Effective Interpretive Media Design is CRAP
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1 Effective Interpretive Media Design is CRAP Alexis Sohlden Jefferson County Open Space
2 Welcome
3 Introduction What are you looking to get out of today s session? Presentation/examples Discussion/feedback on your pieces
4 Introduction Multiple hats Budget/staffing cuts Additional hats Little to no formal training or experience
5 Introduction Who does interpretive media currently? Daily Weekly Monthly Yearly
6 How and Where to Start Jump into the design right away? Message and purpose should drive the design Not a cool picture or interesting font
7 Good, Effective Design Get readers attention in a good way Good design shouldn t necessarily be noticed Bad design is noticed fairly easily Grammatical or spelling errors Odd layouts Alignment Fonts (comic sans/papyrus)
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13 Media Types Ever expanding Traditional vs. digital Choose an appropriate channel Cost Time Effort Life expectancy Basic design principles should be applied
14 Media Types Wayside exhibits Interpretive panels Posters Brochures Newsletters Booklets Maps Exhibits Sculptures Movies Social media Websites E-newsletters Mobile apps
15 Media Types
16 Message What meanings and connections are you attempting to create? Interpretive media is simply another channel that you utilize from yourself to the visitor. Similar to frontline interpretation Utilize interpretive principles and theories to drive your design Not the other way around
17 Message Interpretation should be universally accessible Physical access Are there stairs/barriers? Placed at an appropriate height? Intellectual access
18 Fraction of Selection Expectation of reward / degree of effort required = frequency of activity Low fraction of selection High effort Low reward High fraction of selection Low effort High reward
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22 CRAP Contrast Repetition Alignment Proximity
23 PARC Proximity Alignment Repetition Contrast
24 Proximity Related items should be grouped together Cohesive rather than unrelated bits Unrelated items should not be together Include space or other elements to break up Physical closeness implies relationship
25 Proximity Trees Trees Pine Fir Spruce Juniper Aspen Oak Cottonwood Boxelder Birch Maple Elm Ash Willow Pine Fir Spruce Juniper Aspen Oak Cottonwood Boxelder Birch Maple Elm Ash Willow
26 Proximity Resist the urge to fill every space Blank, white, or empty space Allows your eyes to rest Fraction of selection
27 Custom Business Cards Plus Greg A. Tyler Business cards Website design Flyers Graphics 2D-3D CAD Design 1 side / 2 side Full color / Black and white Glossy UV protected CustomBusinessCardsPlus.com Greg@CustomBusinessCardsPlus.com
28 Proximity K.I.S.S. Principle Keep It Simple Stupid U.S. Navy during the 1960s Most systems work best if they are kept simple rather than made complicated Simplicity is a key goal in design Unnecessary complexity should be avoided
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30 November 2015 Edition 4 Volume 2 THE JOURNAL FOR NATURALISTS Explore, Discover, Understand Sponsored by JFN
31 November 2015 Edition 4 Volume 2 THE JOURNAL FOR NATURALISTS Explore, Discover, Understand Sponsored by JFN The Journal for Naturalists Explore, Discover, Understand Volume 2 Edition 4 November 2015 Sponsored by JFN
32 Proximity Test your design Do you know where to start? What is the visual flow? How many times did your eyes stop? Do you know where to end?
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34 Proximity Goals Design becomes more organized Intellectually Visually More likely to be read and remembered Understand where to begin Know when you are done White space allows your eyes to rest
35 Proximity What to avoid Placing unrelated items near each other Closeness implies relationship Placing related items away from each other Date and time should naturally go together
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41 Alignment Every item should have a purpose Every item should be placed purposefully Every item should have a connection with something else in the design
42 The Discovery of an Amazing New Species By Alexis Sohlden November 10, 2015
43 The Discovery of an Amazing New Species By Alexis Sohlden November 10, 2015
44 The Shop for Naturalists Explore, Discover, Understand 1732 Acorn Avenue Boston Massachusetts 02108
45 The Shop for Naturalists Explore, Discover, Understand 1732 Acorn Avenue Boston Massachusetts 02108
46 Alignment Alignments helps give piece a tone Find a strong line and use it Strong alignment often nods to a more professional and credible piece Strong alignment also allows you to break it consciously Don t be a wimp
47 Alignment Helps guide readers eyes to where you want Focal point, then flow Left to right Most important to least important rule Elements should be moving into the page
48 Alignment Text Flush left Flush right Centered Justified
49 Alignment Text Flush left This text is flush left or left aligned. Flush right This text is flush right or right aligned.
50 Alignment Text Centered This text is flush left or left aligned. Justified This text is justified or blocked. It can make it hard to read.
51 Alignment Align center left right middle top bottom
52 Alignment Align center
53 Alignment Align center
54 Alignment Align left
55 Alignment Align left
56 Alignment Align left
57 Alignment Align right
58 Alignment Align right
59 Alignment Align middle
60 Alignment Align middle
61 Alignment Align top
62 Alignment Align top
63 Alignment Align bottom
64 Alignment Align bottom
65 Alignment Distribution horizontal vertical
66 Alignment Distribution horizontal
67 Alignment Distribution Vertical
68 Alignment Goals Design becomes more organized and unified Design is given a tone Serious Fun Formal
69 Alignment What to avoid Multiple alignments on one page Confusing, somewhat jarring Centered alignment Unless it s a conscious decision
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78 Repetition You re probably already doing it Take it and make it stronger Think of repetition as consistency Make a conscious effort to unify Elements should be repeated within a design and within a series Make them look like they belong together
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84 Repetition Design Color Font Logo
85 Custom Business Cards Plus Greg A. Tyler Business cards Website design Flyers Graphics 2D-3D CAD Design 1 side / 2 side Full color / Black and white Glossy UV protected CustomBusinessCardsPlus.com Greg@CustomBusinessCardsPlus.co m
86 Repetition Branding/identity Colors Logo Font Layout
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90 Repetition Goals Increase visual appeal Increase visual organization Increase consistency Gives organization credibility Thoughtful and conscious design
91 Repetition What to avoid Using an element so much that it is overwhelming or annoying Detracts from your message/purpose
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96 Contrast Contrast (noun): differ strikingly If two elements are different, make them really different Don t be a wimp Do it with strength Simple, yet dramatic design Increase or enhance accessibility
97 Contrast Sizes Colors Styles Shape Typography Header Body text Header Body text Header Body text
98 Contrast Typography THIS IS ALL CAPS This isn t all caps
99 Contrast Typography Choose fonts that relate to your message Comic sans is not a professional font
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108 Contrast Goals Create visual interest Organize your piece Enhance readability
109 Contrast What to avoid Being a wimp Contrast needs to be strong and done purposefully Adding too much contrast
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115 Other Tips and Tricks Use odd-numbers rather than even Split into thirds rather than halves Use the graphic element to tell your story Use high-quality graphic elements 72 DPI for digital / 300 DPI for print Raster vs. vector Clip art
116 Other Tips and Tricks Don t stretch, strain, or contort elements Resize elements proportionally Avoid all caps Consider line length
117 Conclusion You must know what the rule is before you can break it Don t be a wimp Robin Williams, Non-Designer s Design Book
118 Discussion/Feedback Let s discuss the flyer, brochure, or other piece of interpretive media that you brought to receive feedback regarding its design Small groups or as one large group
119 Discussion/Feedback Other examples Interpretive panels Posters/flyers
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Objective 203 Apply production methods to plan and create advanced digital media graphics projects. Course Weight : 25% Objective 203 - Graphics Objectives are broken down into three sub-objectives : pre-production,
Copyright. For more information, please read the Disclosures and Disclaimers section at the end of this ebook. First PDF Edition, February 2013
Copyright This ebook is Copyright 2013 Teresa Miller (the Author ). All Rights Reserved. Published in the United States of America. The legal notices, disclosures, and disclaimers in the front and back
Appendix A Design. User-Friendly Web Pages
Appendix A Design User-Friendly Web Pages 2 How to Do Everything with FrontPage 2002 If you have surfed the Web for any significant period of time, you know that there are plenty of Web sites out there