Category Archives: marketing

What is a Creative Solution?

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The Creative Process
Graphic design brings together two different things: artistic creation and the practical world of commerce. Put simply, it is intelligence made visual. A designer is a creative artist who deals with the realities of planning, from assessing client needs and crafting a solution to selecting appropriate materials (papers, inks, glues, and varnishes), maintaining strict budgets, and understanding visual communication.
Creative Solutions
A designer must make connections in the mind between creativity and process in order to successfully communicate a message to an audience and answer a client’s needs.
What Is a Creative Solution?
At its core, a creative solution solves a client’s problem through the design medium/language. It is…
  • appropriate for the client’s product, spirit, and objectives.
  • communicated clearly.
  • functional. A package has to open. A pictogram has to identify. A map has to direct.
  • impactful.
  • memorable.
  • original.
  • fresh, stimulating, exciting, and stunning.
  • executed appropriately and well.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Eye-Teasing Design

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When working in graphic design, making things look good may seem like the right thing to do, but perhaps making things attract attention should be your goal. Attracting attention can often be done by creating tension in the eyes of the viewers. Tension is defined as balanced relation between strongly opposing elements, or the interplay of conflicting elements. This tension or conflict will cause viewers to stop and take a closer look at your design in hopes of uncovering what is making them subconsciously uncomfortable. Here are a few tension creating tips to intrigue your viewers:
  • Barely touching elements tease the viewers. Their eyes are drawn to this point of almost intersection, and they keep checking to see if the items really touch.
  • Design decisions that appear tentative, such as elements that are off-kilter, can cause conflict because the viewer will naturally want things to be straight and orderly. Deliberately placing images off balance, as long as it isn’t overdone, can help capture a viewer’s attention.
  • Using complementary colors next to each other, especially when there is a shared edge, can cause a vibration in your design. This is because each color is vying for dominance in the eyes of your viewer. Choose your colors to attract attention.
Using these techniques at some of the focal points of your piece, such as the center, and the corners, will retain the viewer’s interest as they digest all that your piece has to say.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

When Color Matters

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You’re designing a new brochure, flyer, or newsletter and want to make sure it looks great. You’re considering printing it full-color, but aren’t sure if that’s the best option to choose, considering your budgetary needs. Here are some tips to help you decide how many colors to use and how to make the most of the colors you choose.
When to use spot colors…
  • You only need one or two colors for the printed piece.
  • Your project doesn’t include any full-color photos.
  • Your corporate colors need to be reproduced to exact specifications and cannot be reproduced faithfully enough by combining cyan, magenta, yellow, and black (CMYK)… the four “process” colors.
  • Your project calls for fluorescent, metallic, or other special inks.
When to use process color…
  • You need more than two colors.
  • Your piece includes full-color photos.
When to use both…
  • You want to enhance the colors by including a “bump” plate (an extra printing plate set up in one of the four process colors and meant to enhance that tone).
  • Your project includes full-color photos, but your logo or corporate colors don’t reproduce well with process color inks.
  • Your project includes full-color photos and also requires metallic, fluorescent, or other special inks.
No matter what color combination you choose, there are some things you can do to ensure your project goes more smoothly. For example, as you’re preparing your artwork, make sure you aren’t “duplicating” any colors. Look through the color palette in your page layout software. Remove any duplicate colors you find, and reassign the corresponding objects and layers accordingly.
Also make sure you give your colors the same names in each application you use for the project. For example, make sure you give the color the same name in InDesign as you give it in Photoshop and Illustrator. This will help reduce confusion and ensure the colors separate properly when preparing the piece for print.
And finally, if you decide to go with process printing, use your design software to convert any spot colors you have to their CMYK equivalents. When doing so, double-check the values the software assigns, to ensure good printability. For example, if Photoshop gives a color a 1% magenta value, you might want to do some tweaking to eliminate the need for that value. We’ll be happy to help you optimize your files for print and answer any questions you have while producing your files.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Typographical Terms

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The following is a short list of common typographical terms:

  • The baseline is the invisible baseline that type sits on.
  • Body copy, body text, and sometimes just plain body or text refer to the main block of text that you read, as opposed to headlines, subheads, titles, etc. Body text is usually between 9 and 12 points in size.
  • A bullet is a little marker typically used in a list instead of numbers or between words. This is the standard bullet: •
  • A dingbat is a small, ornamental character. You might have the fonts Zapf Dingbats or WingDings, which are made up of dingbats.

  • Elements are the separate objects on the page. An element might be a single line of text, a graphic, or a group of items that are so close together they are perceived as one unit. To determine the number of elements on a page, squint your eyes, and count the number of times your eye stops to see each separate item on the page.
  • Extended text refers to large amounts of body copy (see above), as in a book or long report.
  • Eye flow refers to the way someone moves their eyes around a page. Designers need to become more conscious of this flow and design accordingly.
  • Justified type lines up flush on both the left and the right edges.

  • A rule is a drawn line often used under headers.
  • White space is the space on a page that is not occupied by any text or graphics. Beginners tend to be afraid of white space. Professional designers use lots of it.
  • Trapped white space occurs when the white space (see above) on a page is seemingly “trapped” between elements (such as text or photos), with no space through which to flow.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Color on Color

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Two-color printing adds life to a printed piece without draining the budget. Now you can make those two colors work a little harder by using a technique called overprinting. Overprinting involves the layering of two ink colors to create a unique third color. By doing this you can create many new possibilities for creative design. Not only will this process intensify the colors you are already using, you can often achieve a third color at no additional printing costs to you.
A quick glance at how to overprint:
Shown here is an example of how you might use overprinting to achieve the effect of a third color. The color PMS 299 and PMS 233 overlap, producing a third color similar to PMS 268.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Stationery Paper Basics

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With so many papers available, how do you decide what papers to spec for your business stationery? Here are a few basics to keep in mind. For more advice, talk to one of our customer service representatives. We’re experts at choosing the perfect paper for every job.
  • Start with the basics. Letterhead is typically printed on an uncoated, 20 to 28 pound bond paper. For business cards, consider an uncoated, 80 pound cover stock. If your design includes photos or other fine touches, choose a coated stock instead, for better print quality and clarity.
  • Know your limitations. Check your office laser or inkjet printer’s specifications before selecting a stock. You don’t want your letterhead’s weight to exceed the limitations of the office equipment you plan to use it on.
  • The color of paper you select will affect how inks appear when printed on it. Even different shades of white can affect print quality in different ways. Make sure you select a paper that will complement the ink colors needed for the design.
  • In the same way, it’s generally a good idea to avoid darker colors or distracting background images. Otherwise, your correspondence may be difficult to read when printed on your letterhead.
  • Study the samples. All of the major paper companies provide sample books filled with examples of the various papers they have to offer. Many even show how different inks appear when printed on the page. Visit our print shop to take a look at these sample books and to get our advice for selecting a paper that’s right for you.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct marketing, graphic design and marketing – 318.868.3351

The Risk of Over Designing

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Simplicity is often seen, but it s a concept that is not easily explained. For some graphic designers, it’s second nature. For others, it involves much forethought. Today’s designers are trending toward more simple, clutter-free designs, as they return to simplicity. Here are some examples of how the traditional theme of less is more is used:
Advertising
  • Not only can simple ads grab attention, but their short and to the point messages are also easier to comprehend. The concept of “less is more” is especially effective when writing ad copy.
Catalogs and Brochures
  • Catalogs and brochures are expected to be a vast source of information, yet readers appreciate when they are simplified, organized, and easy to read and comprehend. Simplicity is often its own reward since it encourages increased use.
Packaging
  • Like a poster, a package needs to attract the eye within seconds of its initial viewing. In recent years, shelves have been jammed with products whose designers have attempted to out-design one another. This gives simple package designs featuring primary colors, bold copy, white space, and clean design the ability to effectively break through the clutter.
Identity
  • Not only do logos convey the personality of a company, but they also offer a memorable impression. Simple designs that incorporate a company’s complex ideas are the root of a logo’s power.
One of the perks of being a designer is the ability to develop a personality or character for a company or product. For designers, simplicity means a return to basics, but not at the expense of creative design.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Designing Successful Newsletters

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Newsletters have become a great way for businesses to spread information, “tell their story,” solidify customer loyalty, and increase sales.
Here are a few tips to keep in mind while designing your company newsletter:
  • Content Is Important – Successful newsletters provide interesting content for their readers, in addition to product information from the newsletter provider.
  • Color Draws the Eye – Use multiple colors of ink to draw attention to important articles and information. Two-color newsletters are very effective, and full-color newsletters are gaining popularity.
  • Pull Quotes Create Interest – Pull quotes create interest and increase the likelihood that an article will be read. These quotes are taken directly from the article and focus on interesting, key points.
  • Good Design Provides More Room for Copy – A well-planned and designed newsletter can contain 20% to 30% more content than a casually designed newsletter. Seeking advice from professional graphic artists is often profitable. They can help design an effective template for your future use.
  • Good Back Page Design Is Important – An estimated 15% of readers start reading at the back page of a newsletter and work their way to the front page.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351

Choosing a Readable Type

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You’ve worked hard to create just the right look for your client’s newsletter. But will your masterpiece also be easy to read? Balancing beauty with readability can be challenging. Here are some areas to keep in mind as you choose a typeface and layout the text on your next project:
X-height. X-height refers to the size of a lowercase x in a given typeface. The larger the x-height, the denser the type will appear on the page, and the less readable it will tend to be.
Tracking. Tracking refers to character spacing. Any variation from normal tracking (narrowed or expanded text) can have an adverse effect on readability.
Serif vs. sans serif. Research shows that serif fonts are more readable than sans serif fonts for large areas of body text. This may be due to the serifs’ ability to lead the eye from one character to the next. On the other hand, typefaces with serifs that are too pronounced can have the opposite effect. Also, sans serif fonts tend to be more readable than their serif counterparts in smaller point sizes, such as those used for footnotes or fine print.
Line length. Shorter lines of text tend to be more readable than longer lines. However, lines that are too short may also prove difficult to read. Experts suggest setting line length at approximately 39 characters, or two times your point size, converted into picas (e.g. 2 x 10pt =20 picas or 3 1/3 inches). Experiment with both of these options to see which works better for you.
Leading. The leading, or space between each line of text, can also affect readability. In general, leading that is 2-3 points larger than the typeface enhances readability. Leading that is too much larger or smaller than that, however, can make the type more difficult to read.
Widows and orphans. Widows occur when the final line of a paragraph contains just a single word. Orphans are paragraphs that carry over just a single line from one column to the next. Both are visually distracting, unattractive, and reduce the readability of a page.
Point size. Body text is generally set at 9-12 points in size. This can vary, however, depending on the typeface and purpose involved, so make adjustments accordingly.

http://www.ParagonPress.net – #1 in Shreveport, LA for printing, direct mail, graphic design, marketing – 318.868.3351l