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If you are a designer too, do tell us what is a graphic design?

What Is Design by gravitymachine

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Design is
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Here are the 36 delicious logos of restaurant and food, which will surely increase or build your appetite. Hopefully you will enjoy these logos and will tell us the best logo by leaving comments.

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You can create portfolios, blogs, or resource pages and submit them online. But these won’t be enough, especially if you’re face to face with potential clients. Not only would you want provide them something that they can use offline, but also keep due to its small size. Handing out custom business card fits the bill.

Custom business cards establish formality in any business prospect deal. The cards show your business name, address, and contact details so potential clients can reach you if they are interested with your services. Just as important is the design that will give your possible clients a glimpse of your skills as a designer.

In this article, We have collected 25 custom business card samples that can serve as your guide. Use these to create you’re your own design that could capture your client’s attention or check points you must have in mind while designing business cards.

Your potential clients receive tons of business cards each day. Not unless you have an established name in the industry, prospects will just ignore your card if they don’t find it interesting enough. Remember you have to set your business identity with your business card. Use this small piece of paper to show you got to your customers.

Create a Bleed

All magazine covers need to be designed by first choosing the option of creating bleed. In latest softwares this option is available itself, otherwise you create cutting margins yourself just by dragging the rulers and leaving certain space on all sides.

Creating borders will help you fix your image right in place. Also don’t forget to write the copyrights of the image you are using. The name of the photographer, phone number, e mail address and usage rights.

Creating Frame

Rectangular frame will help you to place your image in a way that it touches the margins of the document and you will exactly know which part of the image will be in cutting area of the paper and which part will be visible.

Fit the Image

Scaling the image to your exact requirement needs to be in proportion. Never stretch the image haphazardly to distort it. Always use shift key to stretch the image if you are working in Adobe Photoshop.

Creating a Masthead

Masthead is the upper portion of the magazine cover which has the title of the magazine. The text should appear on the top portion, why? The answer is very simple…viewer’s eye always travels from top to bottom so of course you would want to show the name of the magazine first, so always use the title on the top. The problem with the above image is that there’s no head room. Where will you place the title, it will come on the nose or on the eyes which definitely will ruin the whole image and the cover. So the photographers are always told to keep the space on top of the picture for the title. The title if already established is in certain type or font, otherwise for new names you can be as creative in typography as possible.

Adding of Date, Issue Number and Publications Name

Apart from creating the masthead, you need to write the publications name, date and issue number. That separate place can be on left or right but at a readable corner, since it is as important as the masthead. It clearly states the volume number, date, website or publications which must also be in larger font. Graphic element can also be added to create its enhancement.

The Story

When somebody looks at the magazine they want to know what’s the lead story behind using this model. What is inside the magazine that I would want to buy this magazine. Create a text box that will have the least impact on your main photo but surely reflects the model’s use. Use a bold font but never use the same font as masthead.

Colors

Colors can make a drastic change in your cover. Choose a color for your text that best suits the image as well as stands out. Graphically text can be as creative as possible. Swatches and color palettes can be exported also from some other software but you must know which ratio of color will appear after printing. The drop shadow trick works very well in highlighting the text. Same goes for glow or bevel techniques.

Magazine doesn’t necessarily have to be a fashion magazine, but mostly yes, it is. Any corporate magazine cover would definitely be more sober, minimal colors and no glamour. Product magazines highlight the product and cover will definitely state the usages. Whatever magazine cover you are designing, it takes lot of strength and creativity with good composition.

Some of the Best Magazine Covers

Here i have colleced some beautifuly designed magazine covers for your inspiration.

Similarly many ads can be published in the newspapers but since newsprint quality is not too good so ads with lesser colors will appear good.

Press ads refer to advertising to a mass number of people mainly through the following steps:

• Awareness
• Knowledge
• Liking
• Preference
• Conviction
• Purchase

Starting from the initial level of awareness, newspapers and magazines are the best way to create it in lesser amounts, till the end result of purchase. With the growing rate of internet usage, web ads and web banners are becoming more useful, even in these circumstances, newspapers still sell more. Easy, readily available and cheaper medium to advertise.

Press ads can be in varied sizes, the width of ads depends on columns of the newspapers, e.g. you can have 1 column or 2 column or 3 column or 4 column upto 8 column ad with varying heights.

1 column =3.8cm
2 column=7.8cm
3 column=11.8cm
4 column=15.8cm
5 column=19.8cm
6 column=23.8cm
7 column=27.8cm
8 column=31.8cm

1 column press ad

2 column press ad

3 column press ad

This is a very interesting example of 4 column ad, with spaces in between to make a complete image.

These are the standard widths of press ads depending on columns; the more columns the more expensive.

Placement of Ads

Placement of ads is also an important issue. If the brand is endorsed on the front page of the paper, more likely it will grab more audience but more expensive it will be. Similarly on the back page, inner second page are the places where you can draw more attention of people. Moreover it is also important to know which other ads are being published on that page. If the other ads are brighter, more colorful more vibrant, then definitely you have to work more on your ad to make it better than others. Classified section can also be used to advertise, but in that case you don’t have much space for creativity, either it will just be text or minimal imagery, or just the logo or the tagline. This is a very cheap method but risj factor is involved, what if you do not get the right response.

Now you can very well se hoe ads are placed in newspapers, size and matter does matter.

Copy of the Ads

Copy of the ads is the most sensitive issue. The copywriter must exactly know what to address and to whom. It should be crispy and witty, less words and more meaning. Lesser the copy, greater appeal will your ad have. Press ads have the ability to reach to people through words, therefore when you have details or more information about the brand, press ads are preferred since they can accommodate more text. Press ads give all the information and the contact for future reference. Weekend newspapers are more selling, therefore people prefer to advertise in the newspapers on weekend edition since they have more chances to reach to a greater number of people.

Now this ad has the ability to reach to people through words and mostly press ads are like that.

The brand issues or opportunity that the new communication must address

• To stay top of the mind and bring brand closer to the consumer we need to give a fresh look to the communication
• Build brand further on its positioning

The target consumer affinity group

• Gender (Males or females and which age group)
• Belonging to A, B, C or which class
• The target audience profile (Students, career oriented people or any other)

Current consumer usage, attitude and mindset

• Usage: e.g. Chocolate is an impulsive buy that is done frequently
• Attitude e.g. Treat yourself
• Mindset e.g. knowing a certain brand that delivers chocolates and how many variants, flavors, ingredients

The desired consumer behavior, attitude and mindset

• Choosing the chocolate of that certain brand maybe for a pleasurable break (Kitkat), choosing a chocolate that gives me an exotic feeling (Bounty), mindset that my appetite will be filled with the most desirable taste (Snickers).

The consumer understanding the brand can leverage to achieve the desired consumer change

• Desired consumer understanding: e.g. for Kitkat people are bored at times and they look for a break from their monotonous routine, or for Debeers, Diamonds are forever the desired consumer behavior is spend some but enjoy for the whole life, keep them with you forever and never worry.
• Desired consumer change: Kitkat gives me break from my boring routine so I have to buy it, or I should get nike shoes because I just have to do it, I need to have the power and should be able to achieve the impossible. This is something very conceptual and depends mainly on the concept and the taglines.

Role of brand in relation to the insight

It goes same as the tagline or the concept; Kitkat a break from monotony, Philips Sense and simplicity, Horlicks taller, stronger, sharper and so on.

What should the communication say

• What medium to be used, whether photographs, images or vector based or just typography
• It should highlight the concept of the campaign and brand personality
• How is it communicating with the target audience

The brief implies to the total information about the brand and communication style. It also indicates certain USP’s (Unique selling propositions) of the brand and complete list of the designed items which need to be developed. The timelines, language of communication and reference material are also mentioned. The purpose of the brief is now very clear since without it no creative campaign can be developed.

Types of Portfolios

When trying to get a job or get acquaintance with the most well reputed organizations, your portfolio is the most solid asset to reach to the employer who will decide whether to take you or not.

Creating Portfolio by Website

In today’s world this is probably the most used way of showing your work. Online showing your portfolio is not easily accessible but also looks very dynamic and professional.

Benefits:

• Easy to send to anyone, you can just send a link.
• You can very well play with the graphics, can give it a proper designed form, can use colors and can use unlimited effects which would actually depict your own personality too.
• You can have interactive presentation of your work.

Drawbacks:

• Though it has its own positive aspects, this is the most time consuming to make.
• Since it’s completely produced on the computer you don’t know whether it will open on other systems, how it will behave, how it will appear.
• Incase you are not aware of developing a website yourself, it will be very expensive to hire someone to make it for you.
• Payment for the domain and web hosting will also be done by you.

Creating Portfolio in the Form of PDF

Creating portfolio in the form of PDF is becoming more and more popular since multiple pages, images can be sent together in one piece and the result is a brochure like file which looks professional.

Benefits:

• It’s easy to e mail.
• You don’t have to worry about the systems and browsing issues, you can actually represent it the way you have made it.
• The PDF depicts a well knitted layout and creates an automatic balance.
• It can be printed with proper and uniform results.
• It’s quick and free of cost to develop.

Drawbacks:

• It’s completely dependable on the user wither to open it or save it.
• You cannot show your web design projects in it.

The Classic Portfolio

This is in the form of small booklet and actual printed form. In today’s digital world this still looks nice and appealing. Several ways can be developed to develop the hard copy, either putting in prints in a pre made booklet or designing your own custom designed booklet.

Benefits:

• Shoes your work in its actual printed form and format, it’s a hard copy of your work
• Due to this reason the clients can consult it or look at it several times whenever needed, he doesn’t really have to open his computer every time.
• Since it’s tangible, it can be given away to show it to others.
• It can be placed on anyone’s working table and if it has a dynamic beautiful graphics, it increases the value of the table and anyone walking in or passing byy can actually have a look at it.
• No computer required, can be brought in any time anywhere.

Drawbacks:

• It can only be delivered by post and not thorough e mail. Else can be delivered in person.
• If you don’t have several copies of it, you leave it with a client and you have nothing left.
• If the printing is not upto the standard, it can destroy your very well worked and excellent graphics.
• Making several copies of it can be very expensive.

After the portfolio comes the step how to promote it

Ways to Promote Your Business

Word of Mouth

This is the oldest and most effective way of publicity. It always feels good when someone says “have you heard of that person who has designed my logo and stationer, He’s really good.” This might seem very good but actually even this needs reminders to people. This can be done in several ways, quarterly newsletters or press ads would work. Even small flyer printing can be a good option.

Design a Business Card

This is the most organized way. Giving your personal visiting card to potential clients helps you gain popularity instead of giving your contact information by writing down on some piece of paper which later might be lost. Creative cards and good business card can bring you more work. Few business cards are so well designed that even if the client does not intend to give you work, he would just keep it with him because it’s beautiful, but later some time he would definitely consult it to give you work.

Credit Line

When you work for somebody he or she will definitely promote you to his or her clients through word of mouth. But isn’t it too cool that you get through that person’s clients yourself. There is no harm in it since you are not violating anyone’s rights. It’s just you are getting the credit for your work yourself instead of involving any third person.

Get a Blog

Creating your website isn’t enough. Try making a social network where people can directly approach your portfolio and can comment on it. In this way your publicity will get social.

Along with this learn to organize your work by keeping them up to date. Use softwares to keep backups, use time tracking softwares to see how fast you can work. Meet deadlines yourself. You must organize your work in the most manageable way in order to use it for future references.

Dealing with the clients might not be as easy as it appears. But it’s important to know what to talk to clients when you meet them. Ask them

• Who is the target audience
• What is the message of the campaign
• What is their brand identity
• What are the designed items required and their specifications
• What is the budget of the client
• Is there any deadline for the project
• Does he already have any references
• Does he prefer certain colors or fonts

You must decide on the contract first, either you take a certain amount of initial advance payment or a token amount just to assure that he doesn’t run away after getting you hooked up by making several options. If you are using stock images make sure you have the copyrights or buy the images. Never cheat, never borrow or copy the images. Decide on the concept first, then work accordingly in schedule given by client. Make sure you work on the images and backgrounds so that they can be produced in high resolution later for artwork.

Web Design Portfolios for Your Inspiration

1. Read Me : Does the viewer decide to read it from one to all. Does the text and copy have an appeal to let the viewer decide to read it all.

2. Quick Scan : A brochure enables the person to have a quick scan of what it is about. Even if he does not read it more precisely, quick scan must help him to understand the goals and services of the company. What is the underlying concept and do the images help him to understand the strategy.

3. Interest of the viewer to decide to contact the company : If the brochure is so eye catching and excellently portrays company’s profile, does it actually convince the viewer to contact the company. This is the main reason why the brochure is made, to sell company’s name and to grab the audience.

The main objective of brochure is to understand the goal. Aims and objectives must properly be defined in order to design a proper brochure. Who is the target audience, what language they would understand, what is the imagery they would relate to.

The Theme and Structure

Though graphic designing appears to be very glamorous but in real sense it is communication design. The intent and the theme must be very clear to the target audience. Using too many colors in a brochure might not be a good idea since the essence is direct communication. Use of two or three background colors with the highlighted imagery would be simple yet effective. Maintain a great flow throughout the brochure, use harmonized images or thorough repetition or create a balance. Though brochure printing is done on a flat surface but create a proper grid on each panel. Give enough margin spaces to avoid clutter so viewer’s eye moves from one end to the other continuously and is able to read it properly.

Selection of Fonts

Selection of fonts is very important. Bold fonts are used for headings, easily readable fonts for rest of the copy. Font sizes are also important, neither too small nor too large. Brochure should have the quality of being read quickly. Too much copy would deviate the attention of the reader. Use bold words in copy, short clichés would be appropriate. Using image captions is a good way. Don’t use text over images unless images are being used as watermarks. Tell the reader step by step what he has to do to contact. Never forget to use company’s brief introduction and contact details.

Imagery

Imagery is the best communication. The viewer before reading the text goes through the images. This is the best part of a brochure. Use the images so appealing and communicative that they drive viewer’s brain to read the text also.

Cover

Cover is the most fighting element in the market. It should scream take me, read me in the jungle of other covers. Minimal words and most vibrant imagery is the key to success. It does not mean it should be full of clutter but being simple it should have a shelf value.

Value for Future

What elements does your brochure have so the viewer keeps it for his future reference. Is it its design or information or just because somebody liked it. Even if this is the reason atleast some time in life he might use it and contact the company. It should not be thrown in a bin or should be flown away by making an airplane of it.

Use of cut outs increases the value.

Pop out images can be an interesting way to increase the value.

On the other hand flyers are brief, simple single leaf or maybe with 2 or 3 folds. Flyers have less opportunities to be creative since they are made to reduce cost of printing and reaching out to larger masses. Same points have to be kept in mind for flyers/leaflets as discussed for brochures.

Some Brochure Samples for Inspiration

As for the information, idea generation is always done after finalising the concept. The concept is a very vast thought, mostly generalized and a vague insight. According to the concept the idea genaration takes place. E.g. if you are advertising about a digital colored printing press, the concepts can vary from colorful life or adding color to your life or make the living more coloreful, the idea genartaion would include producing different images supporting the concept. The imagery might include colors of spring or coloring the skies or mixing of colors in the environemnt. More directly just showing the colors in a palette would not be any creative.

This image shows that an already existing parrot full of colors is still taking its colors from DiGiC (ofcourse digitally). Similarly in the same layout, the imagery can be changed e.g. instead of parrot any other living thing, any animal or flower.

In order to produce more creative ideas, it’s important to research and have brain storming sessions. Research should not be done haphazardly, rather deciding on the concept you must go through other campaigns already developed on the same concept. See how they have used images/photographs, what is the composition? What is your tag line. Supporting the concept is the rag line, it can be vice versa also. Either you decide the tag line first and then place a concept over it, or decide the concept and then place a tag line supporting it. More of the work can be done just by choosing the words. As a designer, it’s then upto you what images or ideas you are choosing. Just by lifting the images from somewhere is not what we are talking about. More than the issue of copyrights, it’s the sense of your own creativity which should come in. You can take reference from certain imagery but definitely just for an idea. And why do you want to take reference. Let your brain decide for itself what kind of idea generation you want. Research work may include making a concept model.

Now What is a Concept Model?

Concept model is a real, actual placement of your concept i.e. any 3D model or any 2D diagram on the paper or use of any real material. Concept is just a vague unclear perception in mind. It has to be subjected in real sense, visible, audible or tangible. In order to give your concept this shape, you must create a concept model. E.g. transformation is one concept, very generalized, very vague. How do you take your concept in visible form might be a 3D model including a cloth whose color changes from yellow to orange to red. Is this your idea of transformation: change of colors on a flowing cloth, or maybe you can be more scientific. An egg into a pupa and larva and then a butterfly. But what is the nature of your brand for which you are deciding this? A company providing business opportunities to you says “We transform your life?” now for this matter you need to have a completely different imagery. A kid, shabby looking, worn out clothes, becomes a youngster who sees the bright star of the company and in the third phase a satisfied contented lavishly seated old person. Now this is one idea supporting the concept of transformation in relation to the brand identity.

Another way of showing transformation in relation to the brand reinforced is showing this boy turning into a fiery dragon, from an ordinary boy to a powerful, hot, energetic dragon. But why is it shown this way? A series of drawings by many artists on the topic of “Grow your dragon” show various concepts. This one shows the inner strength of the boy which is growing in the form of dragon, thus transforming. Here comes the view of “Archetypes”. How you give an indirect meaning to your imagery.

Another very simple form of concept of transformation. A furniture designing company shows how we can transform your ordinary wooden table into a royal gold extravagant beauty.

Let’s now discuss some of the points which should be kept in mind while researching for the sake of idea generation. Your research should include determining the brand positioning, competition in the market, target audience, which technique of making graphics would be more suitable: vector based, image based or photography and what designed items will be most appropriate for a certain campaign.

Brand Positioning

In advertising, positioning is the process by which marketers try to create an image or identity in the minds of their target market for its product, brand, or organization.

That very identity will help you decide the concept of your campaign

A very simple Mcdonalds ad reinforcing the essence of coffee. Wake up with our coffee, energize yourself, you have sunken down, you need to charge yourself. Wind the key and charge yourself. This is direct imagery used to show positioning of Mcdonalds coffee.

Competition in the Market

Many times it’s important to know what other competitive brands are doing in the market. You need to develop the campaign more creative and brighter than them. E.g there is a pitched battle between producers of Maggi seasoning and Knorr seasoning. Maggi wroks on more promotional activities, on the other hand Knorr tries to outwit Maggi on the basis of creative advertising.

Maggi endorses its brand by keeping a competition named as “Cook for Mama”. Everyone participates to win the reward. This promotional activity leads to delivering to the minds that Maggi is special. On the other hand

Knorr plays with the direct essence. Good food for you, Garlic savories, beautify yourself with garlic sauces. Research shows that Maggi is still more popular, maybe because of their marketing strategies or maybe continued reinforcement of brand is the best way to reach to people.

Target Audience

In marketing and advertising, a target audience, is a specific group of people within the target market at which the marketing message is aimed at (Kothler 2001). E.g. if the company is aiming to sell new textured wallpapers and wall coatings, target market would definitely be A class of people who can afford the price and should have good taste of interiors. Also architects and builders who can refer the new material after going through all the practical aspects of durability and long lasting finishing. Obviously not kids or teenagers who can never be indulged in house building.

Red Bull mainly targets its audience who are youngsters, mostly teenagers. This is the reason in this ad it shows a young boy.

This ad captures the energy and exuberance of children for the Spring/Summer 2010 Company Kids campaign. Thus target audience being kids.

Technique of Making Graphics

Right kind of graphics support the right concept. For a certain campaign, whether photographs should be used or vector based graphics or an image. This question can be answered simply by seeing other campaigns of the sort. You need to be different, so use the graphics best collaborated with your brand identity and different from competitors. E.g. for Sony Playstation 3, the campaign must have genuine quality of illustrations or dynamic images showing power and brilliant 4 D aspects.

These images very well indicate the laser power which is dynamic and 3D or 4D.

Similarly any designer garments campaign would definitely use photography in order to show the cuts and flow of the fabrics.

This is the illustration based ad, for a personal stylist whose identity is very well depicted in it. The choice of imagery can vary depending on your personal likings also. The campaign should be creative, appealing and must show the true essence of brand.

If you remember back to the first post we mentioned how designers are responsible for knowing the way that every principle applied or broken, every element that is included, and the very nature of the work itself, all speak to the viewers. They convey underlying themes or messages across by the way they have been used in the work. Or even in the ways that the elements and principles that are present work together to get our points across visually. The first post further showed us that the idea of what you don’t say can often speak louder than what you do say, even in design.

Take Two

In part two, however, we are going to bring our focus into the more tangible realm to get this post going. While the Principles can be considered largely theoretical or abstract in their applications, the elements are the more physical pieces that comprise the whole. This also tends to mean that the meanings attached to them tend to be more simplistic, and less interpretive than the principles. This makes the elements a bit more approachable for some designers. Given that the talking points they tend to convey are a bit more straightforward.

Once we have sufficiently covered the elements, then we will move into the final areas of this discussion, the overall Abstract and Concrete sections. For whether your design tends more towards the abstract or the concrete also speaks to the viewer in the end. So there are numerous considerations that need to be made when you are setting up your piece. The layout of the elements, and their interactions are somewhat second nature to some designers, but even the best of us can overlook some of the talking points inadvertently created in our work. Hopefully this post will help connect some of those proverbial dots.

The Elements

Now most designers are familiar with the various element types that are used in design work. But given the simple nature of some of these elements, there are those in the design field who undervalue them when it comes to the visual grammar. They see the inherent communicative properties of certain elements like Shapes and Colors, but then turn a blind eye to the others. As if they play little to no part in weaving this web of visual communication. But they couldn’t be further from the truth.

Points

Points are one of the smallest of the design elements, and consequently are often completely discounted as no real place in this communication. But Points not only can convey a nice array of ideas on their own, and are essentially the building blocks of other elements too. Dots, consequently, which are how we tend to view points, are simply points of focused attention. Proving that even the smallest details can be visually important to this conversation that we are crafting between the design and the viewers.

Now taking a series of dots and linking them in a chain, so to speak, can draw our focus to a number of different things, communicating as we go. If they are encircling other elements, they can interpreted as somewhat binding or securing them. These points could also be indicating a sense of togetherness, in a sort of links in a chain type of way. Used to create a sense of depth or layering with transparency. But the most standard use of points to communicate to the viewer is as a another type of chain. A visual one that leads them from one element or section to the next. Drawing the eye and taking it where it needs to go in the design.

Lines

Another common element in design that perhaps does more talking with the viewer than it is given credit for, are Lines. This is perhaps another element whose basic nature often have its value in this visual conversation overlooked. Lines can be especially effective when working to establish tone throughout the design, which is where these elements do most of their talking. And given that the public has somewhat been conditioned throughout various areas our lives in regards to the meanings of lines, then their use should be almost second nature in our designs.

For instance, we tend to associate things being underlined as stressing that they are somewhat more significant than anything around it. The lines are meant to direct us, to lead us somewhere or indicate motion. And that is how they are used in design also. Like dots, the Line elements can also be used to lead the viewer through the piece. The use of grunge or distressed Lines, over clean and sharp Lines, is where they tend to speak loudly as to the tone of the design. So there are numerous ways that Line elements can communicate with the viewer.

Shapes

Earlier we mentioned Shapes being generally one of the more understood talking points of a design, as they are often recognizable symbols of some kind. This also means that for designers most of our guesswork when using them goes out the window, as there tends to be a solid idea or meaning attached to each one already. In fact it is often these meanings that tend to land particular Shapes in the mix. Because they are easily interpreted and understood by the average viewer.

Shapes tend to be one of the more concrete ways that designers tend to visually communicate, but there are instances where Shapes can be somewhat used in the abstract. For example, if you are using geometric shapes, that have little concrete meaning attached to them, you can create an abstract air of precision or even use them to foster a sense of mechanical inclination. Geometric Shapes, with their sharp corners and precise nature can also tend to bring to mind a mathematical or scientific atmosphere, and can be used with other elements to transfer that talking point to the audience.

Space

The next design element that we are going to be talking about is Space. Once again, we move into a more conceptual elemental area when dealing with this examination. For space can be used or interpreted in a couple of different ways, and as a result, can be used for various communicative purposes. Either through a more minimalist or a more maximized use of Space, or through what has been called the Illusion of Space.

The Illusion of Space refers to the use of space in design to create the illusion of three dimensional space in a two dimensional plane (i.e. our virtual or literal canvas). This can communicate a depth of the design to the viewer, giving it a more realistic feel. Or can at least communicate the idea of grounding the design in reality. Contextualizing the piece for the audience. Also, by using whitespace of a lack of it, you can also create some talking points that the viewer can take away from the piece. The more clutter, the more chaotic the takeaway. The more minimal, the calmer less urgent the piece speaks.

Color

Another element that we previously mentioned, whose importance as a fully functional part of this visual communication tends to be understood by most of the design community is Color. We will not spend much time on this element, as again, there are volumes of posts online that have stressed this elements role in design. But we felt that it would be amiss of us to not mention it in a post covering the transference talking points, as it ranks high on the list of vital elements in this conversation.

But we will note that Colors tend to be interpreted somewhat widely across the globe, so it is important to know where all this design will be connecting with viewers to choose the appropriate ones. For the most part, discerning color meanings is easy with a simple web search, and given the global nature of the web, it is usually a safe bet that web designs will have a global presence on some level. But knowing the specific area of the design’s target audience can allow for a more focused approach to your use of Colors, over a more generic one.

Texture

Another one of the more understood communicative design elements, which we see used quite frequently, is Texture. The online design communities fondness for this element can be read from the amount of resources dedicated to it. You only need take a quick glance around the web to see the vast number of textures that are available for designers to choose from. With the subtle addition of texture to even another element in the design, can completely alter the entire message of the piece.

Through even the slightest of modifications to the surface quality of a item, the once sharp, fresh feel can be aged and withered contextually, completely redirecting the talking points and their tones. So Texture can be an invaluable tool for designers crafting this kind of visual dialog through their work. Adding depth, and a richer sense of a tactile nature to the various accompanying design elements is the main use of this element. And with so many resources at our disposal, we can craft virtually any sort of message we want through the inclusion of a simple texture.

The Abstract

Now we move out of the design elements and into a section that we have touched on in regards to its attachment to certain principles or elements, but that has not been addressed as an overall design approach and what that conveys to the viewers. Just like in the art world, there are many working in the design waters who will opt for the more abstract themes. This way of communicating with the viewer is highly interpretive, and can therefore be tricky to use with a solid, clear message to convey.

In general terms, when designers choose an abstract approach it immediately tells the viewer one majorly important detail about the piece. It essentially tells the viewer that whatever meaning they get from the piece, they are going to have to work for. This can be just as big a turnoff to some as it can be a draw to others. Many viewers like the journey aspect of having to uncover the message behind a well designed piece. Though admittedly, others do not. And clients are not always the biggest fans either. They want the message to be clearly conveyed, and they want little to no room for interpretation. Or as they more than likely view it, misinterpretation.

And to be sure, the misinterpretation fear is not unfounded. If you are working with abstract themes, imagery, etc, then we cannot always guarantee that the interpreted outcome is going to be the one we necessarily desire. What it says to us, may not be what it says to others. For this reason, most clients and projects demand a more concrete approach.

The Concrete

Which brings us to the last section in this two part discussion of the graphic design rules of engagement. The Concrete. With design, this tends to be the more prominent path that is walked, mainly for the reasons described in the last part of the Abstract talk. Most clients and messages tend to be served better, by working with more recognizable themes that they themselves can identify with. Which is what we tend to mean when we talk about the Concrete. This is an easy to understand, more straightforward approach, with little guesswork involved for the viewer.

The benefits of using this approach are fairly easy to grasp without us laying them out for you, but we will briefly indulge. Just like with the Abstract, this approach immediately speaks to the viewer. It lets them know that there is a clear message waiting for them inside. Using more concrete elements, also allows a connectability with the design that many users cannot get with an Abstract one. And naturally, given that the overall design is filled with recognizable elements, the door is open so much wider for your message. Not to mention the many ways in which you have to be able to convey said message that you could not with the Abstract approach.

That is a Wrap

That wraps up this second half, and the discussion overall. Well, at least from our side. Now we once again, turn this conversation over to you and the comment section to expand on or disagree with, or to simply add you own two cents to. What areas of the rules of engagement do you feel should have gotten more coverage? Or less? Let us know below.

Let’s classify the colors in the following categories:

• Primary Colors
• Secondary Colors
• Tertiary Colors
• Classification of Colors
1. Hue
2. Intensity
3. Value ( Tint, Shade)
4. Color Schemes and Family

Primary Colors

There are three primary colors,

1. Red,
2. Yellow
3. Blue

All colors are made out of these three colors.

Secondary Colors

The mixture of yellow and blue makes GREEN,

The mixture of yellow and red makes ORANGE,

The mixture of red and blue makes PURPLE.

Green, Orange and Purple are secondary colors resulting from the mixture of primary colors.

Tertiary Colors

Tertiary colors are intermediate colors made out of secondary and primary colors. A tertiary color is a color made by mixing one primary color with one secondary color, in a given color space such as RGB or RYB.

Unlike primary and secondary colors, these are not represented by one firmly established name each. Brown and grey are sometimes known as Tertiary colors.

These examples very well illustrate how tertiary colors are made. The intermediate colors between primary and secondary colors.

Classification of Colors

Hue

Hue is the term used for the name of any color, e.g. yellow, orange, red, and blue all are hues. The main property of the color. In painting, hue is referred to as pure color. It might have many computing theories, but practically in design these theories are not as important to know as the color wheel.

Now what is a color wheel?

The answer can very well be explained by the following diagram:

This figure completely tells you how primary colors become secondary and then tertiary, what is hue and then we will define what is tint and shade.

Intensity

Intensity is the saturation or purity of the color, its brightness or dullness. In other words it’s the force of the color, full force might be a bright red color.

You can very well see the brightness and dullness of red color in this example. The more intense the color is, the brighter it is.

Value

Value is the lightness or darkness of the color. The lightest value of the color is almost white and the darkest value is almost black.

There are two types of value:

1. Tint
2. Shade

Tint describes colors that are near white in value. Pink is a tint of red, which means white has been added. Similarly mauve is the tint of purple. Let’s see how these tints differ.

As you keep on adding white to a certain color, the tints keep changing.

Shade describes colors that are near black in value. Navy blue is the shade of blue. Similarly maroon is the shade of red.

As for black, grey and white colors, black and grey are neutral colors with no saturation. For printing purposes remember WHITE IS NOT A COLOR. White is only used as background color which the printer does not identify and it will never work on white color. The printers either use RGB mode i.e. red, green and blue or more professionally they use CMYK mode, i.e. cyan, magenta, yellow and black. Whatever color harmonies or color combinations you are selecting, make sure you exactly know the modes and values since percentages of colors can only be defined by modes.

Emotional Effects of Colors

Colors have different psychological effects, positive as well as negative. This point must be kept in mind while choosing colors in your design since various colors convey varied meanings.

Red

Red is the color of energy, it’s bold, it’s powerful, it’s vibrant. It has the longest wavelength (the distance over which the wave’s shape repeats). It’s the color of effectiveness, excitement and liveliness. All over the world we follow red traffic light to stop, its visibility is the strongest amongst all other colors because of its highest wavelength. On the other hand its negative impacts can be aggression, visual disturbance and strain. You live in a red room for a day and you will go crazy, it has to be complimented with other colors to make it subtle.

Yellow

Yellow is a very emotional color, it is the color of self esteem, confidence and optimism. After red yellow has the longest wave length, appearing to be strong from a distance. World over yellow cabs can easily be seen, sunflowers, daffodils appear to be friendly. Contrary to this it also communicates few negative values like depression, hatred and anxiety.

Blue

Blue is the color of intelligence, vastness, royalty, serenity, coolness and tranquility. Sky appears blue and gives calm effect, water appears blue and gives peace of mind. Blue appears to be the favorite color of most of the people but on the other hand it is also a color of coldness, unfriendliness and unemotional.

Green

Green is the most refreshing and cool color. Green is the color of life, fertility, reassurance, peace, harmony, balance. Nature is green and how soothing it is to our eyes. Not a single tree in this world is of the same green tint or shade, yet it appears to be so full of life and create environmental beauty.  As for its negative traits it is the color of Boredom, stagnation, blandness and enervation.

Violet

Violet is color of truth, luxury and spiritual awareness. It has the shortest wavelength therefore it is considered to be weak also. A color of introversion and suppression. It is associated with deep contemplation and royalty, meditation and quality.

Orange

Orange gives warmth, comfort, security, passion, fun and frolic. Due to the mixture of red and yellow it gives stimulation and sensuality. Use of too much orange gives a feeling of no serious attitude and gives a feeling of deprivation if used with black.

Pink

Pink is a cute color, very feminine, love and tranquility. Though pink is a tint of red but it soothes rather than stimulates. It gives comfort and suggests grace and elegance. Sometimes too much pink looks physically weak and appears full of flaws. It creates impact of inhibition.

Grey

Grey is a neutral color, not giving a direct psychological effect. It may represent emptiness and dullness. It gives impression of dampness and right tone of grey must be used otherwise it may make your composition depressive.

Black

All colors are absorbed in black. Black is glamorous, graceful, efficient and security. Women wear black to attract, they look sophisticated. Black creates hindrance since there’s no light no reflection. It works perfectly with white thus the co relation is either alternation or repetition. Black is the color of mourning also. Too much black creates heaviness and scary look.

White

White is pure, clean, hygienic, innocent and simple. White is total reflection. It gives perception of space, too much clutter in a design can be overcome by using spaces of white. The negative effect of white is that it makes other colors used with it cold and unfriendly. Can create a diminishing effect.

Brown

Brown is the color of earth, rugged, serious, old, and ancient. Rustic look can very well be created with this color. Since brown is the combination of red and yellow with much larger percentage of black, it also gives the same seriousness as black but in a warmer way. It is natural and supportive but at the same time it is too non humorous and appears heavy.

Yellow is warm and friendly:

Blue is cool…very well explained in the head line:

Red is bold, warm, energetic and powerful:

Pink is feminine and graceful:

Violet is true and spiritual:

Green is color of nature, serene, calm and fresh:

Orange is fun and frolic and stimulating:

Grey is adorned with brown, very earthy effect and making a serious composition:

Black background behind pink serves as very strong glamorous elegant base:

Whatever colors you decide for your design, they should convey the true meaning of the brand. They should be appealing and only creative use of colors makes a good composition.

Letter Head

In how many ways can a letter head be designed? Several ways more expanded than your imagination. There might not be any hard and fast rules to design it, but there are some rules and guidelines that will help you create letter heads most liked and remembered and giving a very unique practical usage.

Positioning of Logo

Since logo is the most important part of your stationery, it is important to know how and where the logo should be placed on the letter head. Usually in the top corner logo is placed because of the reason to provide ample space for writing on the letter head. Some part of logo as watermark can also be done, but make sure neither it should restrict the movement of eye, nor it should be so bright that it covers the entire page.

These letter heads also show watermarks but to the limit that one can easily have space to write anything onto it.

Contact Information

Contact information is usually in the lower part either it can be in the corner or a straight band can be used to give the contact information. The reason being the same as to provide complete space for writing.

Fairly to a large extent it is the matter of personal preference as to what appeals to your own eye. But yes what message the client is trying to convey, is it traditional, cultural or is it modern or contemporary. Does the brand identity suggests speed or energy or does it depict calmness or tranquility. Whatever the identity is, it must be shown and in such case proper alignment must be done to create a smooth and complete balance. You can draw attention by keeping the tag line away from the rest of the elements, or create some unusual element or design which seeks attention. Create a focal point, if you are adding color make sure it’s not complicated.

Use of colors should be in a harmonized manner with minimal intersection and should not be in layers, rather plain and less gradients.

Envelope

Get an envelope in your hand and see if you like to keep it as it is without ripping it off. What is the most unusual and dynamic part of the envelope which will make you keep it with you for years?

Envelopes go everywhere, from clients to a layman. What are the most amazing ways to design it so one really wants to know what’s hidden inside.

Most of us use envelops just as often as drinking water. But do you actually know how it is constructed? The size of the piece, type of mailing, budget, and whether or not you’ll be using automated equipment to insert the envelope contents affects the style of envelope you can use. In order to enhance a personal or business image and invoke a particular action create an envelope that stays forever. You can also choose specific envelope sizes and can choose customized sizes also, but make sure you already know the available paper sizes.

Parts of Envelope

Face or Front
The front side of the envelope where address comes and may show a small transparent window. It is seamless without any fold.

Back
The back of the envelope, typically left blank, is where the flaps meet to form and seal the envelope.

Flaps
The parts of an envelope that are folded, overlapped, and sealed to enclose the contents are typically rectangular or triangular with rounded, tapered, or pointed corners. The typical envelope consists of two side flaps, a bottom flap, and a top flap. The side flaps are folded in first with the bottom flap folded up. They are sealed where they overlap. The top flap is folded over the side and bottom flaps and sealed after inserting the envelope contents.

Seams
The flaps determine the seams — the edges where the envelope flaps meet and overlap.

Folds
The creases formed at the sides, top, and bottom between the face and the back when all the flaps are folded to the back of the envelope are the folds.

Envelope Openings and Closures
Envelopes have one side left open and unsealed for inserting material. Non-square envelopes are either open end or open side. Open side is the most common, even though most letter mail envelopes appear to open on top. The opening is determined not by orientation of the top flap but by the length of the side where the opening appears. In addition to the style or position of the flap, envelope closures may be with or without adhesive.

Make sure whatever you decide to design the stationery, the construction, flaps, folds must be known. Whether it is letter head or envelop, it must depict company’s complete profile and image.

Printing Feasibilities

Many different processes can be adopted for printing of stationery. Though we do not intend to go in the details of printing, but just to give an idea about few specifications in order to let you choose the right printing process for your stationery.

Digital Offset Printing

In today’s world the most diversely used printing process giving a very dynamic and high resolution result is this process. The quickest, most efficient and completely digital without any manual handling and the most accurate of all is this process. To give a photographic quality to the images, this process is usually adopted by all the professionals.

Letterpress Printing

This is the oldest and most versatile process. This method uses metallic plates onto which printable area or design is raised, thus ink only touches that raised designed area. This design is then transferred directly onto the paper and due to the pressure slight embossing may appear on the back side of the paper.

Flat Offset Printing

Mostly known as flat printing, it’s less expensive and less formal. Image created on the plate in black and white is directly transferred onto paper.

Engraving

Engraving, the oldest still the most unique process is though expensive but gives the most elegant look to your stationery. Paper is pressed against a metal plate to create an impression. You can even feel the raised engraved images with your finger.

Thermography

This is also a very unique and interesting process for the stationery. The paper when passes through the press is passed through a powdered application. Resin is mixed with the powder and it only adheres to the wet ink which was on the paper. Later the printer heats the paper which causes the resin to melt and fuse with the ink. Then after cooling the effect is textured. This process though less expensive than engraving, does not give a formal and complete look what engraving gives.

A brief introduction to these printing techniques is given so you may know what are you actually going to design for your stationery. Extraordinary designs never come without complete knowledge.

Check out the link for printing services.

How to make your business cards extraordinary?

This is one major question that has to be answered while designing a card. Most of the business cards are tend to be forgotten just because they are too ordinary. They should have a quality of having custom shapes, different materials and matte finishing along with a great design idea.

These are very interesting examples of how to make your business card different n tempting. Apart from different printing techniques used, it’s the idea and the concept which is important. Use of different materials onto which printing can be done and handmade customized options can also be developed.

Cutouts, colorful imagery, unusual and unexpected shapes can make your business cards one of a kind. 3D effects and intersecting networks can also be done but for that a designer must need to produce a dummy before getting it actually made. e.g.

These kinds of cards can also cater as souvenirs for a certain company. These kinds of cards definitely gives dynamic impact and possibly people to whom these are given may not need your services at that very moment, but definitely will think about it in the future because the creative business card serves as reminder to them.

Does your business card have the ability not to be thrown in the waste paper bin?

Reach out a hand in your wallet and check how many of the business cards you have are being thrown by you in the trash. Do you know the reason? Just because an ordinary boring and a dull looking card just doesn’t want to be stayed with you. Following are the points that must be kept in mind while designing a business card.

Paper Quality

what is the quality of paper being offered. Is your card flimsy, with torn, rough and perforated edges? Is the paper so light weight that it just doesn’t get placed on a table without a weight? Is the paper glossy or matte? If it’s glossy why the thumb prints are visible on it? These are very very important questions you must keep in mind. In order to answer these you must have a complete knowledge of the materials in the market and how they vary.

Ink

Drop some liquid on your business card. If the ink runs, it’s in the trash.

Color Test

Colorful cards can add to your professional image. Too much color can be distracting. 3 color or full color cards not only give a very strong impact but also add to the beauty of your card holder and things around it.

Message Design

Your business card should clearly convey what you do, what are the services you’re offering and what is your company all about. Your location, contact so people can easily reach you is very important.

Image Match

business card must match with the business of the company, e.g a textile designer’s card must depict the flow of fabrics, colors, satins exactly in synch with the services he/she is providing.

Font Size

your card must depict the size of the font which is readable and visible. White spaces to the card serve as breathing space and do not hinder your eye movement. If you have lot to say use the space on the back of the card. Don’t ever use tiny fonts which are not at all appealing to the eye and people have issues in reading them.

Contact Information

clients and other people must have a complete knowledge of how to contact a certain company or person. The business card must show all the details like phone number, cell number, email, website address, fax or whatever data required.

It is not necessary to include a complete listing of services or products on the business card. Keep it to the essentials. Use brochures and personal interviews to disclose the full range of services or products offered.

Check out the link for business card printing.