planning

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planning designing brochures
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brochure genre

• Long life span (frequently used for several
  years)
• Multiple and varied audiences
• Audience must be persuaded to pick up and read

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components of brochure

• layout
• design
• font
• content
• usability
• production

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brochure layout
Determine layout and order of panels based on
content and audience. Create a mockup of folds
and number panels on inside and out
outside panels
3 6 1
back front
inside panels
2 4 5
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individual panel layout

• Front panel
• Provide clue to brochures topic
• Develop a design that makes reader open and read
  info
• Incorporate a meaningful graphic or illustration
  that coordinates with the text (visual clues to
  topic)

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individual panel layout

• Back panel
• Include contact information
• Contact names, addresses, phone numbers, email,
  and websites
• Or function as a mailer
• Inside panels
• Carefully consider sequence of information

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brochure design

• Incorporating four design principles into your
  brochure will help organize the information and
  make the brochure visually appealing
• proximity
• contrast
• alignment
• repetition

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proximity

• Begin by taking inventory of the different
  elements and information you will need to include
  and organizing like information together.
• Include descriptive headings of those chunks of
  information.

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contrast

• Use the notion of contrast to emphasize
  difference and importance
• If information is different, visually show this
  difference with a different font, font size,
  value, color.
• Bold important information such as headings

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repetition

• Create repetition in your brochure by using the
  same
• Size and style bullets
• Size and font headings
• Thickness of lines
• Design elements

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alignment
Use alignment to create a visual and
intellectual connection among ALL elements. Every
element (text, heading, image, lines should be
horizontally or vertically aligned with something
else on the page).
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tone image

• Talk with client about the organizations
  purpose, values, image and about the desired
  tone of the brochure
• Draw from both the Wysocki visual analysis and
  Barthes visual analysis to determine what fonts,
  colors, designs, graphics illustrate this
  purpose, image, and tone
• Test your choices with users to confirm image
  tone

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Wysockis visual analysis

• Look at the page itself
• What are the elements?
• What relationship is suggested by their
  arrangement?
• How might the document change to better
  accommodate the specific audience, purpose,
  context?

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Wysockis visual analysis

• Look at contents of page
• What are the elements?
• What relationship is suggested by their
  arrangement?
• How might the document change to better
  accommodate the specific audience, purpose,
  context?

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Wysockis visual analysis

• Look at what helps readers make connections among
  the pages of the document
• What are the elements?
• What relationship is suggested by their
  arrangement?
• How might the document change to better
  accommodate the specific audience, purpose,
  context?

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Wysockis visual analysis

• Look at what contains the page
• What are the elements?
• What relationship is suggested by their
  arrangement?
• How might the document change to better
  accommodate the specific audience, purpose,
  context?

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Barthes visual analysis

• Linguistic message
• Denoted text (Parmazi)
• Connoted text (Italianicity)
• Coded iconic message (Italianicity)
• Uncoded iconic message (tomatoes, pasta, parmesan
  cheese) (similar to Wysockis elements on the
  page)
• Anchoragetells reader how to interpret image
• Relaycomplements image

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font

• Fonts fall into 2 primary categories serif and
  sans serif.
• Limiting your fonts to one from each category
  will create help emphasize important information
  and create visual contrast.

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font

• Serif fonts (such as times new roman, palatino,
  Garamond) are often best for body text in printed
  material.
• Sans serif fonts (such as arial, verdana, century
  gothic, and avant guard) are useful for headings
  and online material.

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font

• The font helps determine the tone for the
  brochure. Tone should fit audience and purpose of
  brochure.
• times new roman arial
• comic sans ms tempus Sans
• courier he_Terminal
• century gothic haettenschweiler

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design decisions

• These three frameworks should work together with
  information from client and users to inform every
  single element on the pagefrom color to
  organization to font to image to size and shape.

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content

• Chunk text into small blocks where like
  information is together
• Ensure text delivers what headings promise
• Create coherent panels
• Confirm that information answers questions your
  audience will have

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questions for client

• Brochure purpose
• What is the purpose of the brochure (what do you
  hope to accomplish with the brochure?)
• What information do you want to emphasize? (what
  is the most important piece of information for
  the readers?)
• What additional information do you want to
  emphasize?

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questions for client

• Reasons for redesign
• What are the main reasons you would like the
  brochure redesigned?
• What is the main problem(s) you hope to solve
  with the redesign?
• Are there any specific requirements or aspects
  you want the final brochure to have?

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questions for client

• perception image
• Describe how you would like the reader to
  perceive the brochure? (What tone or image should
  the brochure have?formal, serious, playful,
  sophisticated, etc.)
• Describe how you would like the reader to
  perceive the organization?
• How would you like to differentiate Healthy Miami
  from other brochures?
• Do you have a particular color scheme in mind for
  the brochure?
• Do you have initial ideas about the design of the
  brochure?

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questions for client

• Audience/users
• Who is the targeted audience of the brochure?
• What are important characteristics of this
  audience?
• What should the brochure enable the audience to
  do?
• Who might be appropriate participants for
  usability testing?

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questions for client

• Production Logistics
• Does your budget (or printer) allow for color?
• Do you want images on the brochuredo you have
  images we can use?
• Will the brochure be mailed? If so, will it need
  an address panel or will it be mailed in an
  envelope?
• How many brochures do you plan to distribute?

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usability

• Usability testing seeks out members of your
  audience and asks them to evaluate the brochure
  before it is widely distributed
• Usability testing can help you confirm that the
  information is what the reader needs and wants
• Usability can also indicate what information is
  missing or what layout is confusing

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Designing thumbnails

• Remember that invention (or play) is a key
  component to design.
• Try sketching different page grids that
  accommodate all elements and achieve a coherent
  modularity.
• Use Schrivers heuristic to take inventory,
  consider, and organize all design elements
• Thumbnails can help (scale for page or single
  table)
• Fold a piece of paper into quarters
• Sketch page layouts based on all principles,
  analyses, and heuristicsuse readings for
  examples and ideas
• Show where headings, images, columns, footers,
  all elements would be
• Try different layouts in thumbnails

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production

• Use consistent and ample margins
• Use 65 lb. paper stock to provide durable weight
  and prevent ink bleed through. (Typical writing
  paper is 20 24 lb.)
• Paper color can replace spot color
• Chose spot color carefullyespecially if you
  include photos

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parting tips

• Avoid boxing information
• Consider mailing options
• Analyze existing brochures to gather ideas
• Get audience input!