By: Josh Brown
This blog entry is Part Two of a Two-Part series.
Brochures can be a little tricky when it comes to design. Websites are like a living, breathing…thing. They provide a home page that displays different items to catch a user’s attention and provide a way to navigate in order to find what you need.
A brochure’s navigation usually consists of opening paper. There aren’t links to click in order to find what you need. You’re technically asked to guess where the information is that you’re looking for.
The role as a business when talking about brochures is to provide the information most likely needed by a customer or client. For example, things like store hours, pricing, and an explanation of products or services. The design is obviously a core part but, in reality, anybody looking at a brochure is either looking for more information or pretty pictures.
Like business cards, a designer has to find a balance between design, purpose, and information.
Signage is almost literally everywhere.
I have a pretty visual mind, photographic memory, etc. With that comes noticing a lot of different pieces of artwork everywhere I go. When I’m a retail store, for example, and they’re having a sale, I notice the little variables on a sign, no matter how generic. Spacing and the font used are usually the two biggest aspects of sign design. Sure, there’s the imagery, the content, and even the purpose, but those variables don’t make a bit of difference in generic signage. Spacing and the font being used applies to every sign ever made. Ever.
This is both an asset and a curse for me. I honestly miss out on what the sign is even telling me in some instances because it happens almost subconsciously. My mind is too worried about the very things I just mentioned.
The next time you’re at a store, try to find a sign and think about the design that went into it. It can be anything. Let’s say you’re at a Target and you want to go to the Electronics Department. As your eyes wander through the upper half of the store, notice the insane amount of signage directing and luring people. There usually aren’t pictures or logos. It’s usually just one-color text on a one-color background. Simplicity. Notice the spacing of the word(s) from the edging and the font used?
I do every time.
I don’t have to tell you that one-sixth of the planet uses Facebook. I don’t have to tell you that social media is a growing way to connect and advertise. What I will tell you is what to look for when you’re connecting with your customers and advertising your brand.
First things first. Most of the major brands we see every day have different ideas on what they need to convey to make sure customers can identify them. McDonald’s, for example, has the yellow arches. Target uses a bullseye. There are tons of other examples and we all know them. Many of these brands use this in their profile picture.
At 212 Media Studios, we use the cloud/map pin as our “mini-logo.” Seeing this is how you and our clients know us without us actually saying, “212 Media Studios.” My only point here is that it’s important to make your profile picture something that best represents your brand without actually saying the name. Also, it’s very important that your profile picture doesn’t get compressed (by Facebook) so much that it looks bad and what I like to call “pixelated.” The best way to combat this is to go light. Light backgrounds, light logos, etc.
The McDonald’s Facebook page is a perfect example. Sure, almost 26 million people “Like” your page, but for people like me who notice the little things, that’s 26 million people who have to look at that very awful pixelated profile picture. This also goes for your cover photo so keep in mind these points when uploading to Facebook.
So when you’re running your business, crunching numbers, and smiling at your customers, be sure to remember that sometimes it’s those little things that are most important. Sometimes it’s the font you use, the color you see, or sometimes it’s the balance of it all. The importance of design should never be taken for granted.
Senior Graphic Ideator