Whitbread D. The Design Manual (анг.яз.)
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Punctuation marks 201
Spacing punctuation marks 201
Minimal and maximal punctuation 202
Acronyms and initialisms 202
CHECK LIST Punctuation to watch 203
Full stop/full point/period 203
Comma 204
Quotes/inverted commas 204
Slash/solidus/slant 204
Hyphen 205
En rule 205
Em rule/dash 206
Colon 207
Semicolon 207
Parentheses/square brackets/braces/brackets 207
Citing the Bible 209
Text formatting 209
Unjustified text 209
Justified text 211
Paragraph styling 213
Lists 215
Tabs 216
Indenting 216
Tables 217
Footnotes/references/bibliographies 218
Boxed text 219
Page furniture 221
Captions 221
Folios and running heads 222
Heading hierarchy 223
Display type 225
Style sheets 228
Document quick fix 231
Format 231
Typeface selection 232
Pictures 233
Punctuation 234
Colour 235
Colour coding 237
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Colour systems 238
The problem 238
Halftones, stipples, screens and reverses 239
Stochastic screening 240
Limited colour 241
CHECK LIST One-colour design 241
CHECK LIST Two-colour design 241
Duotones 242
Tritones 243
Process colour (CMYK) 243
Screen angles 243
HiFi colour 244
Mixing specific colours 244
Under colour removal 245
Quadratones 246
Pantone colour system 246
Specifying tints 247
Metallic inks 247
Fluorescent inks 248
Pastels 248
Proofing systems 248
RGB and hexadecimal colour 249
Anti-aliassing 249
Netscape Web colour 250
Dithering colours 250
Prepress 251
CHECK LIST What you need to supply to your imagesetter 251
Finished artwork preparation 251
Bleed 252
Trim marks, fold marks and registration marks 253
Trapping 253
File management 254
Imposition 254
Long-8s 254
Foldouts 255
Quick print preparation 255
Output resolution 256
Dpi (dots per inch) 256
Lpi (lines per inch) 256
Proofing 258
Contents xiii
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Printing 259
Preprints 259
Offset lithography 261
Waterless printing 262
Web offset 262
Screenless printing/collotype 262
Laser printing, photocopying and xerography 262
Digital printing 264
‘On-demand’ or ‘just-in-time’ printing 264
Variable data printing 264
Letterpress 267
Gravure 267
Engraving 268
Screen printing 268
Flexography 269
Selecting a printer 269
CHECK LIST What you need to supply to your printer 269
Paper 270
CHECK LIST Paper selection 270
Paper specification 272
Art or coated grades 272
Gloss art or calendered paper 273
Matte and dull art 273
Uncoated and specialty grades 273
Handmade 274
Recycled grades 274
Stationery grades 275
Finishing processes and embellishment 277
Varnishes 277
Tinted varnish 277
Laminates 277
Liquid/UV laminate 278
Sheet laminate 278
Folding 278
Guillotining/trimming/drilling 278
Collating and gathering 278
Numbering 279
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Binding 280
Saddle stapling/saddle stitching 280
Paperback/soft cover/perfect binding 280
Burst binding 280
Hardback/casebinding/section sewn 281
Ring binding 281
Spiral binding 281
Wiro binding 281
Half Canadian binding 281
Office binding styles 283
Side stapling 283
Plastic comb binding 283
Plastic strip binding 283
Thermal binding 283
Post-and-eye binding 283
Craft bindings 284
Japanese binding 284
Zigzag bindings 284
Twigs 284
Foils 284
Metals, vinyls, clear, holograms, printed foils 286
Embossing and debossing 286
Thermography 287
Die-cutting, scoring and perforation 287
Laser cutting 287
Pop-ups 288
Using a designer 289
Selecting a contractor 289
Assessing a portfolio 289
Presenting a design 290
Design justification/rationale 290
The design process 291
Briefing 292
CHECK LIST A brief 292
Contracts 294
Rates 294
Copyright 295
Conditions 296
Scheduling 296
Index 299
Contents xv
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Acknowledgments
Like all books, The Design Manual did not write itself. There
are so many people who have been influential in my design
thinking, learning, doing and communicating over many
years, that to list names would be fraught with the very real
possibility that people would be left out.
I would like to offer my sincere thanks to the following
groups of people who have supported, inspired, challenged
and helped me to my present understanding—and ask
them to hang in there for the future:
r my wife, Brigid, and daughters, Kathleen and Maggie;
r my parents and the Whitbread, Proudman, Russell,
Watson, Gumley and Baker families;
r the principals, my teachers, classes and friends at
Melrose High School and Stirling College;
r staff and fellow students at Swinburne Institute of
Technology;
r clients of and colleagues in the Design Studio, Editorial
Section and Publishing Operations at the Australian
Government Publishing Service;
r my teaching colleagues and students at the University of
Canberra and the Canberra Institute of Technology;
r attendees at my seminars and workshops;
r my colleagues at Snooks & Co.;
r my colleagues in the ACT Chapter of the Australian
Graphic Design Association;
r my editors at Niche Media;
r the editors, production and marketing staff, and
management of UNSW Press;
r the production staff and sponsors who have generously
supported this publication (listed on the imprint page);
r the many printers, typesetters and prepress specialists;
editors and authors; photographers and illustrators;
paper reps and Web site developers who have provided
their work, skill and patience to an inquisitive designer.
Thank you,
David
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xx
The part called ‘Projects’ describes
many of the projects an organisation
may be considering.
It provides methods of
approaching each project and, in
many cases, some ways to streamline
the development or production time.
There are helpful hints on saving
money, too.
The part called ‘Production’
starts with design issues such as
layout, typography and colour, which
affect almost all design projects, and
moves on to prepress and printing,
and describes types of paper and
finishing processes. But if you need a
quick guide that takes most of the
decisions out of text formatting, the
section called ‘Document quick fix’ is
for you. The ideas can be used to
create a generic style sheet that will
suit many text functions. It effectively
summarises the main points for
readable text when time is of the
essence. There are also suggestions
for things you can do to invigorate a
boring layout. But these are, as the
title of the section implies, simply a
‘quick fix’ when you are running out
of time and the deadline is upon you.
The manual will be useful for a
variety of people:
r professional graphic designers,
editors and desktop publishers
r business people and public
servants
r volunteers in community groups
r printers and imagesetters
r students of graphic design and
desktop publishing.
Not every section in the manual
will be useful for everyone. Nor is the
manual aimed at teaching everyone
how to print, imageset, use particular
software or completely prepare a
document to prepress level or to
upload it to the Internet. What this
book does discuss is how to make
design decisions that best use these
processes and to recognise their
possibilities and limitations.
Good design enhances the readability
and effectiveness of any message,
be it a poster advertising the local
drama club’s latest production, a
personal web site exploring your
family tree, or a sumptuous coffee-
table book. This book is full of tips
and ideas to make your design
project just that little bit better.
There are so many decisions
made in a design piece that it is
difficult to know what works and
what doesn’t. Designers should
always ask questions such as ‘Which
element of this design is successful?’,
‘Why is the piece weak?’, ‘Is the type
appropriate?’, ‘Is the illustration
poor?’, ‘How can the layout be
improved?’ Look at designs of others
and analyse what works. Don’t copy
blindly, but filter the ideas through
your own mind and combine your
concepts with the best aspects of the
work of others. Test and refine, and
test and refine again.
Why is this book useful?
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Why is this book useful? xxi
Various check lists and margin notes
will help you ensure that you’ve
covered everything possible, and
there are references you may wish to
consult for greater details or more
examples. The section ‘Using a
designer’ refers to standard contracts
and practices in Australia, and will
help both client and designer
understand what to expect in
negotiations.
As far as possible, the text
avoids reference to specific software
programs and hardware platforms,
and all terms introduced are currently
used in the industry in Australia.
Optional terms are explained.
Other features include:
r MARGIN NOTES
These cover hints, check lists and
references. There are occasional
quotes from other authors and
designers that are pertinent to
the discussion in the main text.
r DOING IT CHEAPER
For the budget-conscious, there are
a few tips. Design decisions have a
significant impact on the budget,
so there are suggestions regarding
cheap alternative processes that will
keep the design fresh and interesting
without costing a fortune.
r DOING IT FASTER
Efficient delivery of a design job
depends on saving time throughout
the process, not just in the final
stages of production. Printers and
production staff are often expected
to collapse their already tight
production schedule. Techniques for
saving time throughout the earlier
processes are given here.
r DOING IT SMARTER
Just as people need to warm up for
any sporting event, you can warm up
for a design task by honing your skills
with a few well-chosen exercises or
‘designerobics’. Some of the hints
here are exercises with specific
outcomes and can stimulate design
muscle. Discuss the results with
others to see how you are going.
Like most worthwhile pursuits, you
get better the more you practise.
Some of these ‘smarter’ approaches
discuss environmentally considerate
ways of preparing work.
r READ MORE ABOUT IT
References to books are placed near
corresponding textual information,
rather than in a bibliography at the
end of the book. References are
usually cited only once.
r CHECK LISTS
Various check lists act as a summary
of design decisions that are explained
in greater detail in the main text.
The check lists are reminders of all
the decisions that should be made
regarding a project. Not every project
will need every listed item, so pick
and choose.
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Preface
The Design Manual was originally commissioned by the
Australian Government Publishing Service as a companion
volume to their Style Manual for Authors, Editors and
Printers. As such, it was to do for designers what successive
editions of the Style Manual have done for editors and
writers—and public servants—for over 30 years: to provide
guidance and recommendations as a practical reference for
preparing publications.
So, as I had written a ‘Design’ column for a number of
years—originally in Niche Media’s MacNews, which then
became Australian MacUser and ultimately Australian
MacWorld—it was agreed that the past columns would
become the basis for this publication.
The Design Manual would expand the themes and cover
as many areas of a professional graphic designer’s tasks as
it could. It would focus on the whats, whens and whys of
graphic design; rather than the hows, wheres and whos.
So, this book looks at the underlying brief and the
assumptions made when someone commissions a design
project. Many other publications exist to show you how to
use software, for example, or where and who to look to for
inspiration—but not many attempt to explain the many
techniques available to you for creating a design with
impact and a professional edge; when you might use those
techniques most effectively; and why they are useful.
In addition, The Design Manual looks at graphic design
in all media and, as far as possible, discusses the elements,
tools and techniques of graphic design as generic. The
choice of which medium is most appropriate for which
project is also briefly discussed.
As the writing task was nearing its completion, AGPS—
which had become AusInfo—reverted the publication rights
to the author.
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There are some 15 000 registered graphic designers in
Australia. Professionally trained via tertiary education and
industry experience, many produce quality, visually-
engaging business solutions which communicate to the
hearts and minds of their designated audiences. Their
objective: to increase brand equity and market share for
their clients. These attractive and powerful visual images
also serve to raise consciousness of design within the
Australian cultural landscape and beyond.
In order to achieve those business and aesthetic
objectives one must go back to the basic principles of
graphic design. And this is exactly what The Design Manual
provides. It is informative and insightful, and to quote what
Tom Peters said about another publication, ‘a practical
reminder of the importance of the subject matter’—the
importance of how to make design decisions, and how to
get the design job done.
The Design Manual is comprehensive, written in a
readable style and supported by extensive tips and step-by-
step checklists on how to think, analyse, organise and do.
There are plenty of examples to support theories and
observations, and to stimulate ideas and strategies.
Who should use this manual? Practitioners and aspiring
designers; educators and students; clients and allied
professionals. In fact, anyone who is interested in design
and would like to learn more.
At a time when rapid change is considered to be the only
‘bankable currency’, The Design Manual is a comprehensive
road map that is an essential design companion and I am
sure will be a treasured reference with a healthy shelf life.
No landfills for this one!
Rita Siow
General Manager,
Australian Graphic Design Association.
Designer Manager, Design Centre
Douglas Mawson Institute of TAFE.
Foreword
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