Design Guide by Jen Hubbard

2012–2013

FA L L TRAINING RESOURCE GUIDE FOR DESIGNERS

MARKETING & DESIGN

Student Affairs

Student Affairs provides essential programs and services that enhance academic success and personal growth for more than 29,000 students enrolled in undergraduate, graduate, and professional programs at the University. These programs and services challenge and enable students to become compassionate and responsible citizens and leaders of the campus, local, and global communities by fostering an inclusive, culturally diverse living and learning campus environment.

M I S S I O N S TAT E M E N T Student Affairs serves the University of North Carolina at Chapel Hill in collaboration with academic programs by providing transformational opportunities for students in the areas of student life, health & wellness, leadership & service, and diversity. We promote student success, access, and inclusion by cultivating and leveraging partnerships with faculty, staff, and families as well as local, state, national, and global organizations. We challenge and enable our students to become compassionate and responsible citizens and leaders by fostering an accessible, inclusive, culturally diverse living and learning campus environment. S TAT E M E N T on E XC E L L E N C E Excellence is embedded in the Carolina experience. Through excellence in student service, support, and engagement we foster excellence in our Carolina students. To support the success of students at Carolina, Student Affairs has identified Areas of Excellence that will serve to guide planning efforts into the foreseeable future.

H o w the U nion contri b utes to achie v ing excellence : Over the course of the last year, all Union departments have been involved in the process to review the four areas of excellence. This consisted of the assessment of each department as well as the Union as a whole and the contributions to these themes. The process will continue into the next year as we examine the document, add initiatives to it, and ensure that it is the guiding document for our organization. Vice Chancellor for Student Affairs: Winston B. Crisp Departments within Student Affairs: Campus Health Services, Campus Recreation, Carolina Union (including Campus Y and Carolina Leadership Development), Counseling & Wellness Services, Accessibility Resources & Service, Housing & Residential Education, Information Technology, LGBTQ Center, Office of Fraternity & Sorority Life and Community Involvement, Office of New Student & Carolina Parent Programs, Office of the Dean of Students, Office of the Vice Chancellor for Student Affairs, University Career Services

Student Affairs will achieve excellence by: • Providing quality student learning experiences • Promoting inclusive and supportive campus environments • Engaging with students and other internal and external constituents • Fostering a dynamic and positive workplace 3

Carolina Union

The Carolina Union is an organization of students, professional staff, and student staff who provide programs, services, and facilities that all members of the campus community need in their daily lives. The Union contributes to the educational mission of the institution through the provision of cultural, social, educational, and entertainment programs. Many of these are sponsored by the Carolina Union Activities Board (CUAB), Carolina Leadership Development (CLD), or the Campus Y. The many co-curricular programs offered through CUAB impact the intellectual environment of the campus and create opportunities for campus members to engage in debate, conversation, and interaction around the issues of the time.

O U R H I S T O RY The first student union on campus was built on McCorkle Place in 1932 and was named Graham Memorial after University president Edward Kidder Graham, who proposed the building of a student center in 1917. After years of use, Graham Memorial grew inadequate and a new structure was planned. Construction on a 100,000 square foot union building was completed in 1969 and the building was named the Frank Porter Graham Student Union after Carolina’s 11th president. In the summer of 1980, a $1.75 million expansion was completed. This added approximately 20,000 square feet, an auditorium, and space for student organizations. In June 2000, construction on a 40,000 square foot expansion began, which added a computer lab, a copy center, student organization work space, and more meeting rooms. Upon completion of the expansion, the original building was closed for renovation. In February 2004, the entire Union—all 160,000 square feet—opened for operation. The construction and operation of the Frank Porter Graham Student Union is funded primarily by student fees. A Board of Directors, largely comprised of students, oversees its development. Beginning August 20th the Union will celebrate its Grand Reopening after undergoing a renovation project for over a year. The renovation saw the addition of 9 new meeting rooms, additional lounge and 4

study space, a second dining option in the Union which will offer 24 hour availability, a collaborative work space equipped with technology to provide group work stations and workshops, and the creation of the new Marketing & Design Department office space. A B O U T the U N I O N The Frank Porter Graham Student Union is the mixing bowl where students, faculty, staff, alumni, and guests meet to socialize, drink a cup of coffee, or attend events initiated primarily by students. It’s a place where the never-ending task of translating learning into wisdom begins. The Union strives to recognize and respect individual differences through community building—a lesson for life. Often referred to as the living room of the campus, the Union serves Carolina students in many capacities by providing meeting rooms, student organization work space, events planning, technical production, activities programming, marketing and design, community service, student employment, lounges, artwork, recreation, relaxation, food service, and the list goes on. Few other buildings on Carolina’s campus are utilized by such a wide spectrum of the campus community, or in so many ways.

THIRD FLOOR

Union Aministration, Business Office, and Facilities Administration ROOM : 3103 PHONE: 966.3128 EMAIL: carolinaunion@unc.edu WEB: carolinaunion.unc.edu

Business Office ROOM: 3103J PHONE: 966.3839

Union Administration coordinates much of the activity associated with the Union. From helping with programming to assisting with the needs of student organizations and departments, this area often wears multiple hats. The Business Office assists with billing, invoicing, and personnel matters while Facilities keeps the building in remarkable condition. Don Luse, Director Scott Hudson, Senior Associate Director Tammy Lambert, Office Manager Callie Price, Finance & Personnel Manager Christine Routh, Finance & Personnel Technician Chris Allen, Facilities Manager Juan Chavez, Housekeeping Manager Carolina Union Activities Board ROOM: 3109 PHONE: 962.1157 EMAIL: cuab@unc.edu WEB: unc.edu/cuab

CUAB is an organization of students that designs, plans, and produces events which enrich, entertain, and educate the UNC community. Programs range from movies to music, art to comedy, craft projects to current issues and have featured such events as Andrew Bird, Ira Glass, gingerbread house making, the Carolina Comedy Festival, field trips all over the Triangle, and many more. CUAB is funded by student fees and students plan all of their events. Tony Patterson, Senior Associate Director for Student Life & Activities Lauren Sacks, Assistant Director for Student Learning & Activities Zoey LeTendre, Program Advisor Tom Low, Carolina Union President Carolina Leadership Development (CLD) Room: 3505 PHONE: 962.7724 Email: lead@email.unc.edu

Office of Student Activities and Student Organizations (OSASO) Room: 2501A Phone: 962.1461 Email: activities_organizations@unc.edu WEB: studentlife.unc.edu

In addition to administering the University’s Official Recognition process, this office assists in the utilization of all University programs, services, and facilities by co-curricular student organizations. TBD, Grad Assistant TBD, OSASO Assistant Student Activities Fund Office (SAFO) Room: 2519 Phone: 962.1159

SAFO helps manage the hundreds of student activities and organizations’ accounts by providing treasurer training, budget insight, and processing check requests and invoices. Kelly Young, Associate Director Sherri Cooper, Accounts Payable Manager Kim Clark, Accounting Tech Cindy Sharpe, Accounting Tech Office of Events Management Room: 3105 Phone: 966.3832 Email: eventsmanagement@unc.edu

The Events Management Office reserves spaces in the Union and across campus for meetings, lectures, performances, and other events. They are available to advise you or your organization about planning a successful event. Joe Singer, Senior Associate Director for Events Management Nate Lerner, Events Planning Manager Production Services Room: 3105 Phone: 962.5787 Email: cupsapm@unc.edu

Web: leadership.unc.edu

Central to CLD’s philosophy is the idea that anyone can be a leader. Their programs and services reflect this philosophy by offering a variety of opportunities to all students. The student who is seeking his or her first leadership experience can benefit as much as the experienced student leader. John Brodeur, Associate Director Kate Kryder, Assistant Director Melissa Beaudry, Budget & Program Coordinator 8

Production Services provides low cost event support in the Union, and many other venues around campus. They offer various lighting, audio, and projection support, as well as student labor in the form of ushers and ticket-takers. Geoff Baldwin, Technical Services Manager John Comer, Production Manager

Information Services and the Box Office Information Services Phone: 962.2285

Box Office Room: 2106 Phone: 962.1449 Email: carolinaunionboxoffice@unc.edu

The Information Desk is located on the second floor in the main lobby. It provides sign-up, sign-out, and sign-here for lots of events and activities. They also provide maps, answer questions, and serve as the informational hub for all that goes on in the Union. Located in the Union’s main lobby, the Box Office sells amusement park passes, tickets to student-sponsored events, and a variety of other ticketed events on campus. Austin Gold, Information/Box Office Manager Bonita Brown, Assistant Box Office Manager Operations Room: 3104 Phone: Contact the main Information Desk to have Operations reached via radio

The Operations department provides customer service and building support for all Union and SASB guests and events. They are responsible for opening and closing the facility and are instrumental in the physical appearance and set-up for all events in the Union and SASB. Edmond Burnette, Operations Manager Quincy Allen, Operations Manager Marketing & Design Department Room: 1506 Phone: 843.3194 Email: design@unc.edu

Marketing & Design is responsible for the visual elements you see in the building, including signage, building maps, activiTV, concert posters, banners, and more. Through Design Services, the revenue-generating spectrum of this department, officially recognized student organizations and University departments are offered the opportunity to enhance their image on campus via buttons, logos, identities, posters, postcards, advertisements, banners, and activiTV ads, and be assisted in all their creative endeavors. Megan Johnson, Assistant Director Christina Berkowitz, Marketing & Design Coordinator Jen Watson, Graphic Designer Ariel Rudolph Harwick, Graphic Designer

C A RO LI N A U N I O N E M P LOY E E FO RU M (C U E F ) Statement of Purpose

The Carolina Union Employee Forum (CUEF) was established by the Union to provide educational, social, and developmental opportunities for student employees. CUEF representatives serve as voices for their respective staffs. The employee forum serves as a place for students to promote and exchange ideas, discuss issues, and work together with full time staff to provide a positive student employee work experience. Goals

• Serve as a liaison between Union departments and provide a forum in which members can share information about activities, concerns, and plans. • Address concerns as they arise and articulate to full time staff as necessary. • Plan and implement employee celebrations each semester. • Plan and implement monthly coffee speaking series that promotes the student employee annual training objective. • Manage Project Union milestones. For example, but not limited to, ensure all budgetary guidelines are followed. • Plan, promote, and implement student social gatherings. Member ship

• Each department within Events Management and MADE will have up to two representatives. • Members may self nominate to their full time manager or may be nominated by their full time manager. • Members must serve for at least one semester and up to two consecutive semesters. • CUEF members will meet on a bi-weekly basis and hold additional meetings as approved. • Members will be paid for attending all CUEF meetings. Roles and Responsibilities

Ensure CUEF roles and responsibilities are fulfilled and facilitate meetings. • T r e a s u r e r Administration of budgets. • S ec r e ta ry Record minutes and distribute minutes following each CUEF meeting. • A l l m e m b e r s Participate in the planning of the employee celebration. • Chair

Gener al Commit tees (the fine print)

CUEF will take responsibility for the following committees:

• End of the Semester Celebrations • Monthly Coffees • P r o j ec t U n i o n m a n ag e m e n t: all CUEF members must participate and monitor milestones.

About Marketing & Design

The Marketing & Design Department originally was responsible for creating promotional materials for the Carolina Union Performing Arts Series. When the series shifted responsibility to the Office of the Executive Director for the Arts, the Marketing & Design Department recognized the need to assist organizations with improving their visual identity and communication. The following fall Design Services was launched, and each year the department continues to expand. This past year saw the department employ 22 students (design assistants, interns, and office assistants) to complement the four full-time staff members.

OFFICE POLICIES & GENERAL INFO Paid student employees are responsible for recording punches through our timekeeping software, TIM, when clocking in and out. On each Mac you should see that TIM is bookmarked. On the PC, TIM is a shortcut on the desktop. If you have trouble finding TIM, please ask for assistance. Every two weeks you are also responsible for approving your time and will receive email reminders to do so. If your time does not appear correctly in the system, please let Megan know ASAP. C L O C K I N G I N , O U T, A N D A P P R O V I N G T I M E

I N T E R N S If you are working with us for class credit through the Journalism School, it is your responsibility to acquire the initial paperwork and have us fill it out prior to beginning work. At the end of the semester, it is also your responsibility to provide us with the evaluation form. Your review will be based on the performance you demonstrate throughout the semester. If you are not completing the internship for class credit, you do not have to fill out the paperwork. However, you should still be checking in with us about your performance.

At the end of the semester, we will be completing an evaluation for every student working in our department (paid and unpaid). We will meet with each of you individually to go over the evaluation. This process should not be an intimidating one, and no review should be a surprise. S T U D E N T E V A L U AT I O N D O C U M E N T

While we donâ&#x20AC;&#x2122;t have an official dress code, make sure you are dressed appropriately for interactions with other Union staff members and potential customers. We do require that all students wear nametags while at work. Nametags are stored on the large magnetic whiteboard calendar. DRESS CODE

Each semester, we ask for one to two students to serve on CUEF and represent MADE. This is a good opportunity to meet students from other departments and get involved in the planning of social events/rewards for all Union student employees. If interested, let one of us know. C U E F I N V O LV E M E N T

We appreciate your every attempt to be as punctual as possible. Remember that other students are scheduled for shifts before and after you and be mindful of how your arrival/departure influences others. If you need to leave early on a particular day, be sure to ask first.

A R R I V I N G T O WO R K / L E AV I N G WO R K M A D E S T U D E N T F O R M After training, we will have you complete a general form in which youâ&#x20AC;&#x2122;ll provide, among other information, your contact info and t-shirt size. This form will also allow us to keep track of your absences.

During your shift you are more than welcome to take restroom breaks. You do not have to ask permission, but we would appreciate it if you could let us know you’re leaving for a minute. If you have a longer shift and would like to get something to eat during it please ask us first. If you are going to be gone for longer than 5 minutes it’s our policy that you clock out and clock back in when you return. With your breaks, please be mindful of our workflow. We have customers visiting our space, design projects in the works, and office projects that need to be completed. We rely on you to be available and to help make our department operate in a smooth and efficient manner. BREAKS

absences, we will meet with you to discuss these and do reserve the right to terminate students who miss excessive amounts of work. At various points in the year we are extremely busy and we may not grant a request for time off as we have projects that must be completed in a certain timeframe. It is perfectly acceptable to have a snack or eat a meal while you are working, but make sure that you clean up after yourself when you are finished. You are welcome to use the microwave and fridge located in our office suite. If you want to go get something to eat and it will take more than five minutes, be sure to clock out and back in again when you return. E AT I N G AT W O R K

If you don’t have a project, please ask Christina, Jen, Ariel, or Megan for one. If no one is around to ask, please use your free time as described below.

CELL PHONES

Use free time to complete a tutorial, review the numerous design books/magazines in our library, or try a new technique. Please do not use your time with MADE to work on homework, watch videos, or aimlessly search the web. It is acceptable to listen to music if it is not distracting to your design process. If you are behind and need a day to catch up with your academic work load, arrangements can be made but please ask in advance.

Our office has a lot of exciting and fun equipment that you are welcome to use. If you would like to use a piece of equipment but do not know how to use it, ask for a tutorial first.

PROJECTS

FREE TIME

Basecamp is online project management software our office uses to keep track of projects, inspiration, brainstorming sessions, and billing information. For detailed information on usage please see page 39. BASECAMP

Use only letters, numbers, and underscores when saving your files. Do not use any other characters in the file name. Other characters include apostrophes, commas, parentheses, etc. Files saved with other characters have a tendency to hide on some of the office computers and clients may not be able to open these files on their system. D I G I TA L F I L E O R G A N I Z AT I O N

We employ students all year in our office and while we do follow the University calendar and observe all holidays we do not shut down completely during breaks or between summer sessions. We rely on you all to help manage our workload and have projects in the queue at all times during the year. Therefore it is important for you to communicate your schedule changes well in advance. For example, if the summer session ends on July 30th and you are not planning to work again until fall training, we need to know. Not communicating a change in your schedule has a direct impact on the overall work flow of the office.

YOUR SC HE DU LE & THE U NIV E R S IT Y C A LE NDA R

If it is necessary to take all or part of your shift off, please make sure you ask in advance. Absences will be monitored on your MADE Student Form. We understand that sickness can come on quickly and appreciate every effort to inform us as early as possible if you will not be at work. If you do acquire numerous

TIME OFF

Refrain from texting or making phone calls while at work. If you get an urgent call or message that you must respond to, please go into the hallway or outside to do so and return to work as quickly as possible. EQUIPMENT USE

Printers: Don’t print excessive personal documents. If you need to print a few sheets make sure it is on the Black and White Laser Printer. Button Makers: Our button makers have many pieces, and it’s important to make sure that they’re used correctly. Seek instructions first and we’ll be happy to give a demonstration. Making a couple of buttons for personal use is okay as long as you ask before beginning the process. Laminators: The smaller machine has different settings and it is critical that the setting matches the lamination sheets and paper type. If you are unsure what setting to select, please ask. We just purchased the large format laminator. Ask a staff member for assistance before using this machine. F O L D E R S / W O R K S PA C E Along with this document, we have done our best to provide essential resources to make your work experience as enjoyable and productive as possible. Keep your sketchbook, notes, pens, etc. in your folder when not in use. Also, make sure to clean up after yourself at the completion of your shift.

The office library is a growing collection of design resource and inspiration books. They are available for checkout (check the inside front cover!) for up to one week at a time. Please check a book out before taking it home so we can keep track of them. O U R L I B R A RY

N O T E : If you’re the last scheduled student for the day, and working on a Mac, make sure that you shut down the computer. Office Assistants working on the PC do not need to shut down, simply log out. 11

“Marketing is the activity, set of institutions, and processes for creating, communicating, delivering, and exchanging offerings that have value for customers, clients, partners, and society at large.” —AMERICAN MARKETING ASSOCIATION

W H AT D O E S D E S I G N S E RV I C E S / M A D E D O ? MARKETING As part of the Union, the Marketing & Design Department makes students aware of services, spaces, and events that the Union offers to them, by means of Union publications, signage, advertisements, and branding with a unified style. Design Services helps student organizations and University departments to communicate a message about their group to a target audience. We might ask these questions: • Who is the group’s target audience? Is it students? University staff? Parents? Alumni? • What message is the group trying to communicate? Why does the group exist? Does the group have a mission statement that can guide design decisions?

H O W D O YO U M A R K E T A G R O U P ? Design Services uses two main channels to market organizations and departments: print design and web/interactive design. Both of these can help groups attract more members; advertise their mission or purpose; let people know about an event, contest, or survey; or direct people through a space. Print design is created with the intention to be printed in physical hard copy. Print design is static, meaning it doesn’t change with user interaction. Print items that we use to market groups include: PRINT DESIGN

• Logos and identities • Posters, flyers, and handbills

• What look or style appeals to that target audience? Is a professional look appropriate, or would a playful look be more successful in capturing attention? What images and messages resonate with that audience? What images and messages are clichés that should be avoided?

• Signage

• Where is that audience most active? Would the audience see a poster located in the Pit? Or would an email blast be more effective? What media would the audience come into contact with and respond to?

• Brochures

• What is the marketing timeframe? How much time does the group have to communicate their message? Two weeks? A year? Would an extensive campaign be effective, practical, and appropriate? A simpler one?

• Print advertisements • Postcards and mailers

• Publications (such as magazines, newsletters, books, planners, etc.) • Banners and large displays • T-shirts, buttons, and other promotional items Web/interactive design is created to be displayed on an electronic device. Items on the web can be dynamic, meaning that they can change with user interaction (for example, leading you to a link on a website that takes you to another page). Web/interactive items that we use to market groups include:

WEB/INTERACTIVE DESIGN

C ommon si z e re q uirements : B A N N E R : 8’ x 3’ A - F R A M E S : 22” x 28” S I G N A G E : 11” x 17” or 18” x 24”

• Web banners and web banner ads

A C T I V I T V : 1000 px (w) x 750 px (h)

• E-publications (online PDFs, brochures, or presentations)

B U T T O N : : 2.25” small: 1.25”, finished size (please see templates under Design Assistants and Interns > Templates)

• ActiviTV ads

• Email blasts (emails containing interactive elements such as links to websites, scrolling pictures, personalized promotions, etc.) • Email invitations

F A Qs W HAT S HOULD I DO IF I ’ M RUNNIN G LATE ?

WHO’S WHO? Match up these Student Affairs staff members’ photos with their names and titles. It is important for you to be aware of who they are and to be on your best behavior if they stop by the office.

W HAT S HOULD I DO IF I ’ M S I C K ? D r . B ettina S huford

Associate Vice Chancellor for Student Affairs I ’ V E MI S S ED A P UN C H OR FOR G OT TO C LO C K IN , W HAT S HOULD I DO ?

D on L use

Director, Carolina Union I ’ M FINI S HED MY P ROJE C T AND NO FULL-TIME S TAFF MEMBER I S HERE , W HAT S HOULD I W OR K ON ?

dr . chris payne

I NEED IN S P IRATION FOR A P ROJE C T, W HERE S HOULD I G O ?

I FOR G OT THE C OM P UTER P A S S W ORD , W HAT S HOULD I DO ?

Associate Vice Chancellor for Student Affairs and Chief of Staff

S cott H udson

Senior Associate Director, Carolina Union

I ’ M S TU C K ON A P ROJE C T, W HAT S HOULD I DO ? W inston C risp

Vice Chancellor for Student Affairs

â&#x20AC;&#x153;

The function of graphic design is the communication of messages through the juxtaposition of words & pictures. It is the visual synthesis of thought in the form of publications, exhibitions, and posters, as well as packaging, signage, and digital interfaces. Design is tactile, environmental, and interactive. Responding to public needs, it is a powerful visual medium that is present in all aspects of daily life. Graphic design extends itself into cultural experiences and speaks to society on practical, emotional, and intuitive levels. It affects human experience from the most mundane to the most extraordinary ways. â&#x20AC;&#x201C;Kristin Cullen

Design Basics

We hope this section provides you with entertaining and useful knowledge. Our dream is that you, the designer, will be armed with not only mad computer skills and sweet portfolio items, but also with the basics of design theory and a wicked design vocabulary to be a thoughtful and articulate designer. Now it’s time to think about design!

What is the role of a graphic designer? A graphic designer wears many hats. To design is beyond the arrangement of image and text.

What areas of design interest you most?

A designer is also a critical thinker, analyzer, educator, researcher, editor, writer, & manager.

EFFECTIVE DESIGN: communicates advocates informs educates entertains persuades promotes inspires guides

“Design is a mix of craft, science, storytelling, propaganda, & philosophy.” — ERIK ADIGARD

DESIGN PRINCIPLES + ELEMENTS This isn’t exactly the list you’ll learn in an art or design studio, but it will give you a solid foundation in design. What are the principles and elements? The principles are the underlying ideas behind a design, while the elements are the visible objects within the design. Think of it this way: design elements are the ingredients, and design principles are the recipes. Trying out different combinations of elements and principles can lead to creating eye-catching design!

ASYMMETRICAL

SYMMETRICAL

B A L A N C E refers to the distribution of elements within a composition. Unbalanced work often feels unresolved.

S C A L E refers to an P R O P O RT I O N refers to an element’s size in relation to element’s size in relation to other the actual object it represents. elements within the document.

SCALE IMAGE: M u se u m of M odern A rt P RO P O RT I O N P O S T E R: H er b ert M atter

E M P H A S I S refers to visually highlighting the important elements on the page. Utilize the design elements to achieve emphasis.

DESIGN PRINCIPLES at a glance:

H I E R A R C H Y refers to the visual rank of importance of elements within a layout. When dealing with a project containing many pieces, decide which bits of information are most important, least important, similar and/ or the same in terms of importance. From here you can decide how you will emphasize those deemed most important.

balance scale + proportion emphasis + hierarchy unity contrast

Rank the hierarchy in these examples. Are these designs effective in their use of hierarchy and emphasis?

EMPHASIS POSTER:

HIERARCHY WEBSITE:

J amie V an W art

J en A drion +

space

O mar N oory

U N I T Y refers to the way the elements work together within a design solution. C O N T R A S T refers to the juxtaposition of visually different elements, creating interest or discord (too much contrast).

Which poster design on this page is most attention-grabbing? Why do you think so? (hint: use your principles + elements terminology)

S PA C E refers to the positive and negative areas of a design. Space is needed to lead the viewerâ&#x20AC;&#x2122;s eye through the design, as well as provide resting places. is often referred to as white space. It is the area surrounding visual elements (the positive space). Too little negative or white space can feel busy and overwhelming. On the other hand, too much negative space can feel stark and cause elements to fade into the background, or become disjointed from one another. NE G ATI V E S P A C E

CONTRAST POSTER: S cott C ampbell

WHITE SPACE POSTER:

(LESS) WHITE SPACE DESIGN:

J ason M unn

J essica H ische

LINE D E S I G N elements at a glance: line

SHAPE

shape image texture grid color type

CHECKING IMAGE SIZE IN PHOTOSHOP:

IMAGE: must be 300 dpi for print-based projects, and 72 dpi for web/screen-based projects.

IMA G E S I Z E

IMA G E C OLOR MODE must be C M Y K for print-based projects, and R G B for web/screen-based projects.

C HAN G IN G RE S OLUTION : 1. Go to Image > Image size (FIGURE A) 2. Uncheck the Resample Image box before changing resolution (FIGURE B)

3. Change resolution ( 300 dpi in example) (FIGURE C) 4. The image size goes from 4" x 6" to .96" x 1.44" which is probably not large enough for what you need! (FIGURE D)

CHECKING COLOR MODE IN PHOTOSHOP:

c d

The last major consideration for selecting images. If you’re doing an internet search, you need to be conscientious of the creator’s guidelines. Sometimes you can find images in Creative Commons, just be aware of the license the artist or photographer has selected. For more information on Creative Commons licenses, visit: creativecommons.org/licenses. IMA G E S OUR C E

creati v e solutions for imagery: illustration drawing taking your own photographs collage

c r e at i v e c o m m o n s l i c e n s e i c o n s

scanning a printed image that is too small

If you find an image without any copyright information, you must contact the artist to ask for permission to use the image in your own work. It is implied that the artist is retaining all rights. IMAGE RESOURCES: The creator holds all rights provided by copyright law, including distribution, performance, and creation of derivative works.

C R E AT I V E C O M M O N S

ALL RI G HT S RE S ER V ED

flickr.com/commons PUBLIC DOMAIN

The easiest way to avoid misuse is to look for imagery in the public domain or create your own!

wikipedia.org/wiki/Public_domain_image_resources U N C news services

urxserve.ur.unc.edu/res/sites/Luminosity/

When using images from the UNC News Services website, you must credit the photographer in the following manner: “Photo by , the University of North Carolina at Chapel Hill” or, if space doesn’t permit, “Photo by , UNC-Chapel Hill.”

S TO C K I M AG E RY

sxc.hu/ (free) istockphoto.com veer.com youworkforthem.com

When creating an illustration from an image, you cannot copy it verbatim. Simply creating an illustrated version of a photograph is still stealing. Use the image as a guideline, incorporating 30% or less of the original image in your rendering.

T E X T U R E is the literal and/or optical surface of an element, or of a composition. SOME IDEAS FOR EVOKING TEXTURE: PATTERN

LAYERING

TRANSPARENCY

layering poster :

transparency logo + tic k et :

S am B evington

N athan G odding

MARGIN

G R I D is the underlying structure of a design. It is composed of guidelines running vertically and horizontally.

GUIDELINES

note : We have some excellent books on grids and layout in our library, so check’em out! LAYOUT WORKBOOK, Kristin Cullen COLUMN

THINKING WITH TYPE, Ellen Lupton LAYOUT ESSENTIALS, GUTTER

Beth Tondreau TYPOGRAPHIC SYSTEMS, Kimberly Elam

“Grids enable the designer to maintain control, create visual connections, and unify the design.” — KRISTIN CULLEN

A flexible grid enables variety in your layouts!

C O L O R is pure hues based on the separation of light through a prism. C OLOR W HEEL The interaction of colors within the wheel provides a basis for exploring the dynamic range of color possibilities.

PRIMARY

COLOR WHEEL

SECONDARY

TERTIARY

C OLOR S C HEME S Color schemes are pairings of colors based on the twelve step color wheel on the opposite page. The following are just the basics; utilize different shades and tints to create complex schemes. MONO C HROMATI C : C OM P LEMENTARY : ANALO G OU S : TRIADI C :

monochromatic

shades and tints of one color two colors opposite on the color wheel

two or more contiguous colors

three colors spaced equally on the color wheel

complementary

Analogous

triadic

C OLOR MODE S There are three systems of color we use for various projects. The type of project determines the necessary color mode. RGB:

color mode for web- or screen-based designs

CMYK:

(four-color process) print-based designs

I l l u s t r at o r

a patented system of inks, color specifications, and color guides used for reproducing colors (Color Design Workbook, p. 237). We use the Solid Coated book when spot colors are required (for example, a one-color t-shirt design). You can convert P M S colors to process (C M Y K ) in Illustrator and InDesign. P ANTONE MAT C HIN G S Y S TEM ( P M S ) :

TERMINOLO G Y : HUE :

common name of a color (red, green, blue, etc.)

INTEN S ITY :

S HADE : TINT :

a measure of the saturation, or richness, of color (vivid vs. dull)

mixing a color with black to change its brightness

mixing a hue with white to change its brightness

S HADE S

P URE HUE S

TINT S

the degree of lightness or darkness of a color. Also referred to as high key (closer to white) or low key (closer to black).

VALUE :

WARM C OLOR S :

C OOL C OLOR S :

yellow through red-violet

yellow-green through violet

What are some of your favorite color combinations? CMYK

11 62 100 1

63 12 19 0

39 18 81 1

10 0 3 0

53 56 39 11

0000

RGB

218 120 39

85 177 198

166 178 89

226 243 245

124 108 122

255 255 255

39 14 0 0

60 22 0 3

100 68 0 54

CMYK pms

278 542 282

TYPOGRAPHY TY P E TERMINOLO G Y :

A n ato m y o f t y p e :

The design of a complete character set or alphabet (what it looks like).

cap height:

typeface:

The height of the capital letters of a typeface.

font:

The computer file that enables the use of a specific typeface (its digital representation).

The height of the main part of the lowercase letters of a typeface (the lowercase x to be specific), excluding the ascenders and descenders.

Still confused about typefaces versus fonts? See aiga.org/theyre-not-fonts.

baseline:

Variations of style within a typeface. These include roman, italic, bold, etc.

a sc e n d e r :

x- h e i g h t :

The part of some lowercase letters that extends above the x-height (this can sometimes be taller than the cap height).

typestyle:

All the typestyles of a typeface combine to form a type family.

t y p e f a m i ly :

d e sc e n d e r : The part of some lowercase letters that extends below the baseline.

Example: The Helvetica Neue family contains regular, italic, medium, bold, light, ultralight, condensed bold, etc. Some families are larger than others, just like in real life!

counter:

ASCENDER

CAP HEIGHT

The line on which all the letters sit.

The negative space enclosed within a letterform.

COUNTER

BASELINE

DESCENDER

X-HEIGHT 62pt pluto regular

C l a ss i f i c at i o n s serif

sans serif

slab serif

b l a ck l e t t e r

sc r i p t

d i n g b at

d i sp l ay

Naughty & Nice Naughty & Nice UNKERNED:

Garamond

H e lv e t i c a

These typefaces Meaning KERNED: feature small without serif, these finishing strokes more modern at the ends of the typefaces go letterforms that footless. look like little -6 5 - 25 pointy feet.

R o ckw e l l

C l o i s t e r B l a ck

The serifs on Sometimes these typefaces referred to as do not come Gothic script, to a point, these were some but are blunt of the first and generally the typefaces ever - 20 -30 +2 5 same thickness designed and were as the rest of made to mimic the letterform. the calligraphy of monks.

E d wa r d i a n S c r i p t

Evolving from cursive, these typefaces tend to look more formal.

W i n g d i n gs

Also referred to as symbols, these typefaces are made up of ornamental doodads instead-1 0 -6 0 -2 0 of letters.

Rosewood

The primary purpose of these typefaces is to attract attention and to be WITH -25 expressive. They TRACKING should only be used for large type or headlines, not for body copy.

A d jHEIGHT u s t i n g yo u r t y p e CAP

A\V

BASELINE

DESCENDER

X-HEIGHT

k e r n i n g Adjusting the space between two letters. The need for kerning is especially noticeable at larger type sizes. The example below shows the unkerned spaces in magenta—notice the widely varied width of the gaps between the letters. You may a also want to use tracking at sizes this large (see next entry).

A A

Naughty & Nice Naughty & Nice UNKERNED:

KERNED:

-6 5

- 25

- 20

- 30

+2 5

-6 0

-2 0

-1 0

WITH -25 TRACKING

8 0 p t m r s . e av e s r o m a n

A Adjusting the overall spacing of a whole group of letters. This is helpful in large blocks of a body copy toA subtly adjustA line lengths for a more even rag (see the cyan spaces highlighted below), but try not to go above +20

t r a ck i n g or l e t t e r sp a c i n g

or below -20. Loose tracking can be used for emphasis in headlines, especially with all caps.

after tr acking:

before tracking: “Typography is two-dimensional architecture, based on experience and

imagination, and guided by rules and readability. And this is the purpose

“Typography is two-dimensional architecture, based on experience and

of typography: The arrangement of design elements within a given structure

structure should allow the reader to easily focus on the message, without

should allow the reader to easily focus on the message, without slowing

slowing down the speed of his reading.”

— Hermann Zapf

+15

imagination, and guided by rules and readability. And this is the purpose

of typography: The arrangement of design elements within a given

+80

-12 +10

down the speed of his reading.”

— Hermann Zapf 7 p t p a l at i n o r e g u l a r , 9 p t p a l at i n o i ta l i c

A A

The distance between baselines of two or more lines of type. The name leading comes from the a that were used to separate the lines of metal type from one another back in the day. strips of lead

l e a d i n g or l i n e sp a c i n g

default leading:

8 . 4 p t l e a d i n g f o r b o d y, 1 0 . 8 p t f o r s i g n at u r e

“If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page...When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful.”

manual leading:

1 1 p t l e a d i n g f o r b o d y, 2 0 p t f o r s i g n at u r e

— Adrian Frutiger

— Adrian Frutiger 7 p t f r u t i g e r l i g h t, 9 p t f r u t i g e r l i g h t i ta l i c

baseline shift

manually shifts the baseline (or horizontal position) of one or more characters up or down.

I l l u s t r at o r

s u p e r - and s u b sc r i p t i n g

A character that appears smaller than the normal type and is set slightly above (super) or below (sub) the baseline. Superscripts are commonly used for numbers like 2nd or 3rd, while subscripts are commonly used in chemical formulas like H20. You can manually change type to superor subscript by choosing it from the drop-down menu within the Character palette (see screenshot on right) or by using the keyboard shortcuts provided on this page.

sp e c i a l c h a r a c t e r s YES Always be sure to check your quote marks to make sure they are actually proper quotes and not the prime marks used to indicate inches or feet (unless that’s YES what you’re intending!). To insert quote or prime marks manually, use the Glyphs palette found in the Type menu (or use the shortcuts provided 4 0 p t b a sk e r v i l l e on this page). To automatically use proper quotes when you type them, set your preferences to Use Typographer’s Quotes. In InDesign, go to InDesign>Preferences>Type and check the box next to Use Typographer’s Quotes. In Illustrator, go to File>Document Setup and check the box next to Use Typographer’s Quotes under Type Options. There is also a feature in Illustrator under the Type menu called Smart Punctuation, which allows you to replace incorrect marks with the proper ones. smart quotes

YES

“Let’s.” "Don't." 5'7" NO

’tis ‘80s

N O T E : When an apostrophe replaces the first part of a word, make sure you use the correct “closed” single quote mark, not the automatic “open” one. You will have to manually insert it!

key b oard shortcuts : superscript: Command + Shift + =

There are three types of dashes used in typesetting. From longest to shortest they are: the em dash (—), the en dash (–), and the hyphen (-). Check out the shortcuts provided to the right for quick ways to insert em and en dashes into your text.

subscript: Command + Option + Shift + =

An em dash is used to set off a grammatical break in text or to attribute a quote. It is the longest of the dashes—the width of one letter em. There are no spaces surrounding an em dash when used as a grammatical break, but make sure to kern on either side so it doesn’t crowd into the letters. If attributing a quote, include one space after the em dash.

double open quote (“): Option + [

e m , e n , and h y p h e n d a s h e s

single open quote (‘): Option + ] single closed quote (’): Option + Shift + ]

double closed quote (”): Option + Shift + [ em dash (—): Option + Shift + en dash (–): Option + -

An en dash is commonly used between two numbers to indicate a range, such as 10:00am–2:00pm or 1–10. It is usually about half the width of the em dash, or the width of one letter en. Generally you would not use spaces before or after an en dash, but again make sure to check your kerning. A regular hyphen is what you see used in hyphenated words like “boy-crazy” or when a word is split between two lines of type. This second type of hyphenation is usually something you’d want to avoid because it awkwardly breaks up text. To remove auto-hyphenation in a block of text, go to the Paragraph palette and uncheck the box next to Hyphenate (see screenshot on right). I l l u s t r at o r

l i g at u r e s A combination of two letterforms into one single character. This is required when letter overlap occurs (mainly involving the lowercase letter f) and helps to eliminate awkward interactions between letterforms. In InDesign, make sure you have ligatures selected in the drop-down menu within the Character palette (see screenshot on right) so that they are automatically inserted where required. In Illustrator you may need to manually insert ligatures through the Glyphs palette.

indesign

50pt adobe caslon pro

without ligatures

with ligatures

ff fl fi ff fl fi fun fact --------> Some fonts have more ligatures than others, or even swashes and alternate characters! Check the Glyphs palette for all the options.

I l l u s t r at o r

va r i o u s a lt e r n at e s

double l l i g at u r e

You have two different types of number styles to choose from when setting type. Old style figures like this: 2581 tend to look better within body copy, while lining figures like this: 2581 tend to look better in a chart or single line of type, when things need to look more neatly aligned. Some typefaces have both options, which you can set in your Opentype palette in Illustrator by selecting either Proportional Oldstyle or Proportional Lining in the Figure drop-down menu (see screenshot on right). In InDesign, this option is located within a drop-down menu inside the Character palette. o l d s t y l e f i g u r e s vs. l i n i n g f i g u r e s

I l l u s t r at o r

choosing a typeface First consider the mood of the project or who your target audience is. Is it something playful or serious? Funky or formal? Traditional or modern? Is it for a dance group or an academic club? Choose a typeface that gives off the right vibe for the project and will attract the attention of the intended audience. m o o d and ta r g e t a u d i e n c e

TRA S HED , b i ck h a m sc r i p t p r o & q u i cks a n d

which typeface projects the right mood for each event?

Graduation

Housing Fair

Rock Concert

Graduation

Housing Fair

Rock Concert

Graduation Housing Fair Rock Concert When using multiple typefaces consider whether you’re going for harmony or contrast in style. h o w to m i x t y p e f a c e s

YES

T o c r e at e h a r m o n y Use different typestyles in the same type family, or varying point sizes of the same typeface. univers bold & univers light / bold oblique

YES

T o cre a te c o ntrast Choose two typefaces that are obviously different but compliment each other. chunk & calluna sans

l i m i t i n g the n u m b e r of t y p e f a c e s y o u u s e

When designing with type, it’s best to keep the number of typefaces you use on a project to two, maybe three. Adding more typefaces can muddle your message if there’s not a clear reason for it. d o e s the t y p e f a c e h av e a l l the c h a r a c t e r s

Many of the free font files you can download from the internet are missing some of the characters or type styles you might need for your project. Some come without numbers or are only uppercase, and most do not contain bold or italic options. Make sure you don’t need these options when deciding on a typeface for your project. and s t y l e s y o u w i l l n e e d ?

Make sure that whatever typeface you choose can be easily read and understood by your audience. Some more ornate display typefaces can be confusing, and some typefaces are not meant to be used for body copy and become difficult to read. legibility

If they are too similar NO

The combination will create visual discord and leave the audience wondering why you bothered changing typefaces at all. bodoni mt & arno pro

5 5 p t m a g n i f i c at

N O T E : It’s generally safest to try combinations from different type classifications, such as a serif with a sans serif, or a slab serif with a serif. 30

“Faces of type are like men’s faces. They have their own expression; their complexion and peculiar twists and turns of line identify them immediately to friends, to whom each is full of identity.” 10pt league gothic

— J.L. Frazier

Some typefaces contain special weights that are designated for use only at a particular point size. These are usually labeled as display, subhead, or caption.

W EI G HT S

Display weights are for large text or headlines/titles (14-point and higher). Display characters have high stroke contrast, meaning that there is a big difference between its thick and thin parts, which makes it look more refined and interesting at large sizes. Do not use for body text; it will look spidery and will be hard to read. Subhead weights are for medium-size text or subheads (12-to 48point). Subhead weight has higher stroke contrast than regular weights, but less contrast than display weight. Do not use for body text.

typographer ’ s tip : Use only one space between sentences! I know your teachers have always told you to put two spaces after a period when writing a paper, but when you’re designing, there should be only one space. Using the Find and Replace command (in the Edit menu) is an easy way to get rid of extra spaces in provided copy (just put two spaces in the find field and one in the replace field).

Caption weights are good for very small text (below 8-point). They have a chubby appearance that makes them easy to read at very small sizes, but awkward and chunky at larger sizes. Do not use for headlines or body text.

k e p l e r m e d i u m d i sp l ay i n 4 8 p t, k e p l e r m e d i u m s u b h e a d 1 6 p t, a n d k e p l e r m e d i u m c a p t i o n 6 p t

i a m a display w eight. i a m a sm a l l e r su bh e a d w e igh t. i a m a w ee, itsy-bitsy, little ca ption w eight. i a m v ery cute at this size, but i won’t be cute w hen i grow up.

t h i n gs t o av o i d when choosing a typeface Friends don’t let friends use Comic Sans. If you want a handwritten or cartoon look, there are plenty of better choices out there for you to use. Just because a font is installed on your computer (or available for download), does not mean that you have to use it! This goes for any and all type choices—make a conscious decision and choose the best option available for your project. Comic Sans

You may be tempted to distort a typeface to make it fit in the space you have, but please resist! Distorted type looks just like it sounds, distorted. Distortion

Stretching Type: Scaling type horizontally or vertically ruins the proportions that the type designer has worked so hard to create in the typeface. If you need a condensed or extended typeface, choose one that includes these typestyles in its family. Creating False Italics or Bolds: If a typeface does not include a bold or italic style in its family and you need one, choose another typeface! Using the skew function or adding a stroke around your type should be avoided—it looks unnatural!

SS OO UU R R -50% horiz. sc a l e

-50% v e r t. sc a l e

30° sk e w e d

3pt stroke

8 0 p t m r s . e av e s b o l d

o u r f av o r i t e t y p e f a c e s To help you on your way to a better understanding of great typography, here’s a list of the full-time staff’s favorite typefaces. We’ve included a variety of serifs, sans serifs, scripts, and display cases. Make a list of your favorites, too!

F ree font resources : This is a list of sites offering a better selection of free fonts. The majority of fonts on these sites are for headline use only. They will have limited characters and styles. fontsquirrel.com losttypeco.com theleagueofmovabletype.com

M e g a n ’ s P i cks :

C h r i s t i n a’ s P i cks :

J e n ’ s P i cks :

A r i e l’ s P i cks :

Baskerville (especially the italic &)

Mrs. Eaves

Adobe Caslon Pro

Mr Eaves Modern

Franklin Gothic

(especially light)

Chaparral Pro

Trade Gothic LT Std

Trajan

Archer

Vista Sans

Calluna Sans

Kepler

Avenir

Museo Sans

DIN Next LT Pro

Helvetica Neue

Rosewood Fill

Clarendon

Palatino LT Std

Revalo Classic

Alana Pro

Brandon Grotesque

ITC Berkeley Oldstyle Std

Ideal Sans

What are some of your favorite typefaces?

FUTURA

Pluto

1234

(Pompadour, only #s)

Caecilia

Type Arrangement H i e r a r c h y helps you organize the type in your project, emphasizing certain elements so the audience knows where to look first and what is important. You can use size, weight, color, style, or placement to help emphasize different aspects of your design. Avoid using too many of these cues at the same time—you probably don’t need to italicize, bold, and make red the thing you’re emphasizing. Usually one or two changes will do it. Newspapers are one of the simplest examples of typographic hierarchy. Check out this article from The Daily Tar Heel and see if you can tell what order the designer wanted you to see things in.

QUOTE OR CALLOUT

HEADLINE

SUBHEADLINE

BYLINE

BODY COPY

t h e d a i ly ta r h e e l

w i d o ws and o r p h a n s

are bad. When setting large blocks of copy, avoid leaving orphans (a short line that appears at the top of a column) and widows (a short line at the end of the paragraph). Adjusting earlier lines of copy can eliminate these.

H o w to : Install a Downloaded Font Open your Downloads folder (there is a shortcut in the dock at the bottom of your screen), open the font file and click the Install Font button. Once you install a font you’ve downloaded onto your computer, delete the file from the Downloads folder to keep it from getting cluttered.

There are four main alignment styles to choose from when arranging your type, each with its own positives and negatives to consider.

alignment styles

Centered: Good for small amounts of copy, like poems, invitations, or other things you want to give a formal look. Try to break the lines so that phrases and thoughts are kept intact.

Flush Left/Ragged Right: This is the default alignment style, and generally the easiest to read. The right-hand side of the block of text has a ragged edge, which may need to be adjusted so that there are no extra-long or extrashort lines. Tracking can be used to adjust line length to create a more even rag.

Justified: This arrangement has all the lines of text at the same length, so they align on both left and right. If done well, this alignment looks pretty sharp. Unfortunately, it often results in weird hyphenations or rivers (big white gaps running down the block of text due to uneven wordspacing). Flush Right/Ragged Left: This is a nice break from the norm, but is harder to read, so should be used only for very short copy, like captions or callouts.

Design Programs

All of the main programs we use (Illustrator, Photoshop, InDesign, and Acrobat) are part of the Adobe Creative Suite. These programs work as a system, each one with a different and important role.

use illustrator ( A i ) for : • logos • illustrations • custom type • vectorizing sketches • single page documents (if its photo-heavy use InDesign) such as a poster or flyer • buttons • t-shirt designs • ActiviTV ads (if its photo-heavy, use Photoshop) TIPS: • If you must use Illustrator for documents with multiple photos, use low-resolution placeholder images and replace them with high-resolution images when the project is mostly complete. • Apply effects to a document when the layout is mostly complete to improve Illustrator’s performance during the design process. • It’s best to add a bleed when first creating the document so that you remember to compensate for it. Bleeds are typically .125” on every side. To add a bleed later, go to File>Document Setup>Bleed and View Options. • The Artboard tool eliminates the need for creating separate ai. files for each concept of a project. Instead, place each concept on a separate artboard within one document. Artboard tool (shift + o): Click and drag to make a new artboard. You can resize it in the control panel; you can also resize it by double-clicking on the tool button, where you can also change the orientation. Exit the artboard view by clicking on any other tool. • Use layers to organize similar elements of your layout and isolate elements to avoid modifying them by accident (for example, you can place background elements on a layer and lock that layer while editing foreground elements). 34

• Shape Builder tool (shift + m): Allows you to add or subtract vector shapes from one another. Simply select all of the shapes you want to use then click and drag sections together to add them or hold option and click to remove sections. Pathfinder has a similar functionality, with the ability to perform other kinds of feats. Here’s a good tutorial on Pathfinder: vector.tutsplus.com/tutorials/toolstips/a-comprehensive-guide-to-the-pathfinder-panel • Blend Tool (w): Handy for quickly creating evenly-spaced multiples of a shape, such as a lines or dots, or to blend one shape (say a circle) into another (a square). Check out this comprehensive guide for more complex examples of what this tool can do: vector.tutsplus.com/tutorials/tools-tips/illustrators-blend-tool-acomprehensive-guide • Clipping Mask: Create a clipping mask to “clip” a vector drawing or photo into any desired shape (command+7). The art inside the mask will show, while anything outside of it will be hidden but not deleted. Be careful not to use too many clipping masks, or your file size will skyrocket! use photoshop ( P s ) for : • photo editing/manipulation • complex illustrations with photo-realistic effects • checking and changing image size/resolution • web design comps • image-heavy ActiviTV ads T ips : • Always check the resolution of your Photoshop files (Image>Image Size). • Items going to print should be at least 300 dpi (dots per inch). Any less will result in a pixelated appearance.

• Items going on the web should be at screen resolution (72 dpi). • Use Photoshop to check the color mode of images (Image>Mode). • Images on a project going to print should be in C M Y K mode. • Images on a project going on the web should be in R G B mode. • Never ever use the dodge/burn tools. They’re super destructive to your image, and offer little control. If you care to learn the proper technique, ask Jen, she’s a wiz! • In our library is a handy photo guide Jen created that you may want to check out for more information on photography and editing. use in D esign ( I D ) for : • multi-page projects such as brochures, booklets, etc. • projects with multiple or many photos TIPS: • Because InDesign links to files placed in the document, you should keep all images in the folder containing the document. • You can create illustrations in Illustrator, save outlined versions as .eps files, and place them into InDesign (command + d). • Keep track of placed images and illustrations in the Links palette. It shows you if a link is broken, color space information, and if the photo was scaled beyond its resolution. Links palette not visible? Go to Window>Links. • Masters pages are like templates for your InDesign document. Place elements that will appear on every page on the Master page (Window>Pages>Master), such as page numbers, underlying grid, header/footer information, etc. • When working on a lengthy document, use Character and Paragraph Styles to efficiently format text. • Hanging Punctuation: Click inside the text box. Go to Type>Story. Click the Optical Margin Alignment box, set point size to match text point size. Why hang punctuation? Punctuation is visually lighter than

H o w to : Make a low-res PDF for emailing In Illustrator, save your file as a PDF. When the PDF dialogue box pops up, choose [Smallest File Size] from the Adobe PDF Preset drop-down menu. Make a high-res PDF for printing In Illustrator, save your file as a PDF. When the PDF dialogue box pops up, choose [Press Quality] from the Adobe PDF Preset drop-down menu.

letter/number forms so designers will hang punctuation to sit outside the text block, creating an even visual flow. • Go to Layout>Create Guides to create columns and rows with the ability to preview settings. Make sure to place this grid on your Master page(s) for it to show up on all pages. use acro b at for : • Creating PDFs for: • sharing concepts with clients • sending files to print • creating online publications • creating forms T ips : • When making a low-res PDF to send to a client, always uncheck the Preserve Illustrator Editing Capabilities box in the PDF dialogue box to prevent your Illustrator artwork from being edited. • When saving an Illustrator file as a PDF, be sure to save as outlines (Command + A to select all, Command + Shift +O to outline), since the person receiving your PDF probably will not have the fonts included in your file. • Files going to print usually need crop marks. Give your document crop marks under the Marks and Bleeds category by checking the Trim Marks box. • You can save a file that has a built-in bleed without the bleed by unchecking Use Document Bleed Settings under Marks and Bleeds in the dialogue box. • Is your PDF gigantic? You can make it smaller in Acrobat (Document>Reduce File Size). • Use Acrobat to inspect the color separations of files going to print. Go to Advanced>Print Production>Output Preview. While looking at the file, click on the checkboxes next to colors to see what elements are process (C M Y K ) colors and which are spot (P M S ) colors. For instance, an element that contains process colors will disappear or change when you uncheck the process checkbox. This is especially important if a piece can only contain a specified number of spot colors. • Use Acrobat to add, remove, or replace specific pages from a multi-page PDF (Document>Insert Pages or Delete Pages or Replace Pages). You can also save an individual page from a multi-page PDF (Document>Extract Pages) or combine several individual pages into one multi-page document (File>Combine>Merge Files into a Single PDF).

N O T E : Always view your PDF after saving it to make sure everything looks right! 35

K ey b oard S hortcuts file New Document Command + N Save Command + S Save As Command + Shift + S Open Command + O Close Command + W Print Command + P o n ly i n I n D e s i g n :

Place Image Export PDF

Command + D Command + E

edit Undo Redo Check Spelling Select All Copy Cut Paste Paste in Place InDesign: I l l u s t r at o r :

Command + Z Command + Shift + Z Command + I Command + A Command + C Command + X Command + V

Command + Shift + Option + V Command + Shift + V

o n ly i n I l l u s t r at o r :

Paste in front Paste in back

Command + F Command + B

v ie w Show/hide guides Show/hide rulers Zoom in Zoom out Fit page in window Toggle fullscreen Show/Hide Palettes

Command + ; Command + R Command + = Command + Command + 0 F (Illustrator & PS) Tab

o n ly i n I n D e s i g n :

Hide artboard

type / o b j ect View Type Palette Tabs Create Outlines Group Ungroup Bring to front Bring forward Send backward Send to back

Command + T Command + Shift + T Command + Shift + O Command + G Command + Shift + G Command + Shift + ] Command + ] Command + [ Command + Shift + [

o n ly i n I l l u s t r at o r :

Make clipping mask Transform again

Command + 7 Command + D

o n ly i n I n D e s i g n :

Click through layers

Command + click

tools Selection tool V (or esc) Direct selection tool A Type T Rotate R Pen P Add anchor point + Delete anchor point Convert point Shift + C Zoom Z Eyedropper I Hand H ONLY IN P HOTO S HO P :

Move Crop Brush Self Healing Clone Stamp Make brush bigger/ Smaller

V C B J S []

other useful tips : Hold down shift to drag an object in a straight line, rotate an object to an exact 45째 or 90째 angle, or proportionately resize an object. Hold down option while you drag an object to make a copy of it.

N O T E : Always remember to spell check your documents before sending them off to a client or to print!

Design Process

You may think design is all about the final product, but we’re here to tell you its not, design is all about the process! Have you ever found work by an awesome designer and thought “How did they come up with this!?” Process. Any great designer knows you can’t arrive at a beautiful solution without going through a process similar to this one. Learn to love process and you’ll go far! ASSIGNMENT This is your problem, or project, given by a staff member (project information housed in Basecamp). You may be given more than one project to work on at a time. The assignment gives you essential information on the final product, suggestions for elements (if the client had any), colors, themes, timeline, etc. Once given a project, spend a moment thinking about the problem: • What are you trying to solve? • Who are you trying to reach as an audience? These are good jumping off points to begin research. RESEARCH Make sure you have an understanding of the client and their audience. If you are not familiar with the organization, spend some time researching them. • Does the client have a website, Student Life profile, Facebook page, etc? From here you should be ready to do some inspiration-seeking. A nice place to start is by looking at what’s been done in the format you’re dealing with. For example: You’re assigned a poster for an upcoming CUAB event. You could begin by looking at current gig posters (check our library!). If illustration is not your strong suit, or the casualness of a concert poster is not appropriate, try looking at posters from the Swiss International Style.

OTHER PLACES TO LOOK:

photography, art, nature, architecture,

vintage signs, etc. Do not copy something you see! Be inspired by the work but don’t steal and pawn it off as your own. PLEASE NOTE:

• What elements catch your eye in an inspiring work? • How can you take what catches your eye and reimagine it to fit your project? If you are looking at historical or vintage designs, think about how you can modernize the style to fit a modern audience. Maybe its newer typefaces, current imagery, or a modern color palette. Play to your strengths while challenging yourself to develop your skills further. If you’d like to try out a new style influenced by something you see, try limiting your color palette and font choices so that you can focus on effectively communicating your concept. BRAINSTORM Now is the time to generate unfiltered ideas. In this step there are no wrong solutions, no stupid ideas, nothing is thrown out. Everyone will brainstorm differently, these are suggestions to jump-start the process: • mind-mapping • word associations • outlining

When looking for inspiration, it is helpful to look at what current designers as well as past designers have done, but it is also helpful to look elsewhere for inspiration. Each individual is inspired by different things.

• listing • sketching • collaging

• What inspires you in your daily life? How can you incorporate this into your work? 37

DEVELOP At this point you create digital “sketches” to show staff members for feedback and direction. Aim for variety in your solutions. Staff members expect to see different solutions, not one solution five times with different typefaces. Different solutions feature varying graphic elements and/or illustrations; they may feature the same typefaces, different arrangements, different styles, etc. Also try to have many options, though this depends on time and format. F eedback : At any point in your design process, please feel free to ask for feedback. We may not always check in with you as often as you need us to, so take initiative and ask! We love seeing all aspects of your project, not just cleaned up digital comps. Sketches are an excellent thing to get both staff and peer feedback on. It’s helpful in deciding which concepts are worth pursuing further! Sometimes staff will be working from home or working different hours than you so utilize Basecamp to keep the project manager up to date with your project status. Don’t leave a comment everytime you make minor changes, but do leave a comment whenever you are at a major milestone in the project, or you have a question. Be sure to check the notify box for the staff member managing your project or she may not know you’ve left a comment.

Revisions will likely occur after a round of solutions is sent to the client. Once a solution is selected, you move into execution. You will need to save PDF and/or low res versions along the way to send to clients via email. Most email systems have a limit of 10MB (sometimes lower) so keep this in mind.

EXECUTION Time to finalize the chosen solution for the client! It is also the point in the process where you organize your files (if you haven’t along the way). F I L E O R G A N I Z AT I O N Make sure files are named in a way that would give another designer indication of the version of the project. You never know when someone will need to work on a project after you, so it is good practice to name files accordingly.

For example: cuabposter_v1.ai, cuabposter_v2.ai, cuabposter_final.ai If you have many iterations, it may be helpful to place final files in a separate folder within the project folder. For all projects you’ll need to save a PDF version with outlines on the text, in case the recipient’s computer doesn’t have the fonts you used. Do Not save the final file with outlines, save a PDF version with _outlines as the name. For logos, save all client files with outlines and no transparencies. Save all photos in same folder as document. If there are tons of photographs, save them in their own sub-folder within the project folder to stay organized. Do not save to the desktop, work from the desktop, or work from the downloads folder. Save to the server and work off the server. S AV E O U T L I N E S O N P D F S A N D G I F F I L E S : 1. CMND + A to select all

format, color mode, resolution. These will guide you in narrowing down ideas from brainstorming. E N C O U R A G E D num b er of S K E T C H E S : C O N S I D E R AT I O N S :

POSTER: 2–3 LOGO: 8–10 ACTIVITV AD: 2–3 BANNER: 2–3

2. CMND + shift + O to create outlines a. or Type > Create Outlines 3. File Save As > PDF or Save for Web & Devices > GIF

Depending on the project, you may need to prepare files for a printer. Please ask a staff member to show you how to set up your final file to send to the printer. Each printer you work with in a professional setting will have their own specific guidelines for files setup. At the end of each project, you’ll need to archive your work, please make sure to back up your work for your own purposes (for your portfolio, website, etc). Staff members will show you how to do this, so let us know once you’ve finished.

ARCHIVING WORK

SIGNAGE: 2–3 BROCHURE: 2 T- S H I R T : 3 – 5

Throughout the design process, it is critical that you communicate with staff members. Let us know if you are having problems generating ideas, figuring out how to execute an idea, etc. We expect to see revisions and ask to be notified when you are at a stopping point in a project (finished with comps for the client, or finished finalizing files). When receiving constructive criticism from staff members, or your peers, please be respectful, pay attention, and engage in active listening. Take notes, ask questions, and articulate your design solutions. C O M M U N I C AT I O N

BASECAMP Basecamp is online project management software our office uses to keep track of all pertinent project information. It has integrated nicely into our workflow, making our office more efficient and organized. As a designer, you will use Basecamp on a daily basis. If you are a new student, staff will assign you a login (emailed to you) and you will create your password.

shows you the Dashboard, the main screen you’ll see after logging in. The central portion shows recent changes to your projects, and the list in image B shows projects assigned to you. Don’t worry, your account won’t have that many projects! Let’s look at the Example Project. I mage A

is the project message screen (accessed from the tabs above the project dashboard). Staff will create messages containing all of the project details from meetings with clients. This message sees the most action for any project assigned. Be sure to check out who is managing your project, it may not be the staff member that entered the original information! You’re welcome to ask other staff members for feedback, but you should go to the project manager for directions and notify that person when you’ve reached pivotal points in the workflow (finished designs, completed edits, saved final files, or want additional feedback). I mage C

You may also see a message entitled Project Contact but that is for the managing staff member. 39

Other handy Basecamp things: D

I mage D shows an example of a Writeboard for our Example Project. Sometimes staff members will start an inspiration board for you to jump start brainstorming. Feel free to start your own! I mage E shows an example of ToDo Lists/Milestones. Occasionally your project manager may use To-Do lists or Milestones (these show up on the calendar) to keep track of project steps and major deadlines.

NOTEs:

Inspiration Compendium

G eneral I nspiration P i n t e r e s t Great for general inspiration, but search wisely. “Design” will bring up more things non-design than otherwise. Try searching for specific things like logos, seals, brochures, Herbert Matter, etc. It’s good for searching for correlated inspiration like “leaves” for a fall-themed logo. pinterest.com Excellent for seeing snippets of yummy work from current designers. Tends to be UI heavy, but searching for logos, type, etc. will bring up good results. A great resource for type and illustration searches. dribbble.com Dribbble

houses many separate websites for inspiration in various types of design as well as intelligent conversations and articles on design. underconsideration.com

U n d e r C o n s i d e r at i o n

Design Work Life

designworklife.com

Graphic-Exchange

graphic-exchange.com

D e s i g n i n sp i r at i o n . n e t AI G A D e s i g n a r c h i v e s

designspiration.net

designarchives.aiga.org

Vintage / H istorical : F l i ck r flickr.com Typeverything

typeverything.com

Designishistory

designishistory.com

V i n ta g e p r i n ta b l E

T ype : Typeverything

typeverything.com

Friendsoftype

friendsoftype.com

typefight

thetypefight.com

welovetypography

welovetypography.com

L ogos : Logopond fauxgo

logopond.com

fauxgo.com

P e n ta g r a m

pentagram.com/work/#/marks/all/newest

Brand New

underconsideration.com/brandnew

Logo Design Love

I llustration G r a i n E d i t grainedit.com

vintageprintable.com

logodesignlove.com

P ackaging / Branding : thedieline.com

Thedieline

What’s your favorite sites for inspiration?

Brand New

underconsideration.com/brandnew

tshirts : t h r e a d l e ss

threadless.com

s h i r t.w o o t. c o m

shirt.woot.com

P rint : F P O underconsideration.com/fpo French Paper Sample Room

frenchsampleroom.com

Studio on Fire’s Blog, Beast Pieces

beastpieces.com

I nfographics : G o o d . i s / i n f o g r a p h i cs

good.is/infographics 41

NOTEs:

References

Stone, Terry Lee., Sean Adams, and Noreen Morioka. C OLOR DE S I G N W OR K BOO K : A REAL-W ORLD G UIDE TO U S IN G C OLOR IN G RA P HI C DE S I G N . Gloucester, MA: Rockport, 2006. Print. Cullen, Kristin. L ay o u t W o r k b o o k : a R e a l- w o r l d G u i d e t o B u i l d i n g P a g e s i n G r a p h i c D e s i g n . Gloucester, MA: Rockport, 2005. Print. Samara, Timothy. M a k i n g a n d B r e a k i n g t h e G r i d : a G r a p h i c D e s i g n L ay o u t W o r ks h o p . Gloucester, MA: Rockport, 2005. Print. Graphic Artists Guild Handbook: Pricing & Ethical Guidelines. 13th ed. New York, NY: Graphic Artists Guild, 2007. Print. Lupton, Ellen, and Jennifer C. Phillips. G r a p h i c D e s i g n : t h e N e w B a s i cs . New York: Princeton Architectural, 2008. Print. Bringhurst, Robert. T h e E l e m e n t s o f T y p o g r a p h i c S t y l e . Point Roberts, WA: Hartley & Marks, 2004. Print. Craig, James, and Irene Korol. Scala. D e s i g n i n g w i t h T y p e : t h e Ess e n t i a l G u i d e t o T y p o g r a p h y . New York: Watson-Guptill Publications, 2006. Print. Lupton, Ellen. T h i n k i n g w i t h T y p e : a C r i t i c a l G u i d e f o r D e s i g n e r s , W r i t e r s , E d i t o r s , & S t u d e n t s . New York: Princeton Architectural, 2010. Print. Fontshop. M e e t Y o u r T y p e : A F i e l d G u i d e t o L o v e a n d T y p o g r a p h y . Fontshop, 2010. PDF.