I’ve not posted much in a while, but now I’m BACK! Check out this top infographic from www.a1coffee.co.uk on making the perfect cup of coffee!
Digital designs help match the style and taste of consumers today. This is why the market uses it to promote services and products to the masses because they know they’d have a higher chance of getting a response if they do.
Many opt for this type of design due to its irresistible advantages which outweighs the disadvantages. Since digital design is online, it easy to forward, save, and transfer. Not only that, you can reproduce it as many as you see fit without worrying about harming the environment because no paper will be used.
Considering that information design is becoming more and more popular in different businesses, the need for professionals in this industry is increasing too. That will always be a good thing.
Who doesn’t know how to operate a computer nowadays? Very little percent of individuals probably, but majority are already computer literate. So it’s easier for anyone to learn and master digital design. With that, it’s a lot convenient for different industry to employ this kind of method of marketing since it’s already conventional. This has been our goal while designing WaistTrainingCenter, and we implemented a feminine color-scheme throughout the site.
Don’t you get more hyped about an ad if it showcases something that is innovative? People always seek an upgrade to anything; ads are no different to that. So if an ad look advanced, consumers are more likely to buy whatever it’s selling.
Whether you’re an amateur designer or already a pro like the Graphic Design Agency, Bulldog when it comes to graphic design, here are some tips that will help better your work. Dig in and apply what you may have learned to your next master piece.
Colour Issues Should Be Mended
Graphic design may not be all about colours but the quality of them can either make or break a design. So it’s crucial to be thorough when it comes to your design’s colours. Increasing or decreasing the saturation of an image will help you see how rich you want the colours to be.
Consistency Is Vital
It’s not enough that the colours are great, other elements like fonts, logos, and images should be at their best as well. Ensuring this will help achieve visual recognition which is an essential part of every companies communication to the rest of the world.
Using Grids In Your Pictures Helps
This helps create a clean composition of photos in a graphic design. Moreover even without a design template, using grids are great when you want to come up with a nice layout for your designs.
Combine Light And Bold Fonts
Doing so will balance each other out in the overall design so that it doesn’t look so overwhelming or boring. Aside from that, mixing light and bold fonts are great when you want to emphasise a word or phrase which gives stronger impact to the message you want to get across.
Match Colors Within Your Design
Harmonising the colours in your graphic design doesn’t mean using different shades of a single colour strictly. This only means choosing hues that go well together so that your design stands out in a good way. Not in a way that it catches the eye because everything is just so mismatched and off.
When it comes to online marketing or simply having a place to blog, a website is important. It provides a platform where one can control content as well as personalize the platform to suit one’s preference or needs. Though it is possible for anyone to setup and design their own website, there are still benefits in having a quality website. One major factor which affects the website is the quality of its design. Here are several advantages which show the importance of quality web design.
Having a well designed website is a must if you want your company to have a successful online presence but it will also be the best choice you ever make when it comes to your sales conversions so Web Design Leeds really is the road to success.
We are glad to share our knowledge and help you get started. We will also tell you where to look for materials and interesting topics. Finally, we will teach you how to put together an infographic and what you must do once you are done.
Chapter 1: About Infographics
What are infographics?
Infographics are visual representations of knowledge, data or information.
Why do you need to make infographics?
Infographics are used to present data in reports, blog content, presentations and newsletters that can be understood by the reader quickly.
Chapter 2: Choose an interesting topic to make your infographic appealing to readers
How do you choose an interesting topic? If your topic is interesting, it will definitely give you great results which can significantly increase your traffic, backlinks and shares. We will teach you how to choose a great topic to make your infographic stand out. There are tools that you can use to know what your readers like and you will also learn more about the latest trends.
Chapter 3: Gather good materials that enable you to make a compelling story
When you finally have an idea about a topic that can make your infographic interesting to read by your readers, now is the time to gather information that can make a compelling story. Readers are more likely to read and share your story if it has an in depth and compelling content. Here are some tips on how to search for great information:
Find the data and information you need. Search for reputable resources to gather information.
Validate the information you gathered. It is important to verify if your data is factual. The best sources to validate your content are public organizations and government databases like the United Nations and World Health Organization. You can also validate your content on news websites such as CNN or Reuters.
Create a winning story that has a good structure. Your content should provide compelling data but it depends on how you create a story. It is more likely that readers will read and share your story based on its structure.
Chapter 4: Making a great infographic on your own
You can create a great infographic in many ways, but it usually depends on how much money you are willing to pay. There are agencies that offer different rates even if you give them the same project. It will cost you between £5,000 and £50,000. Here is the list of our favorite agencies that provide top quality services:
If you want to make a great infographic on your own, you can gain knowledge by using Piktochart. You can use Piktochart to quickly make an infographic within 5 minutes.
A t-shirt is probably the most versatile item of clothing there is. Practically everyone, encompassing all genders and ages, owns a t-shirt. It is the most common casual wear item in anyone’s wardrobe; it can even be considered a staple item. It is maybe for this reason that t-shirt businesses continue to thrive in the entrepreneurial world. In fact, it has gained increased popularity as more and more people are venturing out into the t-shirt printing business. This may be a good indicator that the business has a strong potential for profit, but it also indicates that there is tough competition in this line of business.
For those who want to start a t-shirt printing company, here are some tips that can help to get the brand known and keep up with the competition:
Living space in London isn’t the biggest in the world, well unless money is no object.
With that said, there are some little tricks to make a room feel bigger, my favourite being mirrors.
Mirrors are one of the oldest interior designers tricks going to add more light and space into a room or even in the bathroom while you’re enjoying under your favorite dual shower head. I’m lucky enough to have a nice big old Victorian fireplace, perfect for getting a mantel mirror to hang above.
I always vouch for using local businesses so a quick Google search brought me to Overmantels in Battersea who specialise in high quality mirrors. They crafted me a beautiful, classic mantel mirror delivered right to my door, the mirror added real character to my living room, as well as making the room feel twice as big and the extra light flowing though the house, just in time with the lovely spring weather at the moment. My better half approved too which is always a bonus, now I’ve just got to convince her to get a TV mirrors as well as a new TV to go along with it…
People are very visual. This is why much attention is directed to making most everyday things (i.e. houses, outfits, meals, etc.) as aesthetically pleasing as possible. It is this quality that marketers and advertisers try to appeal to when they come up with their promotional materials.
Companies all try to outdo each other in terms of making their advertisements more eye-popping and jaw dropping than all other advertisements. On the internet, one of the most visually interesting ways to present various forms of information is through the use of infographics.
People want something better or more appealing than a chunk of text with some photos. People want condensed, easy to understand information that makes them want to research even further, or follow the call to action. According to Neomam.com, only 1% of all the sensory information people “consume” actually gets through to the brain, and infographics are part of this 1%. Because of this, websites with infographics get 12% more traffic than websites who rely purely on plain text and images.
The following are some tips to marketing using infographics:
There is definitely value in using infographics as a marketing tool. It has been proven to appeal to the consumer’s natural visual tendencies. Yet, this marketing tool is not entirely fool proof. There is much work to be done in coming up with an infographic that works. The work is all cut out for you when you have a good grasp of what your target market wants and what you have to offer.
Always seek a digital agency similar (or them!) to Bulldog Digital Media. Someone who specialises in Infographics.
All industries and workplaces can do with a little bit of a fixer-upper. Even the most confident manager or president knows that there is always room for improvement. And in terms of marketing, this can translate to making your content as well as your workplace visually appealing. Design works for all industries when used properly. Find out why and how design can be used for your company below.
Why use design?
Design should be considered in all industries and workplaces because it can help appeal and motivate those transacting and working in those spaces. Workplaces should be designed and should have some elements of art used to decorate them. These little touches make the offices refreshing to look at and work in. Also, art can make interesting conversation pieces for visitors, and can inspire creativity among employees.
By having well-designed workplaces and websites and even putting little touches of design on business letters and ads, companies can encourage customers to choose their company over others. Companies that use design look like they have put more effort and thought, thus making them look more professional. Toby & Kate are a good example of this in a “boring” industry and get their branding spot on to stand out from the crowd.
Where to use design
So where else can design be applied to industries? Companies can renovate their buildings — repaint them, add posters or wall art, strategically place potted plants for a more aesthetic touch, and even design their buildings to be more ergonomic and environment-friendly (such as by adding more windows and using lights that switch off automatically when a room is not in use).
Also, design can be integrated into things like company letterheads, calendars, notepads, and PowerPoint presentations. Online, the company can integrate its design concepts in its website, banner ads, and even their social networking pages.
The following are some tips to making design work for your industry and workplace:
At the office:
All industries can make use of design. Design appeals to everyone and it can serve as a motivation, a call to action, or simply a way to relax the eyes and inspire creativity for people working for and with various companies. Think out of the box and you will be surprised at how much better your office and company will look — thanks to a little bit of effort with design!
Wedding season is coming up in the UK and what best way to celebrate your big day than snapping you looking silly in a photo booth! OMG! Entertainments Kent have produced this well laid out, nicely designed Infographic to celebrate the top five props used at Weddings in 2014. OMG! also cover the South East & London photo booths.
Also, featured on LinkedIn, check it out!
When one teaches a postgraduate course, the projects repeated yearly can seem indistinguishable. This is the only process that makes one year better than the last though there is hardly enough time for students to really digest what they have learned. The MA Typeface Design programme’s 10th year anniversary and the ILT’s offer to publish the result were a good opportunity to introspect and explore ideas. My perspective is linked to the course at Reading, but I believe it’s relevant to a wider audience.
Often for the first time, research, discourse, and user needs affect our students’ design practice. This may go against past experiences where design is self-expressive, but I believe that discussion and discipline create better designers.
Two factors have begun influencing design attitudes in recent years. Firstly, it’s harder for generations to recognize the computer’s use in design decision-making instead of just the execution of specifications. Secondly, the new structure of courses as collections of discrete modules makes it difficult for skills learned in one class to have effect on another. (A third factor is that there’s less significance placed on manual skills, but that’s worthy of another discussion.)
I hope that my personal observations will at least be interesting to self-taught designers and developers of typeface design courses.
There are four building blocks of typography and typeface design: desire for identity and uniqueness, technological parameters, the rendering process’ characteristics (printing or illuminating), and other designers’ experiences in similar conditions. New generations have much to gain from this knowledge, yet the history of typography and letterforms evades them.
For example, remaining constant for centuries has been the black and white pattern, foreground and background, and “readable text” sizes. Studying this pattern’s survival against evolutions of environments, genre, and style can benefit type designers who just don’t invest the time.
The knowledge gained from online sources is wide, but shallow. This results to a lack of narrative coherence regarding how things happened as well as why. Under different circumstances, how were similar design problems addressed? Based on artifacts, how did people in similar situations make decisions? What solutions did change give rise to? The problem is not that the best ideas have already been thought of and/or executed, but that people are not learning them, and they have to be rediscovered.
The refinement of smaller details is the process of typeface design. Sketches go through multiple changes, reviews, and testing. The typeface designer’s editing becomes more detailed: the design’s density in paragraph-level values, spacing, consistency, and uniqueness and character. Dialogue with the brief is the heart of the process: does the new design satisfy conditions of use? How excellent is it in response to the brief?
Wider typeface families need to be tested more conclusively with a wide range of possible uses and not just the ones that highlight the typeface’s qualities. Good designers, however, need to keep in mind their testing environment’s constraints. They must not always base their decisions on computer software that give the impression of fidelity, and laser printers that have output limitations.
Typeface design as a team enterprise is also experiencing a gradual return. Digital formats and platforms allowed designers to work independently, but also expanded character sets and families to unexpected levels. Now, the sheer volume of work necessitates the collaboration of people with complementary skills. This results in the need for documentation and explanation. There are new models of work replacing the short-lived “creative hermit” one.
Scales smaller than postcards are rarely tackled in conventional design curricula. Composition takes precedence over word-level details. Typeforms designed at large sizes are experienced in much smaller scales, which can have adverse effects on their features. This is an issue for different text settings and reading distances.
The behavior of shapes at different scales is something typeface designers need to understand. It takes practice and not mere intuition to imagine the difference a small change can make on the entire paragraph. “Why does this paragraph look this way?” is a question the best designers naturally ask.
When a student uses a writing tool too closely as a typeform design guide, problems with scale effects arise. The details of stroke endings and joints cannot be preserved across scales as easily as the ductus (stroke movement) and modulation. Typographic scales’ sensitivity simply does not apply at writing scales. Smaller sizes (or coarser rendering solutions) allow designers to separate blobs and white space, and then deal with style and detail.
One still needs to appreciate the link between writing, writing tools, and typeface design regardless of the aforementioned scale effects. I’m talking about writing in the widest platforms- from graffiti and signs to elaborate public lettering. Writing processes, more than specific letter forms, give insights into the balance of shapes and the in-betweens, and illuminate familiar patterns and combinations. The transformation of marks through the computer has not been as deeply discussed as the relationship of writing tools and these marks. (Except for Richard Southall’s, most texts focus on specific cases rather than general principles.)
When typeface design became programmatic later on, when the roles of designer and maker began to separate, each typeface became rooted in a theory of letter construction, whether or not it was sensitive to human practice. The rubylith shape cutouts for photographic scaling and phototype distortion, and the hot metal “pattern libraries” point to the same process- abstracting typographic shapes into elements that have little to do with tool movements. As for digital, repeatability and deconstruction are still key aspects.
A designer needs to develop a mental model of a tool that may include mark making and movement behaviours distinct from what a writing tool can render. As type families expand into weight and width extremes, and relationships with writing tools evaporate, such models become more important.
For example, an invented tool that makes pen-like bowls and incised vertical strokes can find many styles, ensuring consistency without a specific tool’s limitations; this weight-and-width agnostic model hinders large families with local richness instead of overall consistency.
For many years, typefaces featuring extended character sets have been growing in demand. It is now expected that branding and OEM typefaces cover multiple scripts. From European scripts (e.g. Latin, Cyrillic, Greek), the interest has shifted to Arabic and Indian ones. Latin typographic script, though, is significantly different from the rest in two ways. First, the equipment developed for a simple alphabetic left-to-right model now has to accommodate the non-Latins’ complexities.
Rectangular sorts can handle the Western European languages’ simplicity, but things become more complicated with more diacritics, and the model collapses when shapes neither fit neatly nor are algorithmically describable. This is why to get non-Latin typesettings to work, compromises and technical hacks have to be employed.
Secondly, most non-Latin scripts were not put through a constant text production culture and competitiveness in the publications market. (It’s not surprising that parallel with the Industrial Revolution, display typography’s language was developed in nineteenth-century Britain.)
‘Is it possible to design a script for a completely foreign language?’ students and professionals alike will ask. However, a brief is what creates typefaces. For example, regardless of the market, many newspaper conventions apply; the script and language’s general qualities put constraints on the typographic specifications (e.g. hyphenation, word and sentence length, etc.).
From establishing the typographic environment, the language’s written forms and the tools determining the key shapes can be examined. Most non-Latin scripts keep writing and typographic forms closely related. Structural analysis of examples and writing exercises help develop a feel for the script. In addition, analysis of the relationship between typeforms and mark-making tools further the development of criteria and quality evaluation.
Many designers excel in designing scripts they cannot read. It is important for students to address difficult design problems in non-Latin scripts, thus benefiting the global typographic environment, and creating designers who, in any aspect of their design, can handle higher difficulty levels.
Students can learn design’s functional aspects in a formal environment, but it helps little in the development of their typefaces’ aesthetic qualities. Teachers have little input on inventiveness and potency. Students must independently develop consciousness of past and emerging idioms, so they can see their own work within context and find out how personal style can work with utility restrictions and genre conventions.
The following are the summary of Type Worship’s Jamie Clark’s advice on creating your own typeface.
The process of designing and creating your own typeface is comprehensive and complex, and the tips and steps mentioned above are only some of the pointers that designers should keep in mind.