci c types of software to combine text and graphics to produce documents such as newsletters, brochures, books, etc.

What Is Graphic DesignIt is the process and art of combining text and graphics and communicating an effec-tive message in the design of logos, graphics,

brochures, newsletters, posters, signs, and any other type of visual communication.

Desktop Publishing SoftwareDesktop publishing software is a tool for graphic designers and non-designers to cre-ate visual communications for professional or desktop printing.

Before You StartNot long ago, businesses were producing all of their day-to-day printed material using typewriters; additional copies were produced with a carbon paper, and later on a photocopy machine. At that time, only the most important business documents were typeset, and the typesetting industry was surrounded by an aura of mystique.Now, in the digital age, one person may act as the author, designer and producer of a wide variety of documents, including letterhead, brochures, reports and advertisements.The proper use of design and typography can make or break the impact and usefulness of every document you produce, whether it is a book, an advertisement or a newsletter. Every publisher wants to send a message to the reader and it is important that the message is easy to comprehend. It is also increasingly important that the design and typography used visually enhances the impact of the written message.

In a sense, a desktop publisher is considered a designer in that he or she designs layouts for the documents. Since many desktop publishers do not have formal design training, a series of simple questions to assist even the novice desktop publisher is included below. Several illustrations reinforce these principles of design and typography.As you begin to design each new publishing project you will have to identify the ultimate use of the

product and identify the end user of the product. In doing this, ask yourself several questions. Will it be a yer, read once and thrown away? Will it be a report, read and reviewed by several people? Will it be an advertisement designed to draw customers into your place of business? These and other questions will assist and keep you focussed in your endeavor to create an effective communication piece.

QUESTIONS TO BE ANSWERED BEFORE YOU BEGIN TO PRODUCE YOUR DOCUMENTS

WHO ARE THE READERS?Before you begin designing a document,

you need to identify your prospec-tive audience. If they are el-

derly, you may want to set the type

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6larger so that it is easy to read. If you are de-signing for children, you may want to include more graphics. If you are designing a busi-ness proposal, the design should not detract from the main message of the document. It should be clear, straightforward; charts and or graphs must be labelled.

WHAT IS THE PURPOSE OF THE DOCUMENT?When you begin to design a document, the rst question you should ask yourself is, What is the purpose of this document? Is it to inform, persuade or entertain? Is the document supposed to encourage the reader to take some type of action? For example, a form requires that the user ll it out; an invitation may require a response; and a cata-logue may stimulate someone to order your products.

WHAT IS THE MESSAGE YOU ARE TRYING TO CONVEY?The next question to ask yourself concerns the main message you want the reader to receive. If you want to create a yer to sell a car, your main message may be that the car is easy on gas, or that it has a low fuel consumption rate. Your secondary message may include the colour of the car, and the fact that it has air conditioning and a stereo system. Information such as your name and telephone number is also secondary information, but is quite important to the message.

HOW WILL THE DOCUMENT BE REPRODUCED?Another important factor for consideration is that there are many different methods of reproducing the work designed on your desktop publishing system. The number of copies that you will be distributing affects the method of reproduction you will use. For example, an invitation to a birthday party may require 20 copies, while a newsletter may require 20 000 copies.In a classroom or an of ce you may have an inkjet printer or a laser printer). You probably already realize that producing one original from these printers is not a problem, but if you take a stopwatch and time the printer as it produces a single copy you will soon realize that these printers cannot economically be used to produce 20 000 copies of your newsletter. For quick and economical reproduction, you will print your camera-ready art and take it to a print shop or the printing department of your organization. This may mean that your document will be reproduced on a high-speed photocopier or a lithographic press.

WHAT WILL BE THE LENGTH OF THE DOCUMENT?The number of pages to be included in the design will be a result of the type of publication. An invitation is usually limited to a single page; a menu or newsletter may be several pages long; and a business report

or manual could run to 300 or 400 pages in length.

WHAT TYPE AND SIZE OF PAPER WILL BE USED?Paper costs are a major part of any printing bill, regardless of how the document will be reproduced. The quality, weight and handling properties of the paper you choose affect the price. Paper must be chosen for its appear-ance and durability (if required), folding abil-ity, and ease of handling. The ultimate use of the document dictates the paper requirement. Although newsprint is suitable for printing a newsletter or newspaper, it is unsuitable for a business report, invitation or map. Similarly, a heavier stock, such as cardboard, is appropri-ate for a menu, but is not a good choice for a catalogue or business stationary.The size of your nished document is im-portant for two reasons. First, the document size must be appropriate for the message. A business card 8 1/2?? x 11 in size might pro-duce a good response, but it would be dif -cult to carry and/or store large quantities of them. Second, you may have trouble produc-ing documents larger or much smaller than 8 1/2 x 11 in size if your computer printer or software does not handle various paper sizes.

HOW MUCH MONEY DO YOU HAVE TO SPEND?The amount of money needed to produce a document is in uenced by how much time you have to create it; how important the doc-ument is (this may include its expected useful

life); how the document is printed, including thetype of paper or other material and the num-ber of ink colours, including photographs being used; the binding or packaging of the document; and how many copies will be pro-duced. Of course, your approved budget plays a major role in your decisions at this stage of production.

SUMMARYThis note covers the factors to be taken into account as you begin desktop publishing doc-uments. You should now recognize the need for information gathering on items such as your audience, the purpose of the document, and the main message you are trying to get across. You should also have an awareness of your budget limitations and your production deadlines as these will be important to you at every stage of production.

or manual could run to 300 or 400 pages in

WHAT TYPE AND SIZE OF PAPER WILL BE USED?Paper costs are a major part of any printing bill, regardless of how the document will be reproduced. The quality, weight and handling properties of the paper you choose affect the price. Paper must be chosen for its appear-ance and durability (if required), folding abil-ity, and ease of handling. The ultimate use of the document dictates the paper requirement. Although newsprint is suitable for printing a newsletter or newspaper, it is unsuitable for a business report, invitation or map. Similarly, a heavier stock, such as cardboard, is appropri-ate for a menu, but is not a good choice for a catalogue or business stationary.The size of your nished document is im-portant for two reasons. First, the document size must be appropriate for the message. A business card 8 1/2?? x 11 in size might pro-duce a good response, but it would be dif -cult to carry and/or store large quantities of them. Second, you may have trouble produc-ing documents larger or much smaller than 8 1/2 x 11 in size if your computer printer or software does not handle various paper


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WHAT TYPE AND SIZE OF PAPER WILL BE USED?Paper costs are a major part of any printing bill, regardless of how the document will be reproduced. The quality, weight and handling properties of the paper you choose affect the price. Paper must be chosen for its appear-ance and durability (if required), folding abil-ity, and ease of handling. The ultimate use of the document dictates the paper requirement. Although newsprint is suitable for printing a newsletter or newspaper, it is unsuitable for a business report, invitation or map. Similarly, a heavier stock, such as cardboard, is appropri-ate for a menu, but is not a good choice for a

The size of your nished document is im-portant for two reasons. First, the document size must be appropriate for the message. A business card 8 1/2?? x 11 in size might pro-duce a good response, but it would be dif -cult to carry and/or store large quantities of them. Second, you may have trouble produc-ing documents larger or much smaller than 8 1/2 x 11 in size if your computer printer or software does not handle various paper



WHAT TYPE AND SIZE OF PAPER WILL BE USED?Paper costs are a major part of any printing bill, regardless of how the document will be reproduced. The quality, weight and handling properties of the paper you choose affect the price. Paper must be chosen for its appear-ance and durability (if required), folding abil-ity, and ease of handling. The ultimate use of the document dictates the paper requirement. Although newsprint is suitable for printing a newsletter or newspaper, it is unsuitable for a business report, invitation or map. Similarly, a heavier stock, such as cardboard, is appropri-ate for a menu, but is not a good choice for a catalogue or business stationary.The size of your nished document is im-portant for two reasons. First, the document size must be appropriate for the message. A business card 8 1/2?? x 11 in size might pro-duce a good response, but it would be dif -cult to carry and/or store large quantities of them. Second, you may have trouble produc-ing documents larger or much smaller than 8 1/2 x 11 in size if your computer printer or software does not handle various paper


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Design Rules DetailGood design requires more than just good taste. The successful designer will learnhow to manipulate effects such as colour, balance, rhythm, type selection, consistency and graphics to create an effective and more beautiful design without abusing thetremendous power current Desktop Publishing applications.Often the most effective design can be achieved with simplicity.

A rst rule of design:Design for your reader,not yourself

A second rule of design:Listen to your client

A third rule of design:Establish hierarchies and organize your information

A fourth rule of designEstablish a rhythm

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A fth rule of design:Pay attention to detail

A sixth rule of design:Work within your own limitations

A seventh rule of design:Design for your final output

A eighth rule of design:Involve your printer up front

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Design rules to help make your project a success

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A rst rule of design:Design for your reader, not yourself.It is said that the best design is invisible. A good design gives precedence to the information contained in the document -- without calling attention to itself. Your reader will appreciate your design if it does not get in the way of what is to be said.There are three goals you should keep in mind regarding readers:

Attract the readerMake your work easy to readMotivate the reader to do something

Some designers attract the reader with an unusual or beautiful layout, but fail at guiding the reader through with clarity and motivation. Unless you have a speci c reason for making your reader work hard, (and there may be reasons why that would be desirable) make all design decisions guided by this rule.Much is known about what reading easy. Generally, lines of text more than ten or twelve words long are dif cult for the eye to track back and forth; as a result, designers utilize columns. Indents at the beginning of each paragraph create a visual cue that a new thought is being introduced. Certain typefaces are easier to comprehend in a paragraph, and others can make a headline catch the readers eye.

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Also, there are several tricks for organizing and highlighting text that attract the eye and help organize information.

A second rule of design:Listen to your client. Your client is the reason you are design-ing. If the client is budget conscious, work accordingly. If the client likes red, dont insist on blue -- unless you are con-vinced that it is better. Get all the in-formation you can from the client. Ask questions such as:

What is the budget?What is the time frame?Who is the audience?What do you want the reader to do?Who are your competitors?How have you reached your audience in the past?What is the existing corporate identity?

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Find out what the client wants to achieve with the publication. Determine how to reach those goals. This does not mean that you should give in to every suggestion your client makes. The good designer offers general directional ideas, pointing out what can be achieved within the time and budget constraints. More speci c design ideas evolve as your project develops. Electronic design with programs such as Aldus PageMaker offers the further op-tion of direct participation by the client in design development. Some electronic de-signers are comfortable with clients work-ing beside them at the computer. This can facilitate a very workable synthesis of ideas -- or it can be disastrous. It also can dispel a clients perception that you just push a button and it is done -- like magic! As a designer, you must establish comfortable boundaries.

A third rule of design:Establish hierarchies and organize your information. A hierarchy is a series of priorities for your design. Group articles into similar cat-egories that use the same styles for heads and body copy. Choose appropriate sec-tions of copy for sidebars or pull quotes. Some introductory text may bene t from a larger point size or different colour. De-termine where graphics will best support a topic or idea.

While you organize, be careful not to change the meaning of the copy provided to you. Paul Rand ( designer of the famous IBM logo), decries the ease with which electronic publishing allows the emphasis of ideas in copy to be altered by a designer. The designer should never in uence editorial content arbitrarily.

A fourth rule of design:Establish a rhythm. After you establish a hierarch with the or-ganization of headlines, subheads, body text, pull quotes, captions, and sidebars -- you can begin to create a rhythm. In a typical book, rhythm can be established by the continuation of layout from one page to the next. This layout could in-clude parallel columns of body copy, even

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or ragged-bottom margins, and the size and placement of graphics or photos -- all important for developing page rhythm. A tool that can help a designer establish rhythm is the thumbnail sketch -- a small sketch of where basic elements on a page will go. Rhythm of a layout can be established quickly -- in broad strokes and small size -- using the thumbnail sketch. One dif culty of electronic page layout is that it discourages thumbnail sketching; the designer focuses on the rhythm of the design. Keep the big picture in mind, as well as the details.

A fth rule of design:Pay attention to detail. Nothing affects the quality of the design more than typographical errors or sloppy mistakes, such as rules that dont meet or uneven columns. It always is dif cult to see your creation in an objective, fresh way; that is why it is a good idea to have someone else proofread for errors, con-sistency, and detail in your layout. Just as important is to take the time to run out -nal laser proofs before sending the le for nal output -- no matter how urgent the deadline. Skipping this crucial step in-vites disasters ranging from missed dead-lines to a budget destroyed by the cost of extra image setting -- or worse yet, a job that must be reprinted -- at great cost to your client, or maybe yourself.

A sixth rule of design:Work within your own limitations. You cannot do more than the constraints of your time frame, budget, or abilities. As the designer, you interpret what is possible within the given parameters. Evaluate your strengths and weaknesses, and design according to your abilities. As the designer, you interpret what is possible within the given parameters. Evaluate your strengths and weaknesses, and design according to your abilities. Illustrate, if you are a good illustrator. Dont attempt to create four colour process artwork if you dont understand

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how it works. You will be much more successful if you do what you do well, and call in experts when you need them. At the same time, work to expand your own abilities.

A seventh rule of design:Design for your nal output.Output realities will in uence electronic design decisions. Fro instance, if you plan to use a laser printer to run off 200 yers, it would be foolish to scan graphics with a high resolution, because the print-er can only print at 300 dots per inch. If you are imaging directly to lm, you will not be able to physically paste in graphics that have not been converted to electronic format. If you are sending your publica-tion by modem to a service bureau, you must build in the time it will take to send the les, especially if they include com-plex graphics.

An eighth rule of design:Involve your printer up front.The importance of this rule cannot be overstated. You should know who will print your work, the shops capabilities, and have your questions answered even before you begin to design. The following list is only partial. Each project will involve speci c additional questions:

What are the nancial terms?3

When will you need camera-ready art?Who is your contact person?Where can I save money by making design changes?What pre-press tasks will be needed for this job? Who should do them?Do you prefer lm or paper? Negatives or positives?What line-screen value should be used for halftones? (Assigned to scans used in PageMaker, varying for different printing processes.)What colour matching systems do you support (PANTONE, Trumatch, and so forth)?Will I see a blue line? (Composite proof generated from lm negatives.)Will I do a press check? (Checking the rst few printed pieces before the full run is printed.)When will the work be nished?What is the rush charge policy?

Good printers are happy to answer these and other questions because they know that planning early pays off. Check through camera-ready art with your printer.

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GATHERING BACKGROUND INFORMATIONThe following information will assist you in gathering the necessary information before you begin creating your publication:

Who are the prospective readers you want to reach?

What image do you want your

publication to project?

What is the purpose of the publication?

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Why is this publication required?

What is the main message you want

to convey?

What is the length of the publication?

What type and size of paper will be

used?

What is the life of the publication?

Will the publication require regular updating?

How will the publication be

produced?

How much money do you have to

spend to produce the publication?

When is the publication required?

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GATHERING BACKGROUND INFORMATIONThe following information will assist you in gathering the necessary information before you begin creating your publication:

Who are the prospective readers you want to reach?

What image do you want your

publication to project?

What is the purpose of the publication?

Design Basics & Applications

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GATHERING BACKGROUND INFORMATIONThe following questions will assist you in gathering the necessary information before you begin creating your publication.

WHO are the prospective read-ers you want to reach?Your audience will determine a num-ber of design decisions. If the likely

readership consists of children, for exam-ple you may include additional pictures and graphics to attract and hold their interest. For an elderly readership the type selected would have to be slightly larger for ease of reading. The same applies for people with poor eyesight or persons who are forced to read material in low-lighting conditions. Is your readership a captive audience? How much do they already know about the subject of the publication?Another consideration is the social and cul-tural background of the readers. Some desk-top publishers have incorporated North American-oriented graphics and text into their publications only to find that these are inappropriate or insulting to certain segments of the population or to overseas audiences.

WHAT image do you want your publication to project?A publication is characterized by its contents in terms of text and graphics information, its design and layout, as well as the quality of the paper used. It is important that you con-sider these factors when you create your pub-lication so that they are appropriate for your reading audience. usiness institutions want their publications to suggest that they are solid, dependable and well informed. Scientific joumals want to project an image that the profession is schol-arly, reliable, dependable and formal. Travel brochures might make extensive use of co-loured photographs to suggest adventure, es-cape and excitement.

Background Info Detail

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WHAT is the purpose of the pub-lication?Determine the prime purpose of your publi-cation: Is it to inform, persuade or entertain the reader? Do you want the reader to take some action such as to fill out a form to join an organization) to order a product from your catalogue), or to respond to an invitation to an investment seminar)?

WHY is this publication required? What is the main message you want to convey?The message of a publication is closely akin to its purpose. Ask yourself what message you want the reader to receive. If, for exam-ple, the publication is a flyer advertising an apartment for rent, the information provided should describe such positive features as its size, address, proximity to public transport, and include specialized features such as air conditioning, building security, and recent re-modelling.Such a publication would also include a tele-phone number or some other means by which interested readers could contact the rental agency. The flyer might incorporate a picture of the exterior or interior of the apartment.

WHAT is the length of the publi-cation?The length of the publication will be deter-mined by the type of publication being pro-duced. An advertising flyer or invitation may be one page in length, a newsletter or restau-rant menu four to twelve pages, while a tech-

nical manual or business report.

WHAT type and size of paper will be used?The cost of paper could become a significant part of the total printing bill. Paper can be selected for its quality, weight and handling properties. Newspapers and newsletters, for example, are often printed on inexpensive newsprint. An invitation should be printed on quality paper that reflects its importance and the information it presents. Restaurant menus and business cards are normally print-ed on stiff paper or cardboard to withstand repeated use.Most business documents are printed on stan-dard 8 1/2 x 11 21.25 cm x 27.5 cm) paper. Invitations and business cards are printed on a smaller-sized paper but often more than one copy is produced on each page. If a non-standard paper size is required for a publica-tion, make certain that your printer has the capability to handle the size you want to print. Remember too that printing on odd-sized pa-per may increase the cost of the publication.

WHAT type and size of paper will

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WHAT is the life of the publication?Some publications will be read once while other publications are intended to last for a period of time. Flyers, newspa-pers, and newsletters are normally read and then thrown away or recycled. Menus and business cards, however, are normally reread a number of times.

WILL the publication require regular updating?Publications such as magazines and newslet-ters are produced on a regular basis. Other documents are updated when a significant amount of the information in the earlier version has changed. These publications are best prepared using a master page template a framework model that ensures that the same design is followed throughout successive edi-tions). The template would contain repetitive layout information such as margins, headings, etc. The variable items or elements that are unique to this issue are then inserted into the

template.

HOW will the publication be produced?You will have to decide what hardware and software you are going to use. Your decision will

be based on availability and the desired quality of your publica-

tion. The method of reproduction making

copies) for your publication will depend upon the equipment you have available, the quality of the end product you desire, the number of copies you need, and the amount of money

you have budgeted for the project.Publications such as invitations to birth-

day parties might require a few dozen copies to be produced while several thousand copies of a newsletter may be required. A final copy of the birthday invitation could be produced on a laser printer. Additional copies could be reproduced on a photocopying machine.

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Normally, a camera-ready final, ready to be printed) copy of the newsletter would be saved in a file and transmitted to a profes-sional printing service for printing on a high-speed photocopier or printer.HOW much money do you have to spend to produce the publication?Cost will always play a part in the publication process. Factors such as the time required to create the publication, the number of pho-tographs and non-textual elements used, the importance of the publication, the binding and packaging to be used must all be consid-ered. The reproduction costs must also be taken into account. Generally, the larger the num-ber of copies made, the lower the cost of each copy; however, a long printing run in-

creases the total cost of publishing because of the significant cost of paper. It is common to establish an initial budget that is examined as the project progresses. Often there are trade-offs between what you would like to do and what you can do within a set budget. WHEN is the publication re-quired?Magazines, newspapers, and newsletters that are published regularly have deadlines that must be met. Even if your publication does not have a time restraint, you should prepare a realistic production schedule. Often a proj-ect will expand to fill the time available and you will find yourself in a perpetual state of revision.

What is the basic nature of the publication?

Will it be printed or distributed over the Internet?

Is it going to be published as both a print and PDF publication.?

How many pages will it have?

If will be a multi page document, will it have facing pages like a book or will it be single-sided like a ip chart?

How many columns will each page have?

How wide will the margins be?

Will you be using colour?

If so, how many colours?

What kind of paper will it be printed on?

What kind of printer or printing press will be used?

How will the publication be distributed?

Under what circumstances will it be read?

what is the life expectancy of the publication?

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If the publication is for the Internet, will you create a HTML document or a PDF le?

What about the content of the publication?

What programs were used to create the text les and graphic les that the publication will contain?

What formats were used for text and graphic les?

What is the most effective way to present the content given the production requirements and budget?

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Once you answer the above questions, a rough image of your publication will take shape in your mind. Many designers still prefer to use a drawing pad and pencil to roughly sketch out their design before they start the page-layout program like InDesign. Others do their brainstorming and sketching on the y, using their favorite software.

If the publication is for the Internet, will you create a HTML document or a PDF le?

What about the content of the publication?

What programs were used to create the text les and graphic les that the publication will contain?

What formats were used for text and graphic les?

What is the most effective way to present the content given the production requirements and budget?

Once you answer the above questions, a rough image of your publication will take shape in Once you answer the above questions, a rough image of your publication will take shape in Once you answer the above questions, a rough your mind. Many designers still prefer to use image of your publication will take shape in your mind. Many designers still prefer to use image of your publication will take shape in a drawing pad and pencil to roughly sketch your mind. Many designers still prefer to use a drawing pad and pencil to roughly sketch your mind. Many designers still prefer to use out their design before they start the page-a drawing pad and pencil to roughly sketch out their design before they start the page-a drawing pad and pencil to roughly sketch layout program like InDesign. Others do their out their design before they start the page-layout program like InDesign. Others do their out their design before they start the page-brainstorming and sketching on the y, using layout program like InDesign. Others do their brainstorming and sketching on the y, using layout program like InDesign. Others do their

Question To AskBefore you begin, there are several questions

you must answer about the publication you

will be designing and producing:

ELEMENTS OF DESIGN

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ELEMENTS OF DESIGNELEMENTS OF DESIGN

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Elements of DesignMassLinesTextureShapesColour

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The elements of design are the building blocks of all designs, chosen to convey the message beyond the actual words or photos used. Desktop publishing documents utilize the ve elements of design : lines, shapes, mass, texture, and color. Other concepts sometimes listed as elements of design are form, space, and value (as in lightness or darkness of color).

The basic design elements:

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The elements of design are the building blocks of all designs, chosen to convey the message beyond the actual words or photos used. Desktop publishing documents utilize the ve elements of design :

Other concepts sometimes listed as elements of design are form, space, and value (as in lightness or darkness of color).

The basic design elements:The basic design elements:

Elements of Design

LinesLines can take many forms. They can be loose and free or they can be straight and sharp. Lines can create patterns which adds emotional impact to the visual image. Lines can also be used as forms of universal language in communication.

ShapesThe three basic shapes: square, circle, and triangle.Each of these shapes have a psychological meaning associated with it. The triangle has the attitude of con ict or action. The circle gives the feeling of protection or in nity. Honesty or equality is associated with the square.

MassMass refers to the size or amount of space taken up by an element. The mass or solid, plus the shape, tend to give relationship with other elements. The various weights of different shapes can be used to emphasize type styles.

TextureTexture is a part of every printed image. The

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rst reaction is to touch the surface. Texture can be produced by lines that form images. However, this element is usually visual and no reaction would be received through the sense of touch. Actual texture can be produce by embossing.

ColorWhen color is used on a layout, it causes that part of the layout to attract attention. Color can have a strong emotional and psychological impact on the reader. It can be used to add interest and to reduce boredom. Yellow, orange, and red are considered warm colors and often denotes a g g r e s s i o n , e xc i t e m e n t , and danger. Blue, green, and violet are c o n s i d e r e d to be cool colors and are associated with nature and passiveness.

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Lines are one of the basic elements of design. Alone or in combination with other lines or shapes they can aid in the readability, appearance, and message of a design.

Use lines to:guide the eyeconvey universal meaningsOrganize, connect, separateCreate movementProvide textureConvey a mood or emotionDe ne shapesProvide emphasis, make a statementProvide a frameworkAppearance of Lines

A line is a mark connecting two points. How we get from point A to point B gives the line its distinctive character and appearance. Lines can be long or short, straight or curved. Lines can be h o r i z o n t a l , vertical, or diagonal. Lines can be solid, dashed, thick, thin, or of variable width. The endings of lines can be ragged, blunt, or curved.( p h o t o Appearance of Lines.bmp and lines 2)

Line PatternsLines are often found in pairs or groups. Lines

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of the same general appearance or lines that are quite different can form a variety of patterns that create textures, suggest movement, or lead the eye - the same as single lines.If you arent creating original illustrations or doing logo design, your main concern with this part of the study of lines is being able to recognize these patterns in the illustrations you may select for your work and understand how these patterns may or may not project the image you want for your project. These bits of line patterns illustrate static, dynamic, and random use of lines.(examples are in the photo Line Patterns)

Upper Left: Uniform vertical black and white lines alternate at even intervals. Static. Orderly. Conservative.Upper Right: Uniform horizontal black lines are widely, but evenly spaced. Static. Stable. Orderly.

Middle Left: Uneven spacing of otherwise uniform lines creates the impression of movement. Dynamic. Orderly progression.

Middle Right: In this example the progression moves in from either side giving

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the illusion of roundness. Dynamic. Orderly progression. Dimension.

Lower Left: Varying line widths and distances create a random pattern. Dynamic. Chaotic. Disorderly.

Lower Right: While the uniform size and spacing of the lines in the upper examples are static, make the lines into curves and you get movement although it is a controlled movement. Dynamic. Orderly ow.

LinesKeep an eye out for brochures, ads, newsletters, graphics, logos, and other print projects that include examples of lines, look for materials around you that include lines of all kinds. Youll refer to these examples in some of the lessons in this class.Lines can be long or short, straight or curved. Lines can be horizontal, vertical, or diagonal. They create patterns. Lines in graphic design can be solid, dashed, thick, thin, or of variable width.

Sometimes a designer uses a line alone to divide or unite elements on a page. Lines can denote direction of movement (as in diagonal

lines and arrows) or provide an anchor to hold elements on a page (such as lines at the top, bottom, or sides of a page). You can use lines in conjunction with other elements of your design. One

well-known example, the AT&T logo, is a pattern of thick and thin lines arranged in a circular shape. Look at ads, newsletters, business cards, books, and other projects with an eye on lines. Are the lines used prominently? Are they part of a logo or used in other ways to divide the page or add decoration?

Seven types of lines: 1. horizontal lines 2. vertical lines 3. diagonal lines 4. curved or freeform lines 5. lines used in a pattern 6. non-solid (dashed, dotted, etc.) 7. lines (photo lines)Lines, an element of design

Practical Use of Lines

Whether lines appear as part of a graphic element, such as a logo or illustration, or the

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lines themselves are the graphic element, such as frames and dividers, use them purposefully in the overall design.

The examples below demonstrate a few of the ways lines might be used in page layout or illustration. You can probably nd examples all around you as well.

(photo Designing with rules.bmp)Above, a solid line separates columns of text, a pair of lines set apart a phrase, and a short dotted line separates a section of text from other parts of the page.(photo Use of lines 1)A few simple lines added

to a piece of clip art gives a sense of movement to the airplane. Short, choppy, vertical lines create a grooved texture along the edge of the timepiece sketch.(photo Practical Use of Lines example 3.bmp)Dashed lines suggest a coupon, whether there is one or not. It causes many of us to take a second look at this ad because the familiar dashed line makes us think I can save money!

Design Tip: When using clip art in your page layout, pay attention to the lines within the image. The lines of the clip art shouldnt interfere with or con ict with the

tone of the design or other line elements used in the piece.

Printing Tip: Dont use the hairline rule setting in your page layout or graphics program because not all program de ne hairline rules in the same way. Hairline rules that are too thin may disappear when printing to a high resolution imagesetter. Specify a speci c size such as .25 points.

Lines Rule!Rule is another name for a line in graphic design. Use rules as decorative elements and as functional parts of the overall layout to separate, offset, or anchor areas of the page.Examples of Horizontal Rules

(photo Examples of Horizontal Rules)

Rules are normally expressed in point sizes although some programs use inches by default. A hairline rule is the smallest size and is usually about one-fourth of a point. Most page layout programs come with several preset one-click width rules usually from hairline to 8, 16, or 24 points. However, you can customize rules for other sizes including partial sizes such as 1.5 or 2.6 points.

Solid rules arent the only possibility. Some software programs offer a wide variety of pre-set rules styles or you can create your own. Make rules from round, square, or diamond-shaped dots. Mix dots and dashes in a pattern. Combine solid or non-solid rules

line separates columns

A few simple lines added

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in different sizes. And dont forget, rules can be vertical and diagonal too.Due to varying screen resolutions, the widths in image are only approximate representations.

DownrulesDe nition: In page layout, rules are lines used to separate, organize, emphasize, or otherwise decorate a page. Downrules refer speci cally to vertical rules placed between columns of text, used to provide greater visual separation between the columns.

Place downrules between columns of text to keep the readers eye from jumping the alley (space between columns) and becoming confused. Use narrow downrules, especially in

narrow spaces to avoid visually overpowering the page and running into adjacent text.

Also Known As: vertical rules | lines | column dividers(photo Downrules)

A vertical rule or downrule separates adjacent columns of text.

Designing With RulesSome ways to use rules in your design:

Add a border to a graphic or table.Place above and/or below headlines, titles.

Use at the top and/or bottom of pages to de ne the shape of the page or to separate header and footer text from other copy.

Separate columns of text.Offset sidebars, pull-quotes, or other blocks of text.

(photo Designing With Rules)

Use rules with restraint and appropriately: Too many rules are distracting and interrupt the ow of text. Dont box in every element on the page.

Use appropriate size rules. Thick rules can overpower delicate text and rules that are too thin fade away into the background.

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Pay attention to spacing. Put enough space between text and rules to avoid ascenders or descenders running into the rules.When placing rules above and below or to the left and right of a block of text, make sure the distance between text and rules is visually balanced on both sides.

Some ways to create attractive rules: Use dots or dashes instead of solid lines.Pair up thick and thin rules for double lines.Use rules in a spot color or tint.Use a group of rules in the same or varying thicknesses and lengths as design elements that draw the focus to an important element of the design.

Reverse text out of a thick rule.Rules Tips and How-tosMost page layout programs have the ability to create a variety of default rules and often you can create custom rules within the program. More elaborate rules may require a graphics program.Not all hairline rules are created equal. Specify a speci c size, such as .25 pt. to avoid surprises when printing to different printers, especially imagesetters which may view the hairline rule setting as larger or smaller than the software you used to create it.

Another reason not to use pre-de ned hairline rules. The hairline rule you de ne in

your drawing program may have a different

weight then the rule you speci ed in your page layout program.

Logo DesignUse Lines in Logo Design

(photo Use Lines in Logo Design)

Lines come in a variety of shapes and sizes. Dont get stuck in a rut. Vary the thickness of the lines. Make lines of dots, dashes, or combinations. Look at the patterns that a series of lines make. Use lines to direct eye ow. Use lines to form barriers. Use lines to indicate connections. Use lines to show movement.

Be aware of what the shape of lines can convey. Sharp edges could indicate tension, crispness, hardness, formality, or high tech. Soft edges and curves may be softer, owing, more casual, or more personal.Even small changes in line thickness, endings, or shape changes can alter the look and feel of a design. In the Advanced logo design example, the lines that make up the triangle (letter A) go

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from thick at the bottom to thin at the top. They also suggest a set of steps (advancement) leading upward.

Notice how the round line endings give the hammer drawn freehand with straight and curved lines a softer feel. The second version of the i che logo design uses rounded line endings and more curves (in the ns/lashes). Notice that a different typeface is chosen for each, to match the style of lines. You can also create interesting patterns with a series of repeating lines. None of these designs rely on color -- although changes in color can further change the appearance of the lines.

Create New Graphic Elements with Photos and Rules(photo Photos and Rules)

Combine mug shots with rules and dividersCombine mug shots with other elements.

A heavy rule with a mug shot sitting on or hanging from the line can become a department head for a recurring section ina newsletter. Place mug shots to the left or right of column dividers to create little ags. Dangle pictures from a dotted or wavy line. Use rules of different lengths or sizes to create a pattern behind or around individual images.

Design Tip: When using clip art in your page layout, pay attention to the lines within the image. The lines of the clip art shouldnt interfere with or con ict with the tone of the design or other line elements used in the piece.

Printing Tip: Dontuse the hairline rule setting in your page layout or graphics program because not all program de ne hairline rules in the same way. Hairline rules that are too thin may disappear when printing to a high resolution imagesetter. Specify a speci c size such as .25 points.

Shape is one of the basic elements of design. Alone or in combination with other shapes or lines they can convey universal meanings as well as guide the eye or organize information. The three basic types of shapes are geomet-ric, natural, and abstract. Geometric shapes are structured, often symmetrical shapes. These include squares, circles, and triangles but also octagons, hexagons, and cones.

Natural shapes are found in nature or they can be manmade shapes. Leaves are an exam-ple of a natural shape. An ink blob is a natu-ral shape. Natural shapes are often irregular and uid.

Abstract shapes are stylized or sim-pli ed versions of natural shapes. Symbols found on signs, such as the stylized wheelchair shape for handicapped access, is one exam-ple.For the purposes of this class well focus on the three basic geometric shapes of squares (and rectangles), circles, and triangles but lesson 4 will also brie y address natural and abstract shapes.

Identify Geometric ShapesCircle, square, and triangle are the three basic shapes used in graphic design. Perhaps the most familiar shape to desktop publishing is the square (and rectangle). Paper is rectangu-lar. Most text blocks are square or rectangular. While you may encounter printed projects cut into other shapes, most circles, triangles, and freeform shapes in desktop published mate-rials are found on the page within the graph-

ics or in the way the elements are placed on the page.

six shapes: square (not-rectangle) graphic ele-ment square (not-rectangle) text blocks circle graphic element triangle graphic element circle, triangle, or freeform text blocks paper in other than a rectangle (diecut brochures or business cards or per-haps a non-rectangular ad amid a sea of rectangular ads in a newspaper)

(photo shapes)Shapes, an element of design

Square ShapesThe square denotes honesty and stability. Squares are familiar, trusted shapes. Because the vast majority of the text we read is set in squares and rectangles, it has become famil-iar, safe, and comfortable.Squares and rectangles are probably the most common geometric shapes we encounter. A few books, especially those for kids, may be

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Shape is one of the basic elements of design. Alone or in combination with other shapes or lines they can convey universal meanings as well as guide the eye or organize information. The three basic types of shapes are geomet-ric, natural, and abstract. Geometric shapes are structured, often symmetrical shapes. These include squares, circles, and triangles but also octagons, hexagons, and cones.

Natural shapes are found in nature or they can be manmade shapes. Leaves are an exam-ple of a natural shape. An ink blob is a natu-ral shape. Natural shapes are often irregular

Abstract shapes are stylized or sim-pli ed versions of natural shapes. Symbols found on signs, such as the stylized wheelchair shape for handicapped access, is one exam-

For the purposes of this class well focus on the three basic geometric shapes of squares (and rectangles), circles, and triangles but lesson 4 will also brie y address natural and abstract shapes.

Identify Geometric ShapesCircle, square, and triangle are the three basic shapes used in graphic design. Perhaps the most familiar shape to desktop publishing is the square (and rectangle). Paper is rectangu-lar. Most text blocks are square or rectangular. While you may encounter printed projects cut into other shapes, most circles, triangles, and freeform shapes in desktop published mate-rials are found on the page within the graph-

Shapes

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cut in irregular shapes but adult (i.e. serious)

correspondence comes in squares -- both the physical

shape of the

books, magazines, newspapers, andthe rect-angular columns of set text.

Some designers might equate square with bor-ing. Its true that other, unexpected shapes, can grab attention better than the simple square

but dont forget the importance of comfort and famil-

iarity. Imagine how dif cult it be-comes to le ev-

eryday correspondence if letterhead came in

a variety of triangles or freeform shapes. Try read-

ing an entire book with all the text set in circles. Squares and rectangles de nitely

have a place in design.Some ways you can use squares and rectan-gles: To symbolize honesty, stability, equality, com-fort, or familiarity. It could also symbolize ri-gidity or uniformity. Related to the rst bullet item, use repeating squares to suggest familiar themes (checker-

board pattern to represent a game board, the checkered ag at the end of a race, a tablecloth).

To highlight, organize, or set apart information using

a solid or outlined box.

Use a square unexpectedly. Set a block of text in a solid or outlined

but tilted box with or without also tilt-ing the text.

books, magazines, newspapers, andthe rect-books, magazines, newspapers, andthe rect-angular columns of set text.angular columns of set text.

Some designers might equate square with bor-Some designers might equate square with bor-ing. Its true that other, unexpected shapes, can ing. Its true that other, unexpected shapes, can grab attention better than the simple square grab attention better than the simple square

but dont forget the importance but dont forget the importance of comfort and famil-of comfort and famil-

iarity. Imagine how dif cult it be-comes to le ev-

eryday correspondence eryday correspondence if letterhead came in if letterhead came in

a variety of triangles or a variety of triangles or freeform shapes. Try read-freeform shapes. Try read-

ing an entire book with all the text set in ing an entire book with all the text set in circles. Squares and rectangles de nitely circles. Squares and rectangles de nitely

have a place in design.Some ways you can use squares and rectan-Some ways you can use squares and rectan-

To symbolize honesty, stability, equality, com-To symbolize honesty, stability, equality, com-fort, or familiarity. It could also symbolize ri-fort, or familiarity. It could also symbolize ri-gidity or uniformity. Related to the rst bullet item, use repeating Related to the rst bullet item, use repeating squares to suggest familiar themes (checker-squares to suggest familiar themes (checker-

board pattern to represent a game board, board pattern to represent a game board, the checkered ag at the end of a race, a the checkered ag at the end of a race, a tablecloth).

To highlight, organize, or To highlight, organize, or set apart information using set apart information using

a solid or outlined box. a solid or outlined box.

Use a square unexpectedly. Set a Use a square unexpectedly. Set a block of text in a solid or outlined block of text in a solid or outlined

but tilted box with or without also tilt-but tilted box with or without also tilt-ing the text.

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Circle Shapes Circles suggest in nity. They are also pro-tective (think of protective encircling arms). They can also denote free movement such as a rolling ball or a more controlled movement such as a spinning globe. The sense of movement is often enhanced through shading or the use of lines (as suggested in Class 2 on Lines).

Outside of logo designs, cir-cles are less common elements of design which makes them good for grabbing a t t e n t i o n , p r ov i d i n g e m p h a s i s , and break-ing up famil-iar rectangular blocks of text. You could set text in circles or simply use a cir-cle as the background for more traditional blocks of text.

Some ways you can use circles: To symbolize in nity and protectiveness. Circles could also suggest something well-rounded or complete. Similar to protective-ness, circles could also imply security. Related to the rst bullet item, use circles to suggest familiar themes (bullet holes, a stack of cannonballs, a bunch of grapes -- or just

about any round fruit or vegetable, a target, the earth). To highlight, organize, or set apart information using a solid or

outlined c i r c l e . Try a

f r e e -form cir-cle that looks like it was drawn with a marker or pen to highlight important text.

Replace the letter O or other round let-ters in text with a circular shape that suggests

tective (think of protective encircling arms). tective (think of protective encircling arms). They can also denote free movement such as They can also denote free movement such as a rolling ball or a more controlled movement a rolling ball or a more controlled movement such as a spinning globe. The sense of movement is often enhanced The sense of movement is often enhanced through shading or the use of lines (as through shading or the use of lines (as suggested in Class 2 on Lines).

Outside of logo designs, cir-cles are less common elements of design which makes them good

iar rectangular blocks of text. You could set text in circles or simply use a cir-cle as the background for more traditional blocks of text.

Some ways you can use Some ways you can use

To symbolize in nity and protectiveness. To symbolize in nity and protectiveness. Circles could also suggest something well-Circles could also suggest something well-rounded or complete. Similar to protective-rounded or complete. Similar to protective-ness, circles could also imply security. ness, circles could also imply security.

To highlight, organize, or set apart information using a solid or

outlined c i r c l e . Try a

f r e e -form cir-cle that looks like it was drawn with a marker or pen to highlight important text.

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that letter. Try an orange in the word Orange or a basketball, baseball, or soccer ball to re-place an O or other letter in the nameplate of a sports newsletter.

Triangle Shapes Triangles suggest action. They are dynam-ic. Triangles may convey either con ict or

strength. Triangles can direct movement (up, down, left, right depending

on which way they point) but rather than moving themselves,

they point the way for the reader.

Triangles are suggestive of many different shapes and ideas. They can represent a religious Trinity, a pyramid, a ag or pennant, an arrow, a beacon.

Some ways you can use triangles: To symbolize action or con ict. In a

logo, a triangle might be better suit-ed to a growing, dynamic high tech company than the more stable, fa-miliar square, for example.

Related to the rst bullet item, use triangles to suggest familiar

themes ( ag, pyramid, arrow or pointer). A single or a series of tri-

angles can point the eye to important information or act as an arrow to get

readers to turn the page. To highlight, organize, or set apart infor-

mation using a solid or outlined triangle. Use a triangle to suggest progression. Place it behind a Top 10 list or the steps to accom-plish a speci c task.

Replace the letter A or V in text with a tri-

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anglur shape that suggests that letter. Try a wedge of pie for the letter A in the phrase Amys Desserts.

Practical Use of Shapes As with lines, whether shapes appear as part of a graphic element, such as a logo or il-lustration, or the shapes themselves are the graphic element, such as frames or boxes, use them purposefully in the overall design.Some ways that you might use shapes in your design are to:

Organize, connect, separate Symbolize an idea

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Create movement Provide texture or depth Convey a mood or emotion Provide emphasis Provide a framework Geometric Shapes

In addition to the basic square, circle, and triangle discussed so far, other geometric shapes have speci c meanings, some cultur-ally-based. An octagon, especially a red one, usually means stop. A starburst is commonly used to grab attention and identify something that is new, improved, or on sale.

Natural ShapesNatural shapes can add interest and reinforce a theme. Rather than a plain box, frame text with a coiling rope or a spray of leaves or owers. Use a freeform, non-symmetrical shape to convey a feeling of spontaneity.

Abstract ShapesSome abstract shapes are almost universally recognized and easily read even when the text is in an unfamiliar language. The stylized wheelchair, the male and female symbols for restrooms, and the jagged steps for stairs or an escalator are some examples. Icons are of-ten abstract or stylized shapes. For example, a rectangle with a folded corner often indi-cates a page in a document or a word pro-cessing program. A hollow circle or oval with smaller circles on the path may be a literal representation of a planetary system or sym-bolic of a network, such as a computer net-work.

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Auxillary LessonsThis course isnt the rst time Ive addressed the use of shapes in desktop publishing. Read each of the following pages (some are parts of longer articles but you only need to read the one page dealing with shape). Use your back button to return to this page after read-ing each auxillary page.

Use Shapes in Logo Design is part of a lon-ger tutorial on logo design. This page shows examples of how you can use shapes to con-vey ideas plus more ideas on using shapes to replace letters.In the same logo feature, Combine Lines and Shapes in Logo Design is about using the ba-sic geometric shapes and lines to construct more complex images or to suggest familiar themes.

This course isnt the rst time Ive addressed the use of shapes in desktop publishing. Read each of the following pages (some are parts of longer articles but you only need to read the one page dealing with shape). Use your back button to return to this page after read-

Use Shapes in Logo Design is part of a lon-ger tutorial on logo design. This page shows examples of how you can use shapes to con-vey ideas plus more ideas on using shapes to

In the same logo feature, Combine Lines and Shapes in Logo Design is about using the ba-sic geometric shapes and lines to construct more complex images or to suggest familiar

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MassIntroduction to Mass as an Element of DesignTwo Kinds of MassMass is size. There is physical size and vi-sual size. Size can be relative. A physically small brochure can have a great deal of mass through the use of heavy text and graphic el-ements. A physically large brochure can ap-pear smaller, lighter by using text and graph-ics sparingly. While the paper projects you create have a certain size because of the size and weight of the paper, visual mass how light or heavy it appears is also an element of the de-sign. Go through your sample folder of ads, newsletters, business cards, books, and other projects and look at each piece and analyze mass in terms of physical size of the piece and the visual mass. Does it have a heavy, im-posing look due to the size or weight of the paper or the density of text and graphics? Is it small and compact or light and airy? Hold the items in your hand to see if they feel light or heavy.

Examples of mass as follows:

physically large physically small visually massive visually small or light

(photo Mass)Mass, an element of design

Mass and Size Mass is one of the basic elements of design.

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Mass equals size. Each piece you create has a physical mass. Additionally, each element within the design (graphics, photos, lines, text blocks) have their own mass relative to the whole piece.Part of working with mass in desktop pub-lishing is understanding how we measure the various parts of a design such as paper, type, and images.

Defining Mass Mass equals size. Each piece you create has a physical mass. The physical mass or size is the actual dimensions of the piece height, width, thickness/weight (of paper), and depth (3D objects).Additionally, each element within the design (graphics, photos, lines, text blocks) have their own mass relative to the whole piece. For ex-ample, a photo that is physically 3 inches by 5 inches can appear smaller or larger depending on the physical size of the paper it is printed on and the size and proximity (closeness) of other items on the page.

Some ways to use mass within your designs:to accommodate information, contentExample: To present all the desired or need-ed information comfortably a designer may create a bi-fold rather than the usual single business card to accommodate normal size restraints or ex-

pectationsExample: The postal ser-

vice has limitations on the height and width of differ-ent types of

envelopes. If a designer ig-nores those requirements it could incur addi t iona l m a i l i n g costs for the client.

t o

convey a mood o r provide emphasisExample: A place that is physically large (such as an amusement park) or a business that offers a huge assort-ment of products may use brochures or oth-er marketing pieces that are larger (physical dimensions) or heavier (weight) than normal

to carry out the bigger or more theme. to create contrastExample: A designer might design a full-page magazine ad using a single small image in the middle of the page with lots of white space. The contrast between the size of the page and the size of the content (image) draws at-tention to the image and can create a speci c mood (depending on other elements) such as conservative, elegant, lonely, or open. Sometimes bigger isnt always better. Take this brochure description for example: 23 1/4 x 16 1/2 inch full color two-sided bro-chure (folded twice to 8 3/4 x 11 3/4 inch). This brochures opens twice and is visually packed and appears massive due to the fol-lowing elements:

It has a large physical size when openedIt is folded down numerous times, and although the paper is thin, glossy card stock, it appears massive due to the number of layers created by the folds. It is densely packed (in my opinion, overwhelmingly over-packed) with

bold, multicolored backgrounds and graphic elements, multicol-ored and shadowed text, and photographs - making it visually massive and heavy. The brochure

is packed with information about the software and its applications.

I didnt bother to look at it in any detail because the mass of it made it seem like too much work to get through. Student ID C011409

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to carry out the bigger or more theme. to create contrastExample: A designer might design a full-page magazine ad using a single small image in the middle of the page with lots of white space. The contrast between the size of the page and the size of the content (image) draws at-tention to the image and can create a speci c mood (depending on other elements) such as conservative, elegant, lonely, or open. Sometimes bigger isnt always better. Take this brochure description for example: 23 1/4 x 16 1/2 inch full color two-sided bro-chure (folded twice to 8 3/4 x 11 3/4 inch). This brochures opens twice and is visually packed and appears massive due to the fol-lowing elements:

It has a large physical size when openedIt is folded down numerous times, and although the paper is thin, glossy card stock, it appears massive due to the number of layers created by the folds. It is densely packed (in my opinion, overwhelmingly over-packed) with

bold, multicolored backgrounds and graphic elements, multicol-ored and shadowed text, and photographs - making it visually massive and heavy. The brochure

is packed with information about the software and its applications.

I didnt bother to look at it in any detail because the mass of it made it seem like too much work to get through. Student ID C011409

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Look at ads, magazines, brochures, logos, and other printed projects with an eye on mass. Ask yourself why each item is as large or small as it is.

Measuring the Size of Your Design What is large? What is small? In graphic de-sign and desktop publishing there are many ways to specify size. This part of the class on mass focuses on the mechanics of size and common measurement sys-tems used in desk-top publishing. Expect to spend a great deal of time on this portion of the course. What you learn here is critical to DTP.To keep from getting lost, bookmark this page now. The information for this lesson is found in a whole series of previous tutorials on this site. You can come back to this page if you get lost in the many pages and supplemental materials covering size and measurements.Auxillary Materials: Size Matters: Measuring Type, Paper, and ImagesThis multiple page complex covers the fol-lowing topics:

Metric Measurements Type Size, Using Picas in Page Layout Paper Size Image Size (measures of resolution)

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In addition to the main coverage of each top-ic youll nd that many pages have a Glossary section with related terms, or How-to pages related to that topic. These are important sup-plemental information. Review them. There are also offsite links to information elsewhere on the Web that will give you more in-depth information on some topics as needed.If you get lost, come back to this page to re-sume the Graphic Design Basics Course

After youve stud-ied the auxillary materials, do the following exercis-es. Take your time. These exercises are important to your future in graphic design and desktop publishing.Size Matters: Mea-suring Type, Paper, and Images

Desktop Publishing Measurement SystemsGrowing up, all the rulers I ever had usually had markings for centimeters on one side the side I didnt use. I thought it was some strange system the math geeks used to make the rest of us feel dumb. Besides, the ruler was still always 12 inches long no matter how they marked it. 25.4 mm worm just doesnt have the same ring to itI know that for years there has been talk of switching the U.S. over to the metric system.

After youve stud-ied the auxillary materials, do the following exercis-es. Take your time. These exercises are important to your future in graphic design and desktop publishing.Size Matters: Mea-suring Type, Paper, and Images

Until I started doing a little research, I never realized that almost every industrialized na-tion except the United States uses the metric system. Whether you are for it, against it, or dont care one way or the other, chances are that if you do desktop publishing you will run into those funny little meter measures at some point. When I originally published this article I said that both the United States and Canada were not using the metric system.Oops! Some Ca-nadian readers set me straight on that one. Yes, Canada uses metric measures, or as one reader wrote, Up here, we buy by the liter, gram, and kilogram, we travel by the meter

and kilometer, we roast and freeze(!) in de-grees Celsius, we get precipitation in millime-ters, and we have forest res that consume hectares of trees and brushland. They do however, use the North American standards for paper (letter, legal etc.) rather than the ISO standards. If you are from a country where metrics are the standard unit of measure, you may won-der what all the fuss is about. No doubt about

it, dividing and multiplying by 10 is easier: .05 meters = 5 cm = 50 mm and one-fourth of 220 mm is 55 mm or 5.5 cm but one-fourth of 8.25 inches is... hmmm... 2.0625 inches (quick, is .0625 = 1/4, 1/5, 1/8, or 3/16?). But for some of us, its kind of like learning another language. English is tough enough. Of inches, millimeters, picas, and points

How we measure in desktop publishing

General Measurements using the met-ric system (for non-metric users)Measuring Type using points, x-height, and caps heightPage Layout Measurements using picas and pointsMeasuring Paper using ISO and North American sheet sizesMeasuring Resolution using SPI, PPI, DPI, and LPI

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it, dividing and multiplying by 10 is easier: .05 meters = 5 cm = 50 mm and one-fourth of 220 mm is 55 mm or 5.5 cm but one-fourth of 8.25 inches is... hmmm... 2.0625 inches (quick, is .0625 = 1/4, 1/5, 1/8, or 3/16?). But for some of us, its kind of like learning another language. English is tough enough. Of inches, millimeters, picas, and points

How we measure in desktop publishing

General Measurements using the met-ric system (for non-metric users)Measuring Type using points, x-height, and caps heightPage Layout Measurements using picas and pointsMeasuring Paper using ISO and North American sheet sizesMeasuring Resolution using SPI, PPI, DPI, and LPI

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Introduction to Texture as an Element of Design

Texture Texture is always a part of our designs wheth-er intentional or not. It is the visual or tactile surface characteristics of a piece.In desktop publishing, texture comes from the paper we use. We may also add visual tex-tures through the arrangement of lines and shapes or the use of photographic images of speci c surfaces.

Identify TexturesFor desktop publishing, actual texture is the feel of the paper. Is it smooth to the touch or rough? Textures can also be visual. On the Web, especially, backgrounds that simulate familiar fabrics, stone, and other textures are common. Certain printing and nishing techniques such as thermography and embossing can add both actual and visual textures to a print-ed piece. Look at ads, newsletters, business cards, books, and other projects looking for as many different types of actual and visual tex-tures as you can nd. Can you tell by look-ing whether a paper will be soft and smooth or rougher? Are the visual textures used in place of actual papers of that texture or do they relate in some way to the purpose of the printed piece (such as a stone texture for a tile company)? See and feel the difference in textures on embossed pieces or other types of raised printing.

Examples of textures as follows:

actual smooth paper actual rough paper visual texture (simulated fabric, stone, or even water etc.printed on the pa-per)

an example of thermography or embossing or, Alternately for item 3, browse the Web and nd a Web page with a simulated tex-tured background.

(photo Texture)Texture, an element of de-sign

Paper Textures & Finishes Paper is often something we take for granted. Its just there. Sometimes we have no choice about the type of paper on which our designs are printed. Normally we cant dictate the pa-per used for ads in newspapers or magazines. Even when we do have a choice, were limit-ed by budget, printing requirements, or other factors. However, paper can be an important textural element in our desktop published documents.Some papers just feel better than others.

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Grab up some paper from around you. Get a newspaper, a magazine, some paper from your printer, and a few different samples from your Class Samples. Close your eyes and touch the different surfaces. Can you identify the general type of paper (newsprint, etc.) simply by touch? Probably so. But also con-sider how they feel to your touch smooth, rough, slightly patterned, fuzzy, bumpy, slick, shiny, dull, warm or cold.Familiarize yourself with some of the various surfaces and nishes used in paper. Explore each of these paper terms related to the sur-face charateristics and appearance of paper. Some may be familiar to you already. Others will be new.

Antique FinishDe nition: An antique nish is the roughest texture offered in offset paper, it has a natural rough feel with a random texture. Little or no calendering is done to the paper. An antique

nish has a good printing surface and is com-mon in book papers and cover papers.Also Known As: eggshell nishCommon Misspellings: anitque | anteke

Cast-Coated PaperDe nition: A coated paper with a high-gloss nish is called cast-coated paper. While the coating is still wet the paper is pressed or cast against a polished, hot, metal drum. Alternate Spellings: cast coated

Cockle FinishDe nition: An uneven, puckered surface cre-ated by air drying paper with a controlled amount of tension is a cockle nish, often found in bond papers.

Dull FinishDe nition: Smooth paper with a low gloss nish is said to have a dull nish. More luster than matte but not high gloss.

Dull nish papers can be utilitarian, such as some tissue papers used to stuff shoeboxes or wrap clothing. Dull nish papers can also be elegant choices for invitations and greet-ing cards - typically going by more elegant-sounding names such as velvet or satin n-ish.Also Known As: satin | suede | velvet

Eggshell FinishDe nition: An eggshell nish is found on uncoated, uncalendered paper with a fairly rough texture. It resembles the surface of an eggshell.

Embossed FinishDe nition: A design or pattern pressed into paper during the manufacturing process is an embossed nish. After drying, paper passes between engraved metal rolls to create raised, textured nishes such as a linen nish.

English FinishDe nition: A smooth, uniform, uncoated book paper that is smoother than paper with a machine nish is an English nish.

Felt FinishDe nition: An uncoated, uncalendered paper that has a surface texture created by pressing the paper with patterned woven wool or syn-thetic felt belts during manufacture is paper with a felt nish.

Glazed FinishDe nition: An uncoated, uncalendered paper that has a surface texture created by pressing the paper with patterned woven wool or syn-thetic felt belts during manufacture is paper with a felt nish.

Granite FinishDe nition: Paper to which multi-colors of bers has been added to create a mottled sur-face that somewhat resembles the texture of granite is said to be granite nish.

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De nition: An eggshell nish is found on uncoated, uncalendered paper with a fairly rough texture. It resembles the surface of an

De nition: A design or pattern pressed into paper during the manufacturing process is an embossed nish. After drying, paper passes between engraved metal rolls to create raised,

De nition: A smooth, uniform, uncoated book paper that is smoother than paper with

De nition: An uncoated, uncalendered paper that has a surface texture created by pressing the paper with patterned woven wool or syn-thetic felt belts during manufacture is paper

De nition: An uncoated, uncalendered paper that has a surface texture created by pressing the paper with patterned woven wool or syn-thetic felt belts during manufacture is paper

De nition: Paper to which multi-colors of bers has been added to create a mottled sur-face that somewhat resembles the texture of granite is said to be granite nish.

Dull nish papers can be utilitarian, such as some tissue papers used to stuff shoeboxes or wrap clothing. Dull nish papers can also be elegant choices for invitations and greet-ing cards - typically going by more elegant-sounding names such as velvet or satin n-ish.Also Known As: satin | suede | velvet

Dull nish papers can be utilitarian, such as some tissue papers used to stuff shoeboxes or wrap clothing. Dull nish papers can also be elegant choices for invitations and greet-ing cards - typically going by more elegant-sounding names such as velvet or satin n-

Also Known As: satin | suede | velvet

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Laid FinishDe nition: Machinemade text or bond paper that simulates the look and feel of handmade paper is said to have a laid nish. The laid n-ish has grids of parallel lines.

Linen FinishDe nition: Bond paper with a fairly smooth, slightly patterned mesh texture applied during the manufacturing process is known as wove nish. The wove nish is not a highly pat-terned nish and this type of smooth but not slick nish is often used as writing paper.

Also Known As: woven paper

Machine FinishDe nition: Smooth nish paper that gets its surface texture during the papermaking pro-cess rather than as a separate manufacturing operation has a machine nish. Machine n-ish papers may be coated by machine on one or two sides.

Machine GlazedDe nition: Machine nished paper - paper made by machine with no texturing or nish-ing applied after the paper is made - that has a high-gloss nish on only one side is machine glazed. Also Known As: mg, machine coated Alternate Spellings: machine glased

Matte FinishDe nition: Coated paper with a dull, no-gloss nish without luster is known as matte nish. Colors often appear softer on a matte nish. Text can be easier to read on matte nish pa-

pers than on glossier nishes. Common Misspellings: matt nish

Mottled FinishDe nition: An uneven nish characterized by both dull and glossy areas on the same sheet of paper is a mottled nish.

Natural FinishDe nition: Paper manufactured with a soft, slightly fuzzy surface is natural nish.

Onionskin PaperDe nition: Onionskin Paper is a lightweight, durable rag paper normally with a cockle n-ish although other glazed and unglazed n-ishes are available. Onionskin has a basic size of 17 x 22

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Examples: Normally used in carbon sets, in-terleaved between pieces of carbon paper for typing duplicates.

Parchment PaperDe nition: Once made from animal skins, the parchment paper look is now achieved by treating paper from cellulose bers with sulfuric acid. Parchment paper is character-ized by a hard surface, high wet-strength, re-sistance to grease and dirt. Some imitation parchment paper has the mottled parchment look printed onto the paper. Examples: May be used for certi cates and diplomas or anytime an old-fashioned look is desired.

Supercalendered PaperDe nition: Calendered groundwood paper made using alternating chrome and ber roll-ers that makes a very smooth, thin sheet of paper is known as supercalendered paper. Examples: Supercalendered paper is typically used for magazines, catalogs, and directories. Also Known As: SC Paper Common Misspellings: supercalendared

Vellum FinishDe nition: Calendered groundwood paper made using alternating chrome and ber roll-ers that makes a very smooth, thin sheet of paper is known as supercalendered paper. Examples: Supercalendered paper is typically used for magazines, catalogs, and directories. Also Known As: SC Paper Common Misspellings: supercalendared

Wove FinishDe nition: Bond paper with a fairly smooth, slightly patterned mesh texture applied during the manufacturing process is known as wove nish. The wove nish is not a highly pat-terned nish and this type of smooth but not slick nish is often used as writing paper.Also Known As: woven paper

Design Concept & TextureVarying paper surfaces can dramatically or subtly alter the mood you want your designs to convey. An exercise from Using Design Basics To Get Creative Results by Bryan L. Peterson uses the example of a piece of jew-elry placed against two totally different sur-faces a shiny tile of black Formica vs. a piece of cement.Translate this same concept to paper and imagine a photograph of a well-preserved vintage automobile printed on extremely smooth, glossy paper or printed on a rough, pepply surface. Neither one is necessarily better or worse. It depends on the mood you want to convey. Increased contrast between the image (and its visual texture) and the ac-tual surface of the paper can create interest in your design.When selecting paper, choose a texture that is related to the concept of your design and doesnt overwhelm or get in the way of the message. While you can make a bold state-ment with texture, sometimes a subtle tex-ture that stays in the background is most ap-propriate. Make sure that your texture works with your choice of type and images so that text does not become unreadable or images

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unrecognizable. It may be necessary to use a bolder typeface if your paper is rough or strongly patterned.Here is an example of paper texture: Unexpected contrast: In a brochure promot-ing a computer-related service: The gray color also evokes a high-tech, sterile mood, although I might expect a glossier surface to go along with that, rather than the sensual feel of the textured stock. Student ID S011203My comments: ...the softer texture may in-deed have been meant to soften and human-ize the high-tech image.

Visual Textures Everything around us has a texture. Some-times we can simulate those textures with paper, but more often the textures we create in our designs are visual rather than tactile. However, those visual textures can be just as provocative or full of meaning as actual tex-tures we can touch.Its extremely easy to nd or create visual tex-tures for your designs. There are four basic ways to incorporate visual texture.

Objects within a photographTextures: fairly smooth surface of the chalk; rough surface of the ce-ment

(photo photo testure 1)Textures: smooth glass bottles;

fabric of the potholders

(photo photo testure 2)Textures: worn wooden mallet;

grass

(photo photo testure 3)Images created with photo-editing softwarethese textures may mimic actual textures or be imagined textures

Texture: mimics drapes or folds in a satiny fabric (photo Images created with photo 1) Texture: simulates a rough, rocky surface (photo Images created with photo 2)

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Texture: random soft circles create an imaginary texture (photo Images created with photo 3)Digitized images of actual textures (from scans, digital photos)Texture: a straw mat (photo Digitized images Texture: piece of door mat made from old tires (photo Digitized im-agesTexture: tree bark (photo Digitized images

Symbolic textures created with lines or shapesthese patterns suggest various textures and are similar to the use of symbols or icons to represent ideas or objects

Texture: wavy lines could symbolize wa-ter, waves, rolling terrain (Photo Symbolic textures )

Texture: overlapping circles give the look of sh scales (pho-to Symbolic textures )Texture: a grid of lines could simulate

plaid or linen fabrics, wire mesh, or other textures (photo Sym-bolic textures ) You can enhance or alter the appearance

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of visual textures depending on the actual texture of the paper used. Keep this inter-action

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