Whitbread D. The Design Manual (анг.яз.)
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price. There are the occasional bizarre designs where ‘Rice’
is 16 cm of dots from its price! This is not a good look—or
good communication. Try to avoid using dot leaders. There
is a false sense that the so-called neatness of justified
columns means we must accept this foolish spacing. There
is no rule that says a menu must fill the full page width, so
a narrower text block may resolve the need for dot leaders.
In this case, look for the longest dish name and leave a
5 mm space and key-in the price. The resulting line width
can become the text block width for the menu.
Prices can be set an em space away from the dish name
or a few spaces away. The only problem with this reader-
friendly decision is that the price can get lost in the menu
and this is a negative for those who are price-conscious. If
the prices are all full-dollar prices, do not include the
decimal points and zeros. ‘$10’ is better than ‘$10.00’,
although psychologically ‘$9.95’ is preferred.
Programs
Regional and suburban theatre groups, community
orchestras, amateur dramatic societies, churches and
schools present productions that require often complex and
fast publishing skills when it comes to preparing the
program for the concert, show or event.
There are typographic, layout and production issues to
consider. The program should be an adequate souvenir and
collector’s piece, as well as an official or historic record for
the organisation. It should be cheap enough to print within
the usually limited budgets and it should add to the whole
perception of the event by the community.
Further complications are sometimes required by the
performance rights and clauses in professional contracts
regarding the size of an author’s or actor’s name in relation
to the size of the title of the production. Thus, to misquote
Gilbert and Sullivan, ‘The designer’s lot is not a happy one,
happy one.’
The usual difficulty is coming up with an appropriate
typographic treatment for the hierarchy of information that
a program contains, creating easily understood and
identified listings of production personnel, orchestra and
cast, and being a bit theatrical as well!
Type selection and even photo treatments are different,
for example, for an Olde Time Music Hall and a piece of
experimental, improv-based theatre. The florid and eclectic
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mix of fonts and faces that remind people of Edwardian and
Victorian printing styles add an ambience to the entire
production for the music hall, where the song-sheet/pro-
gram is as much a part of the action as the actors. In the
same way, decorative borders for each page and possibly
even different decorative frames for each photograph—
even the use of an oval frame or a vignette (fading edges)—
help maintain the whole production’s illusion of the latter
19th century.
As a contrast, the modern line and detached imperson-
ality of a sans serif typeface like Univers used in an
idiosyncratic and perhaps unexpected or risky way helps
define the nature of the improv performance. Awkwardly
cropped or positioned images, with a bit of overlapping or
dramatic interrelationships between the text and the
images, also enhance the illusion of the production being a
bit daring or unconventional.
Orders of service
Orders of service for weddings and weekly church services
have their own design issues. With a wedding service, there
is the desire to make a worthy souvenir. Including a list of
the bridal party and the words of the readings and songs
can make it a pleasant keepsake. Using a different paper
that links with the invitations or placecards can tie-in the
range of wedding stationery, and incorporating photographs
or illustrations can further personalise the order of service.
With a church service, there is often the need to fit a
large amount of material but avoid unnecessary additional
production costs. Consider the use of columns, narrow
margins and different type sizes (larger and lower case for
responses and smaller for announcements).
Another issue for orders of service is copyright infringe-
ment of song lyrics (and this includes hymns). Respect
copyright laws—permission to reproduce must be sought as
required (usually the song or hymn book will have instruc-
tions as to how to seek this permission on the back of its
title page). The citation should be at the foot of the repro-
duced words with the copyright symbol, ©. Then list the
owner of the copyright—it may not necessarily be the
author, but a publisher or a company.
52 Projects
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Comics and graphic novels
Comics tell a story or communicate information through
pictures and text. The sequence of panels shows the
progression of time and implies change between each
panel: the change of time, completion or continuation of
movement, a new location or action, or a change in point of
view. In this way, comics work with the reader and expect
them to fill in the gaps. Different text techniques like voice
balloons, thought balloons and brief location and time
descriptors are often incorporated into the illustrations.
There can also be linking passages of descriptive text
between sequences in the story and introductory text to
set the context.
Comics, and the further development of the genre
that refers to illustrated strip books as graphic novels, can
be used to communicate more effectively to a visually
sophisticated audience that is not necessarily reading other
forms. The comic can be a more attractive medium than
traditional text, particularly for younger audiences. Complex
information can be presented most effectively in a comic
strip, as assembly and installation instructions for many
appliances demonstrate.
The graphic novel is a further development of the comic.
Grander in scope, the best graphic novels use a complex
mix of text, pictorial and film conventions. This enables
them to have more layers of detail and even more engage-
ment of the reader. Often the juxtaposition of different
forms of narrative will maintain the reader’s interest.
The visual conventions of comics and graphic novels
relate strongly to visual literacy as learnt through exposure
to film and video. Using film conventions and even
appropriating the storyboarding technique used to plan
film, information can be presented with dialogue—even
sound effects have conventions based on type variation.
Backgrounds and foregrounds can have different
characteristics. In Yoram Gross’s Blinky Bill, photographic
backgrounds combine with 3-D models photographed into
those backgrounds and 2-D character animation in the
foreground. Backgrounds can be drawn with the same
qualities as the characters or they can comment on the
character’s inner life by being drawn in different styles as
the mood and atmosphere changes.
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Illustratively, there is no specific style preferred: comic,
realistic, semi-abstract, watercolour, oil painting, cut paper,
collage, computer rendered, 3-D modelled, photographic,
found objects, anything goes…
The interpretation of style here is another visual
language, where conventions denote how a particular line
is viewed: it could be languid, neurotic, feeble, shrill,
depending on its drawn quality. The reader understands
these conventions and ‘reads’ this level of comment or
description intuitively.
READ MORE ABOUT IT
Scott McCloud, Understanding comics: The invisible art, Tundra Publishing,
Northampton, Massachusetts, 1993, ISBN 1 56862 019 5.
Will Eisner, Comics and sequential art, expanded edition, Poorhouse Press,
Tamarac, Florida, 1990, ISBN 0 9614728 0 2.
Roger Sabin, Comics, comix and graphic novels, Phaidon, London, 1996,
ISBN 0 7148 3008 9.
Mark Salisbury, Artists on comic art, Titan, London, 2000, ISBN 1 84023 186 6.
Stan Lee and John Buscema, How to draw comics the Marvel way, Simon &
Schuster, New York, 1978, ISBN 0 671 53077 1.
Rod Tokely and Dillon Naylor, Zap! Splat! Ka-pow!: Make your own comic,
Omnibus Books, Norwood, South Australia, 1999, ISBN 1 86291 397 8.
Grant Morrison and Dave McKean, Arkham Asylum, DC Comics, New York, 1989,
ISBN 0 930289 56 0.
Jill Bossert, Children’s book illustration: Step-by-step techniques: A unique guide
from the masters, RotoVision SA, Crans-Pres-Celigny, 1998,
ISBN 2 88046 335 1.
54 Projects
Streetwize Comics present
educational messages in a more
accessible format for their
audience.
Clients: Mental Health Services Unit,
NSW Department of Health and SA
Minister for Youth Affairs
Written and designed by Streetwize
Comics
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Proposals
Presentations to clients, curricula vitae, information packs,
interim reports and submissions, proposals and tender
documents have become a part of corporate life. Keep them
simple for speedy, hassle-free production. Often they need
to be produced in short order and perform on boardroom
tables in a competitive situation.
The designer can help make a competitive submission
by attending to the details and being prepared for them.
Preprinted material can be incorporated to ‘dress up’ the
presentation. A well-designed piece can showcase the
organisation’s professionalism. The proposal must look
impressive and professional and the receiver should marvel
that it could be put together so effectively in such a short
period of time—your reputation will be enhanced.
Publications 55
CHECK LIST
Proposal production
Paper selection
q Front and back covers (maybe
with a window to read a title?)
q Dividers (with generic headings?)
q Text pages
Sources:
q Stationery by the piece
q Giftwrap
q Preprints
q Handmade papers
q Tracing paper/film
q Acetate/OHP film
Printing method
q Laser printing
q Photocopying
Binding
q Side bound
q Saddle stitched
with:
q Staples
q Wire
q Rings
q Plastic comb
q Ribbon, cotton, twine
Other techniques to consider
q Colour coding
q Cutting and folding (windows)
Standard information sheets
q Description of the organisation
q Vision/mission statements
q Organisational structure
q Curricula vitae of senior team
members (with photos?)
q Profiles of previous successful
projects
q Letters of commendation
Check consistency
q Spelling
– names
– titles
q Figures
– calculations
– phone numbers
– prices
A proposal needs to be packaged
competitively—but also be able to be
produced quickly. Prepared dividers
and folders allow easy updating of
the content.
Designers: Louise Dews, David Whitbread
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Corporate identity
The corporate image of any organisation is a complex mix
of outsider and insider views of that organisation. The
views are determined through encounters and experiences
with the organisation. The encounters range through
advertising on television to ‘Positions Vacant’, from letters
to reports, from Christmas cards to staff newsletters. The
experiences are usually person-to-person dealings, either
by letter, phone or in person.
When referring to corporate identity, it is often for-
gotten that the print or visual identity is really only a part
of an organisation’s image. But it is probably the easiest
part to control.
Many organisations appear to not understand how
their visual identity works for them or, in many cases,
against them. The print identity affects not only outsiders’
views of an organisation but also insiders’. It can help the
organisation establish a perception of itself as worthwhile,
trustworthy, professional, forward-thinking, up-to-date—
alternatively, it can look fly-by-night, cheap, tasteless
or muddled.
It can also be an effective, shorthand way of informing
people. Once a look that is associated with the organisation
has been established, people automatically remember that
and the basic information doesn’t have to be reiterated.
One of the assumptions many organisations make is
that if they use the same symbol on everything they print,
it will fulfil the requirements of a visual identity. Money and
a great deal of time is spent by management and designers
working out a symbol design, and by the time a solution
has been agreed, the budget is depleted. The actual ‘nuts
and bolts’ of the identity—arguably the most important part
of corporate visual identity is the application—are hurriedly
thrown together for a launch and the value of the image is
greatly reduced or, worse, totally lost.
To create an effective corporate visual identity, the
standards must be applied consistently and creatively
56
‘At a minimum, the identity system
should create something memorable
and distinctive about the organ-
isation, something that enables the
organisation to stand out from the
crowd. In the best executions, a
corporate identity system will provide
a unique positioning platform for
the organisation, something that
allows customers and others to
develop a feeling of familiarity
with the organisation.’
Steven Howard,
Corporate Image Management
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over time. It can be as simple as a corporate typeface
with a standard expression of the name of the organisation
and colour. Provided it is consistently applied, it should
be effective.
READ MORE ABOUT IT
Wally Olins, Corporate identity: Making business strategy visible through design,
Thames & Hudson, London, 1989, ISBN 0 500 01472 8.
V+K Publishing, The image of a company: Manual for corporate identity,
Architecture Design and Technology Press, London, 1990,
ISBN 1 85454 404 7.
Per Mollerup, Marks of excellence: The history and taxonomy of trademarks,
Phaidon, London, n.d., ISBN 0 7148 3838 1.
Marc English, Designing identity: Graphic design as a business strategy,
Rockport Publishers, Gloucester, Mass., 1998, ISBN 1 56496 388 8.
Steven Howard, Corporate image management: A marketing discipline for the
21st century, Butterworth-Heinemann Asia, Singapore, 1998,
ISBN 9 810 08085 9.
Peter Steidl and Garry Emery, Corporate image and identity strategies:
Designing the corporate future, Business and Professional Publishing,
Sydney, 1997, ISBN 1 875680 43 8.
Flett Henderson & Arnold, How image can make your business more successful,
FHA, Melbourne, n.d.
Emily Schrubbe-Potts, Designing brands: Graphic success through graphic
distinction, Rockport Publishers, Gloucester, Mass., 2000,
ISBN 1 56496 668 2.
Anistatia R. Miller and Jared M. Brown, What logos do and how they do it,
Rockport Publishers, Gloucester, Mass., 1998, ISBN 1 56496 382 9.
Catherine Fishel, Redesigning identity: Graphic design strategies for success,
Rockport Publishers, Gloucester, Mass., 2000, ISBN 1 56496 624 0.
Naomi Klein, No logo: Taking aim at the brand bullies, Flamingo, London, 2000,
ISBN 0 00 255919 6.
A design audit
Regardless of whether the organisation is a one-person
operation such as a small office/home office, a school,
church or community group, a multinational business, or a
government department, the image is projected by a set of
pieces like a giant jigsaw puzzle. Do they fit together, or is it
just a frustrating mess like that bag of old jigsaw bits out in
the garage—maybe two jigsaws mixed together with a few
missing pieces and a few that are broken?
Are your design efforts reinforcing the organisation’s
current image in the marketplace? Do they reflect the
changes taking place in the organisation and its desired
image? If not, what can you do to fix the situation?
The image is projected at its most important level by the
staff—in their understanding and consideration of buyers,
Corporate identity 57
CHECK LIST
Brand management
(in roughly chronological order of
product life cycle)
q Research and product
development
q Product placement
– market
– audience
– pricing
q Positioning statements
q Creation of mood boards
– associated lifestyle
– attitudes
– colours and tone
q Naming
– research internationally
for rights
– appropriateness of meanings
in translation
q Logo development
q Product launch
q Marketing, public relations,
advertising and sales
q Research and monitoring
q Line extension
– seasonal extension
q Endorsements, sponsorships and
strategic alliances
q Brand guardianship
q Long-term strategy
[Based in part on a seminar by
Carlo Pagoda of Primo Angeli Inc.
in Canberra, March 2000]
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suppliers and each other. It is evidenced in their telephone
manner, their welcoming smile, their demeanour, attitude
and ultimately in the job they do. But design, too, at all
levels of an organisation, must serve the whole. Image
projection occurs through even the smallest and seemingly
least important piece of the organisation’s identity.
In a worst case scenario, maybe your design efforts are
running counter to the organisation’s other materials and
its stated objectives. A design audit looks at the visual
manifestation of the organisation’s image through the array
of identity materials that represent the organisation to its
various markets and enables a designer to identify the
successes and failures and to ultimately fine tune the image
being presented.
Markets
People sometimes assume their market is only the person
who will use the product or the organisation’s services. This
person may be considered the primary target, but there are
many secondary and tertiary markets to be considered.
Anyone who has an operational relationship with the
organisation is a receiver of its image:
r users of the service or product
r purchasers (who are not necessarily the end users)
r staff, their families and friends
r suppliers
r competitors
r potential employees
r community.
Collection of evidence
A design audit is based on a collection of all the materials
produced by the organisation where its identity is in view.
There should be a central collection point so that at any
moment it can be accessed and assessed.
Assessment
Collecting the material can be a difficult task—but it does
not end there! You need to assess whether each of those
pieces is adding to the full story about the organisation, or
whether it is hindering the message. Then do something
about it.
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Corporate identity 59
Stationery range
q Letterheads
q Continuation sheets (second-
page letterhead)
q Memorandum sheets
q Minute papers
q Media releases
q Facsimile cover sheets
q Business cards
q With compliments slips
q Envelopes
q Folders
q Pads and Post-it notes
q E-mail signature blocks
Advertising and marketing
materials
q Television commercials
q Radio commercials and recorded
messages
q Web site
q Screen-based information
systems, such as CD-ROMs
q Newspaper advertisements
– display ads
– classified ads
q Magazine advertisements
q Direct-mail packs
q Posters and billboards
q Taxi and bus advertising
q Exhibitions and trade show
displays
q Promotional calendars and
giftware
q Greeting cards
q Promotional and training videos
q Telephone answering messages
q Product packaging
CHECK LIST
Manifestations of corporate identity
Publications
q Technical manuals and
instructional materials
q Staff manuals and corporate
planning documents
q Reports and research documents
q Annual reports and prospectuses
q Proposals
q Newsletters
q Brochures and pamphlets
q Flyers, circulars, inserts and
handbills
q Catalogues and price lists
q Product literature and updates
q Guidebooks and programs
q Menus and orders of service
Various internal and external forms
q Screen-based information
systems and databases
q Application forms
q Order forms, purchase orders and
price lists
q Invoices and statements
q Contracts
q Job records and time sheets
q Cheques and receipts
q Requisition and packaging slips
q Questionnaires and return-mail
cards
Signage
q External building signage
q Car park signage
q Directional signage within
buildings
q Foyer identification
q Room identification and name
plates
q Hours of business
q Vehicles
q Umbrellas and sandwich boards
q Exhibitions, trade shows and
displays
Uniforms
q Counter and sales staff
q Office staff and senior staff
q Ushers and serving staff
q Delivery and receiving staff
q Ties and scarves
q T-shirts
Other
q Packaging, bags, mailing labels
and wrapping paper
q Product labelling, swing tags and
tickets
q Certificates
q Presentation materials
– overhead projection cels
– slides and computer
presentations
– handouts
– charts and diagrams
q Interiors
– office decor
– retail stores
– warehousing facilities
– counters and booths
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Identifiers
Ghostbusters. Now there was an icon. Instant recognition
from a combination of classic icons—the red circle with
the diagonal red stripe through it which symbolises ‘no’
from the ‘no smoking’ icon, and the inclusion of a well-
recognised pictogram, a cloud with eyes which is generally
agreed to represent a ghost.
Hybrid icons like the symbol for Ghostbusters are
excellent communicators because they take two readily
recognised elements and combine them to make a very
clear new icon. The wisest way to create icons is to resist
the temptation to re-invent the wheel. It usually helps to
design them using the shape tools rather than the line
tools. You can progressively simplify a silhouette in order
to create an effective icon.
You also need to design an icon, logo or corporate
symbol for the future. It must have a quality that will not
date or is, at least, updateable. This usually translates into
something using ‘pure’ shapes and ‘classic’ fonts because
they will never date.
Design identifiers by cutting out paper shapes rather
than drawing by hand. This forces you to consider shape
over line. Alternatively, use a thick black marker and draw
your symbol on a recipe card. If the symbol doesn’t work
because you can’t fit all the detail, you know you have too
much detail! You need to simplify it until it fits.
Good logos, symbols and icons generally fall into a
standard frame (square, circle, triangle, octagon and
rectangle), so start by deciding on the desired frame. If you
are creating a suite of icons for a program or Web site, you
may decide that the frame will symbolise a specific type of
feature. For example, the square might represent a graphic,
the circle might be a sound bite and the triangle may be
an animatic.
Be careful that the triangle does not confuse the reader
with a directional implication: when pointing to the right,
the triangle symbolises ‘forward’ movement, and when
pointing to the left it symbolises ‘backward’ movement
(from the familiar video interface).
Road signs use subset coding with colour coding as well.
For example, round white signs are usually speed-related,
rectangular green signs are usually geographical infor-
mation, and diamond yellow signs show something of
the road ahead.
60 Projects
{
CHECK LIST
Options for developing
corporate marks
q Symbol
q Pictogram
q Silhouette
q Picture
q Logotype (full title)
q Initial/s (one letter or an
acronym)
q Monogram (interlinked initials)
q Mascot or character
q Heraldic mark
q Visual pun
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