DISSERTATION
Lose weight well: THE UNEQUIVOCAL POWER OF
NUTRITION Dissertation
Journal. Georgette Beacham April 2019.
PINTEREST Pinterest was a useful tool for colour pallets because I could look at natural colours that food and nature produce. It was important for me to use natural colours as it relates to the nature of the booklet itself. To create a booklet with ultimate colour optimisation, I wanted to ensure that the colours wouldn’t become unpleasant and create a negative environment for the reader. One big objective of the booklet was to ensure that it created a happy and positive atmosphere and colour was an extremely important factor in that.
COLOUR . I was conflicted; conflicted between creating something that looks attractive while also producing something that is readable – and this was my main challenge. Naturally, I wanted to use soft, tone-on-tone colours to create pages that were delicate and intricate; however, everything that I’d researched for my essay told me otherwise. Instead, I went out of my comfort zone and put my trust in the literature that I’d read on colour. The colours that I selected had to, in some way, be complimentary without being too jarring when sitting with one another. On top of this, I wanted to include five colours that would each complement each other in whichever pairings or groupings that they were placed with. My second consideration was to use colours that related to health, nutrition and wellbeing. After referring back to the literature that I’d researched, as well as my own associations and connotations with colour (balance, nature and health), I knew that green was the most obvious choice. With both of these factors considered, I referred to Pinterest for inspiration, using food and the colours of nature for potential colour palettes. The reasons for selecting the colours for the booklet are as follows: The opposite of green is magenta/pink/purple. Purple represents power and ambition. Purple compliments orange. Orange is in the same family as yellow. Yellow and orange represent energy, motivation, positive attitude and joy.
FON TS . LOOKING AT FONTS
NOTING THAT ONE OF THE OBJECTIVES OF THE BOOKLET IS TO CREATE A DESIGN AND LAYOUT THAT IS OPTIMAL FOR THE READER, THIS MAKES THE FONTS EXTREMELY IMPORTANT. WITHOUT CLEAR, APPEALING AND READABLE FONTS, THE BOOKLET MAY NOT DO WHAT IT IS INTENDED TO DO. SELECTING THE RIGHT FONTS SHOULD ADD VALUE TO MY TEXT, WHILE AIDING IN COMPREHENSION.
Abril .
Montserrat
TITLE PAGES
SUB-HEADINGS
MAIN BODY
I appreciated this serif typeface for its modern yet old-style mix of features. I think that it’s elegant and sophisticated while still being strong and structured – something you might find in a newspaper supplement. My intention was to use a font that I feel is completely gender-neutral, yet still being attractive to the general public. Another significant factor is the readability of the font; although the typeface has details, each letter is clear and concise.
Montserrat appealed to me because of its clarity and its versatility. Whether this typeface is in capitals, lowercase, bold or light, this sansserif font always has clarity and precision. I also had to consider how well this font would go with the Abril titles and although they have significant contrast with one another, I don’t believe that they are conflicting. I think that this is thanks to Montserrat’s simplicity teamed with Abril’s minimal accents.
Helvetica: one of the most popular fonts in the world. Due to this – and keeping in mind that this booklet is designed for the general public – I felt that this sans-serif typeface would be most appropriate for this project. Although it may be on the side of boring and slightly predictable, it looks clear and concise and with readability in mind, this is vital for larger and smaller bodies of text. Due to Helvetica’s neutral impact, it sits well with both Montserrat and Abril.
Helvetica
Lose weight well:
Abril .
Montserrat
THE UNEQUIVOCAL POWER OF
NUTRITION
Minion Pro ADDITIONAL Designed specifically for extended reading, Minion Pro was my final choice for additional text. I wanted to ensure that any additional text included on the pages did not overpower the main body of text. At the same time, I also wanted to make sure that it was completely separate to the main body of text. Although initially reluctant to use this font (because I found it boring), it actually looks pleasant next to Helvetica. The structure of Minion Pro gives its text a sophisticated feel without being overpowering.
ABRIL ABRIL Abril Abril Helvetica:
MONTSERRAT MONTSERRAT Montserrat Montserrat Montserrat Montserrat Montserrat Montserrat Montserrat Minion Pro:
Lorem ipsum dolor sit amet, Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nulla consectetur adipiscing elit. urna lorem, auctor at eleifend Nulla urna lorem, auctor at ac, luctus sed eros. Pellentesque eleifend ac, luctus sed eros. interdum tortor a est eleifend Pellentesque interdum tortor placerat eu id leo. Duis bibendum a est eleifend placerat eu id eleifend magna at consectetur. leo. Duis bibendum eleifend Nulla ac auctor nibh. Pellentesque magna at consectetur. Nulla ac odio dui, bibendum convallis est auctor nibh. Pellentesque odio bibendum, congue ultricies nibh. dui, bibendum convallis est Mauris feugiat nibh urna, eget bibendum, congue ultricies nibh. condimentum urna tincidunt Mauris feugiat nibh urna, eget sed. Vestibulum aliquam dictum condimentum urna tincidunt sollicitudin. Morbi tincidunt sed. Vestibulum aliquam dictum interdum nulla fermentum sollicitudin. Morbi tincidunt rutrum. Cras vulputate, sem interdum nulla fermentum in interdum ultrices, eros risus rutrum. Cras vulputate, sem posuere eros, eu ornare eros turpis in interdum ultrices, eros risus at tortor. Etiam tempor imperdiet posuere eros, eu ornare eros arcu sed ullamcorper. turpis at tortor.
A PPLY ING THE COLOU RS A ND FON TS . FRONT & BACK PAGE
THIS BACK PAGE, WHICH WAS THE FIRST PAGE OF THE BOOKLET THAT I’D CREATED, WAS A GREAT EXCUSE FOR ME TO EXPERIMENT AND COMBINE ALL THE FONTS AND COLOURS TOGETHER. THIS GAVE ME THE EVIDENCE THAT BOTH THE COLOURS WORKED COLLECTIVELY AND THE FONTS WORKED COLLECTIVELY.
Although the front page is not to everyone’s taste, I personally love it. When compared to other books, booklets and guides that are centred on health and nutrition, I think that – whether it’s liked or not – it attracts the eye. Because the design of the front page isn’t immediately represented as health and nutrition, it leads the eye to the title, encouraging the consumer to actually read it. Again, the lined colours are another way of representing the aesthetic and the colour palette of the whole booklet. Incorporating the lines within the image offers a simplistic, yet busy appearance; something that I believe works.
The motive behind the content of the back page was to summarise some key points that featured throughout the booklet. With the general public in mind, it’s good to summarise what could be a lot of information in to something that may be easier to digest. Another factor as to why I’ve incorporated the back page into a summary-style round-up is because it could attract the potential reader. By using this page as a ‘taster’, the potential reader may be drawn to actually pick up the book, or even better: open it. Additionally, I believe that it’s important to design the back page in a way that reflects the whole booklet. By doing this, it gives a sense of representation for the content and design that is across the whole book.
SHAPES . USING SHAPES FOR DESIGN
USING SHAPES AS PART OF THE OVERALL DESIGN OF THE BOOKLET TO CONNECT AND SEPARATE INFORMATION
Every shape in the booklet is there for a reason and not just for the purpose of filling space. Whether it’s to accompany text and therefore convey a stronger message; as guidance to follow a specific path around the page or even to separate one section of text from another, each shape has a particular function. As the booklet has a high amount of visuals i.e. infographics, I wanted to use shapes that would both compliment the visuals while at the same time, simplifying the page. LINES Incorporating lines was the first shape that was used in the design of the booklet and this rooted from the dotted lines of the back page. Initially, I tried to carry the dotted lines through the booklet but they did not offer the desired impact that I was after. This trial and error process led me to experimenting with thicker and thinner lines – something that I ended up repeating throughout. The inclusion and combination of various amounts of thickness together produce a 3d effect which I find visually appealing. Using lines is an easy way to incorporate all of the colours of the colour palette in various ways and combinations.
The use of lines itself offers the most definitive guidance around the page. Lines are perfect for both separating pieces of writing and for guiding the eye in a specific direction. CIRCLES Circles were included as juxtaposition to the lines throughout the pages. While the lines were used as definitive guides, the circles – which were a transition from full circles – were used to soften the page while emphasising messages. Generally, they’re used where there is ‘did you know?’ text, to highlight that this text was additional text and did not relate to the body of text. Using these circles helped to clarify these areas and again, I could incorporate any colour of the colour palette to each circle. SEMICIRCLES The inclusion of unsymmetrical semicircles were generally used for less definite guidance around the page. The direction in which the unsymmetrical semicircles pointed toward offer a direction around the page; keeping the eye on the page as opposed to leading the eye off of the page. This should hopefully encourage the reader to stay engaged and to continue reading while preventing confusion.
I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION WHAT’S I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION YOURS? I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION TRY AN AFFIRMATION? I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION It’s often been said that our own words and I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION thoughts that we feel and say become reality by I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION repetition. Whether said out loud or in the mind, I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION these words are said to sink into the subconscious I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION mind and can, unconsciously or consciously, affect I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION our actions and behaviour. I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR I STRIVE FORmind PROGRESS It’sPERFECTION said that the subconscious regards NOT theseFOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT words and thoughts as reality. Many psychologistsFOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR NOT FOR PERFECTION and therapists recommend usingPROGRESS repeating simple I STRIVE FOR PROGRESS NOT FOR PERFECTION STRIVE FOR PROGRESS affirmations as a Iway of increasing optimismNOT and FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE NOT positivity while calming the FOR mindPROGRESS – why not give it FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION a go? I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION I STRIVE FOR PROGRESS NOT FOR PERFECTION
S PAC E . THE GESTALT LAWS OF GROUPING (PRINCIPLES OF GROUPING) PRINCIPLES “The whole is other than the sum of the parts.” - Kurt Koffka, psychologist. There were a number of design
object as itself. Further, because there
techniques that I wanted to include in
is a large space where the affirmation
the booklet. This was not just for the
has stopped, the empty space itself
sake of the design but because I wanted
has created a shape – in this case, a
to push myself, personally.
rectangle.
The Gestalt laws of grouping are a group
This has given way for space that I could
of principles which Gestalt psychologists
have left empty but I wanted to fill. By
argue that we, as humans, naturally see
filling this space with extra text, it has
objects as organised patterns. Gestalt
highlighted the importance of this text,
psychologists maintain an argument that
as well as helping to distinguish that this
these principles exist because the mind
text is separate.
has a natural disposition to see patterns based on certain rules. These rules are:
Additionally, I chose this page to
Proximity Similarity Continuity Closure Connectedness.
it relates to the content of the page.
On this occasion, the principle that is
In some aspect, this particular page also
Proximity is the most relevant to the
falls under another principle: Similarity.
page that I’ve produced. The affirmation
Because the text that fills the box is in
that is repeated across the page is
another colour, it allows for the reader to
repeated so frequently that it creates an
distinguish between adjacent text.
experiment with this principle because Affirmations are phrases that are repeated over and over and I have reflected this repetition on to paper.
INFOGRAPHICS. EXPLAINING INFORMATION IN A DIFFERENT WAY
The outcome that I wanted to get from the infographics that I created was to entertain while informing. I didn’t want to restrict the infographics to simple boxes with text inside it but instead, offer something a little different. I also wanted to avoid using infographic creators and templates because I wanted my work to be authentic and created from scratch. Bearing in mind that I’m not a graphic designer and have fairly limited skills in this area, it meant that some of the infographics weren’t executed as well as I envisioned. Despite this, I used the trusty-old trial and error to help me to reach the desired outcome. I also had to consider that this booklet is designed for the general public and creating something that may be overly complicated might do the opposite of what is intended: put them off from reading them. At the same time, I still wanted them to be interesting and offer information in a way that the information may not have been displayed before.
Of every hundred adults...
3
Are morbidly obese
With regard to the infographic above, I wanted to create something that was both useful to learn while offering some secondary information. Many
26
Are obese
35
Are overweight
are most popular but not so many are aware of
37
Are of normal weight
carbohydrates. This way, the infographic sends
Are underweight
the nutrients that these options offer.
2
people already know which starchy carbohydrates the nutrients in each of the most popular starchy two messages: starchy carbohydrate options and
AN APPLE A DAY... There was significant development with this infographic – which also happens to be my favourite spread in the booklet. I wanted to create an infographic which displayed the key benefits that each vitamin and mineral offer. Rather than creating a list of nutrients and noting the benefits, I wanted to display this same information in a way that was pleasurable to the eye. One of the objectives of the book was to relay information in a way that may interest the reader more than in the typical, orderly way and I think that eventually, this infographic is successful in doing this. The initial research for this infographic was fairly extensive; I needed to create a system where the nutrient led to the benefit without being overly complicated. I had to note each essential vitamin and mineral and organise their benefits into similar categories. To my surprise, many of the vitamins and minerals offered benefits that were alike from one another. At this point, I was able to visualise how the spread would look; placing the various nutrients at one end of the page and the benefits at the other. After experimenting with lines and being pleased with the overall effect, I needed to tidy up the lines to make the infographic less complicated and more clear and defined – something that I felt was extremely vital for comprehension. By changing certain lines to follow others, it gave the overall appearance of a much more uniform effect. Although this infographic may look fairly complicated at first glance, when it’s studied, the information becomes clear very quickly and more manageable to the eye.
D RAWI NGS .
DRAWINGS Drawings offer a sense of realism and offer a more appropriate visualisation on this occasion. I felt that the inclusion of drawings was necessary considering the core of the booklet featured a high number of graphics. I believe that, in this instance, drawings offer qualities that graphics could not and the presence of drawings is a welcome relief from the computer-based visuals. Again, a primary aspect of the booklet was to create pages that were visually appealing and hold the attention of the reader. Drawings can often be striking and although the drawings on this occasion are quite explicit, the detail encourages the reader to observe the pages for longer. THE PROCESS I referred to images online to give me a clear and detailed understanding of what I needed to draw and so as I was drawing, I was able to constantly examine what I was trying to replicate. These drawings were then scanned into Photoshop, where I was able to manipulate the highlights and shadows to make the drawings more appropriate for print. During this process, I also removed the paper backgrounds and used the paintbrush tool to smooth and clean up some of the pencilled areas.
01 MY MAIN CONFLICT WITH THIS PAGE WAS PROVIDIN G ENOUGH INFORMATION BUT TRYING TO FIND A WAY TO PREVENT IT FROM APPEARING TOO BUSY. AS YOU CAN SEE, IT WENT THROUGH QUITE THE TRANSFORMATION.
02
03 T H E BA LANCI NG ACT. TEXT VS. IMAGE Both the text and the images were
After reducing the images, I still felt that
essential parts of this page; however, the
the page looked awfully busy. I’d come to
problem that I had was working out how to
the realisation that, actually, my problem
balance the two elements without creating
was that I was fitting a large amount of
conflict for the reader. This was something
text on to one spread. Even though it
that I found extremely frustrating because
fitted well, as a double-page spread, it felt
I just couldn’t find a way to give some
overwhelming; however, the predicament
relief from the page – even minimising
was that I needed this text to be there
some of the introductory text didn’t help.
– and I needed it to be in that order. I’d
After many various efforts, I realised that I had to make it clear to myself what I wanted from this page and what I wanted to offer to the reader. After determining that the message that I wanted to convey was from the information provided as
already reduced some of the text, cutting out unnecessary words and sentences which weren’t essential but like i’d previously mentioned, I wanted this page to be informative and cutting out too much text would prove counterproductive.
opposed to the images, I was able to make
Before changing the layout completely, I
the decision to scale down the images.
tried a last-ditch attempt which proved to
Generally, I did not face this problem with the other spreads and I think that this was because the text was more minimal and the various graphics were the priority. Further, with regard to the infographics, the text was almost part of the image, therefore reducing this problem.
be the easiest of changes that I’d done: I split the spread. Although separately these pages are still busy, I made the conscious effort to place them between two pages which are heavily visual as opposed to highly informative. This then allows a good balance across both spreads with each complimenting one another.
D EV ELOPM EN TS . THROUGHOUT THE BOOKLET
DOCUMENTING HOW SIGNIFICANTLY THE PAGES EVOLVED THROUGH TRIAL AND ERROR.
Something that I found repeatedly challenging was trying to place many different elements on the page while still trying to keep a focal point. This was particularly apparent for the Fibre page, which had many elements that I needed to include across a double-page spread and a single page. As there wasn’t one main feature that could dominate the page, it ended up looking extremely (for want of a better word) bitty. This meant that although it is one of my least favourite spreads, it was one of the longest to get to a point of being fairly happy with. Through trial and error, as well as incorporating elements that feature across the book, I was able to give this page an identity. Referring back to the spread after working on others was a huge help with regard to giving me the direction that I needed. Eventually, after becoming as happy as I could be with the layout, I realised that I needed to give the spread, and the subject itself, some more substance. By adding more text, I was able to not only offer the reader some more information but also give the page a better sense of balance.
I realised quickly that trying to make the title an extension of the spread’s design looked naff and as soon as I’d tried it, I could see that it looked really dated. The intention behind this spread was to make a clear and definitive journey around the page while trying to keep it clear and concise. Honestly, it proved difficult at first because I was working with a lot of information that I was intending to keep in one spread. I felt that it was important to keep it to one spread because the calculation process is complicated and I wanted all of the calculations to be visible on one page. It took a lot of sub-editing to minimise the text but still hold all of the information while also eliminating unnecessary words. By doing this, it gave me more room to create a well-defined design while still having content that was carrying out its purpose. The design was centred around the first element that I’d placed on the page: the pull-quote. I was conscious that, as previously mentioned, there was a lot of information to place on one page and therefore, I wanted to create Things you should know: Calories.
Things you should know: Calories.
Calories in vs. calories out. W
hether the aim is to lose weight or whether it’s to learn about nutrition and how it affects our body, becoming clear on calories is one aspect that can lead us to a better understanding of our health and our needs. The word ‘calorie’ is often associated with negative feelings and usually coincides with words such as ‘excess’, ‘high’ and ‘counting’ – and arguably, some of us have been calorie counting culprits. But it doesn’t have to be this way. Once we understand what a calorie is, how calories work and how they can be used to help shed excess weight, the relationship between the psyche and the calorie will hopefully be a much more logical one.
appearance of the page makes the Basal metabolic rate
To calculate BMR:
The basal metabolic rate (BMR) is the rate at which the body burns calories to perform vital functions, with the average adult burning around 1.1kcal a minute. Generally speaking, men have a higher BMR than women due to having more muscle and older adults tend to have a lower BMR than younger people due to having less muscle mass.
Men (metric): (10 × weight in kg) + (6.25 × height in cm) (5 × age in years) + 5
The result of this sum is your ‘daily calorie needs’. To lose weight, calorie consumption and physical expenditure must be a total lower number than your ‘daily calorie needs’.
4 PAL
1
Women (metric): (10 × weight in kg) + (6.25 × height in cm) (5 × age in years) - 161 The result is your BMR.
“By learning the numbers, you’re setting up the right foundations for clear and educated weight-loss”
Daily activities
Lifestyle
Less than 1.4 Hospital patient with limited physical mobility
Inactive
1.4 - 1.65
Little work/leisure physical activity, e.g. office worker
Sedentary
1.6 (female) 1.7 (male)
Moderate work/leisure physical Moderately active activity
1.7 - 2.0
Moderate work physical activity Moderately active or office workers who work out
2.0 - 2.4
Considerable physical activity at work and/or leisure
More than 2.4 Professional athlete or sports person, e.g. football player
Very active Extremely active
2
information readable and easier to comprehend. Finally, the inclusion of the ‘notes’ page was to make the spread more practical for the reader. I’d considered placing this page
Physical activity level The physical activity level (PAL) is the amount of movement that you do. Factors considered are the weight of the person and the average amount of physical activity that is performed day-to-day. To estimate the amount of energy you require, multiply your BMR by a number that is appropriate to the amount of activity you do using the table to your left – it’s important to be realistic here as this could potentially affect your progress.
Calculate your PAL
If you are either on a weightloss journey or looking to start one, then you’ve come to the right page. The following calorie calculations can help to you estimate the amount of energy you burn on an average day. By learning the numbers, you’re setting up the right foundations for clear and educated weight-loss. Start at step 1 and follow the arrows.
NOTES
a focal point. This way, the overall
3
somewhere else but this would have been contradictory to why it was there in the first place. One of the purposes of the book is to make health and nutrition less overwhelming, so including user-friendly notes is a way to encourage the reader to engage with the information.
THE APPLE.
The apple has two purposes: the first purpose is to create a clear representation for the booklet, which is present on the front cover. Using a circle – which was originally used to frame the title – did little to clarify that the booklet was based on nutrition; whereas using an apple can not only be used for the same purpose but also as a way to signify the nature of the booklet. The second purpose of the apple is to be used as a logo. Many publications use various logos to represent their brand and the intention for the apple was for the same reason. A logo can be described as the face of the brand and although some may argue that it’s quite similar to the Apple logo, the added leaf distinguishes it from theirs… I think…