14
This is a small item, so avoid filling precious whitespace by containing every element into its own separate box.
Instead, break the design down into 2 sections for better separation between the top part (general overview) and bottom part (detailed 'specs'). For instance, you could leave the top against a white background, and only use the yellowish ...
11
This is an opinion based answer, and there is no right or wrong here. Generally, I quite like the basic style of it. It's very traditional in a kind of educational establishment way. However in my opinion the main problem here is the way you have listed the various features centred on two lines. I don't think there's anything wrong with the fonts. It's just ...
8
Designing how a page should look is usually called layout and is not usually considered a part of typography but typography is often considered a necessary skill to do a good page layout.
Page layout requires a good sense of composition. Normally one would be required to compose not just text but also graphics, photographs, background color and/or images ...
8
12 point text on A1 paper is the same size as 12 point text on A4 (or Letter)
Try holding up a printed sample and see at what distance you can read it. Then imagine the same A4 paper tiled in a 2x4 matrix - do you need to see/read all the corners at once?
That should give you a practical example of how big it will be and how readable the fonts are at that ...
7
I would say overall the samples are all Minimalism, 2.
Using the least amount of objects possible to convey information in an interesting manner.
6
No specific name, just different ways of flowing content into documents, all under the broader field of editorial design.
6
The proper way is to edit the paragraph style for headings and in the Span Columns tab, choose Span All. You also get options to limit the span to 2, 3 or more columns.
5
Great thanks to everybody for your replies!
I found it difficult to place all the information under icons, so I ended up with aligning the first column right and the second left, as suggested by Lucian. Made 'CLASS' the same size as features. Also listed the features in one line, separated by commas, as suggested by Billy Kerr, and made their font a bit ...
4
Tip 1
What is the main difference between photos 1 and 2?
1
2
It is not just the size of the tomato, it is not just the number of them... is the space.
Tip 2
Do not clog information. People want to see specific information, not all of it, but the relevant one.
You are worried about a specific issue, characters per line, where that is not important. One ...
4
50-60 characters per line is indeed within a 'recommended' range, but that's subjective. With the right design, you should not worry about this number too much. Certainly nobody's going to count how many characters you have per line.
Version 3 looks ok, but needs a bit more spacing on the margins and in between columns. Also, main header section on page 1 ...
4
It's a branch of typography called layouts. The key concept here is the use of grids which is a technique for inducing alignment, hierarchy and balance in design using whitespace.
If you're interested more, please head to this website:
Thinking With Type . It's based upon a classic book by Ellen Lupton.
You can see similar examples of what you shared here....
3
Is not going to be viewed from a great distance
Define your viewing distance.
Reading a text on a post-it, or reading the same size text from a poster does not depend on the size of the paper, it depends on the viewing distance and the size of the text.
There are some other factors like the font design, but let's think that you are using a simple sans ...
3
Imagine your cover to be spread out, with the spine face up.
On your front page 'spread', draw one big shape that extends to the left of the front cover far enough to cover the imaginary back cover as well, including bleed. Fill this shape with your desired gradient.
Copy this object.
On your back cover 'spread', choose Edit > Paste in Place (Ctrl/Cmd+Alt+...
2
InDesign has a proper baseline grid feature and that works as shown in your first image. Actually i think the first image itself is a screenshot from InDesign.
For this and a number of other reasons, Illustrator should not be your first option when designing brochures. Illustrator, as the name implies, was built for illustration, drawings, icons, logos, etc ...
2
The first one, because your reasoning is correct to add more space on the left margin and align to the center of the hexagon in the logo. That's probably what you already knew, since this was posted as the first image.
Also:
that white diamond shape under the logo should not be too strong, you don't want that shape to attract too much attention away from ...
2
Looks like a math problem indeed.
Not sure why do you need the horizontal so-called 'rows'. The baseline grid looks correct, but the horizontal lines don't make sense. Those have nothing to do with the baseline grid and the way text will flow into your columns.
Also, not sure you're aware you're dealing with 2 units of measurement, MM for the layout and PT ...
2
Thank you, Lucian and Rafael, for your answers.
Here's a revision (of my "version 3") which includes most of your suggestions.
Inspired by Lucian's suggestions:
Page margins increased from a quarter inch (6mm) to three quarters (19mm)
Column gutters increased from a quarter inch (6mm) to a half (13mm)
Font size reduced from 14px to 12px
Line height ...
2
What are you looking for is "grid based layout design" - This kind of focus on graphics is mainly appreciated in the editorial world (look for "Editorial Graphic Design" ) - so related to publications/printing for obvious reasons. In Italy I also have heard it being called Swiss style even though "minimalism"- as I see it being called here- is very well ...
2
If you are able to go to your public library they should have books on layout and design. You can probably search their catalog online. If you are interested in print, as opposed to web based, layout you are looking for books in the vicinity of 686.2.
Hint: Searching the catalog will probably bring up mostly web based design books. Search for "typography ...
2
This is not directly possible, but a valid question.
A workaround would be to create a large rectangle, much larger than the page boundaries, then create a rectangle exactly the size of the page (using snapping to page borders), subtract that small rectangle from the larger to create a hole in it, set the fill to white, move it to a dedicated layer at the ...
2
You type that text on a master page.
You apply that master page to any pages in the document you need to use this text on.
Then, for each page, you CTRL+Click that text box to unlock it, then move it around and reposition where needed.
1
12 pt should not be an issue for printing, also it should be relatively easy to read from "up close".
However, A1 is quite a large format, so I think it is best to experiment a bit with possibly larger font sizes, assuming the artwork does not need to be super crammed.
Use a normal A4 printer, put some 12, 14, 16, 18 pt type on it, print at real size 1:1, ...
1
"Best" is relative term. It all depends upon flow.
I can't read the text in the images, but how the figures relate to the text is a large part of where they should possibly be placed.
In addition, there's a possibility that size of the images/charts needs to be adjusted based upon context (which again, I can't read).
In short.. there is no "best". Use ...
1
This is entirely based on the Allow Document Pages to Shuffle and Allow Selected Spread to Shuffle options for pages.
Now, I wish I could tell you exactly how to set these to overcome your issue. But I can't. I much prefer InDesign CS6 as opposed to any CC version. With InDesign CS6, these options toggle settings, but you can't tell what will change. The ...
1
Cut marks are there to be used by professional printers using professional machines. Basicly, you need to know what they are and how they work, to be able to use the cut marks as per their actual purpose.
From the designer's side, many times you will send a PDF in both versions, with AND without cut marks, to be used for different purposes. However, this ...
1
Simply highlight the 2 pages in the Pages Panel and drag them until you see a solid, straight line. Not a bracket line with hooks on the ends, a straight line.
The Allow Document Pages to Shuffle is somewhat illogical. Whether or not the check mark is next to that item doesn't necessarily mean anything.
What matters is... if you are trying to do something ...
1
I've never heard of or thought about spread numbering before, but why not?
I see (at least) five different ways to do this. Most of them aren't "dynamic" in the sense that if you start moving spreads around, the numbering won't be correct anymore.
Numbering (not dynamic)
You can use a paragraph style with Numbering as in the link you've provided, but ...
1
You need to use Anchored Objects.
Cut your side text paragraph frame.
Place the text cursor in the beginning of the main paragraph.
Paste in the side text frame.
Select it, right-click it and choose Anchored Object > Options.
Set Position to Custom and setup Anchored Object and Anchored Position appropriately for your design.
With the anchored object ...
1
I would be looking into "masking images in Photoshop with transitions"- you can have subtle transitions from the foreground image to the background image by "brushing into your mask" the transition areas. You are correct that a stark shape (rectangle or ellipse) outlining the foreground image, in this case, would not look so good.
As @Joonas said in the ...
1
In 1.4.8 master pages items are always behind the ones on the page, so there is no way to get the text on the page to flow around them.
This has been changed in the development branch and in the future you will be able to do it.
The workaround is to modify the text frame to have a non rectangular shape and get the text to flow around the number.
But in ...
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