Communications Toolkit - Visual Communication and Graphic Design

ContentsWhat Leaders Need To KnowIntroduction ........................................................................55The Goal of Visual Communication Design ...............................55Kids & the Creative Process ....................................................55How to Use the Materials .......................................................56Life Skills ............................................................................56Self-Assessment & Evaluation ................................................ 56Beyond the Toolkit: More Ideas & Resources ............................57

Skill SheetsThe Creative Process ............................................................. 59Design Building Blocks – The Elements & Principles .................. 60Type Terms & Tips ................................................................. 62Color Terms & Tips ................................................................ 64Designing Symbols & Logos That Work .................................... 66Designing Presentation Graphics That Work .............................67Designing Layouts That Work .................................................68Designing Exhibits That Work ................................................ 70How Did I Do? A Self-Check for Evaluating Your Design Project ......72Design Warm-Up ActivitiesDesign Elements:• Line ................................................................................. 73• Shape ............................................................................... 74• Texture .............................................................................77• Space & Size ...................................................................... 78• Color ................................................................................ 80Design Principles:• Balance .............................................................................84• Rhythm ............................................................................87• Emphasis ..........................................................................88• Unity ................................................................................ 90

You’re My Type ..................................................................... 91Scanning the Visual Environment ........................................... 93Design a Logo ...................................................................... 94Design a Poster or Flier ......................................................... 96Design Presentation Graphics ............................................... 101

COMMUNICATIONS TOOLKIT • Visual Communication & Graphic Design – 55©2000 Michigan State University Board of Trustees.

What LeadersNeed to KnowIntroductionWhether you take a drive down awell-travelled highway, strollthrough a local shopping mall orsurf the Internet, you see and in-terpret many visual messages everyday. These messages may be informs such as logos, signs and post-ers, or television, computer andmagazine graphics.

You and your group may need todesign some visual messages of yourown. You might need a poster toadvertise a meeting, a brochure ornewsletter for your organization, ora logo for a club business. Computertechnology now gives more peopleaccess to many of the same or similardesign tools as those used by mediaprofessionals. To use these tools toeffectively communicate a message,however, requires more than justknowledge of the computer software.It requires an understanding of howto structure visual information usingthe elements and principles ofdesign. The area of design that dealswith structuring visual informationfor communicating messages is calledgraphic design.

Information is becoming more vi-sual in nature. (Consider CD-ROMmultimedia encyclopedias andgames, or the images availableacross the Internet – the electronic“information superhighway.”) As weexchange more information withpeople whose language and culturediffer from ours, visual communi-cation through well-designed sym-bols and images may help make ourmessages easier to understand.Today’s young people will face many

situations in the future – both onand off their jobs – in which theywill need to understand and usegood visual communication designskills to ensure that their messagesare seen and understood.

You can use the activities and in-formation in this section to help theyoung people you work with:

• Think about how and why visualmessages in our environment arecreated.

• Become familiar with the lan-guage of visual communications.

• Become comfortable with the cre-ative process as it applies to visualcommunication.

• Learn to use the basic elementsand principles of visual communi-cation design.

• Learn to evaluate visual communi-cation.

• Find additional visual communi-cation resources.

The Goal of VisualCommunicationDesignVisual communication is a specialblend of art and language used todeliver information to a particulargroup of people. If the informationis presented in a way that attractsthe intended audience and per-suades them to take action (suchas to come to a car wash or to re-cycle their trash), the designer hasdone his or her job well.

One way to state the goal of thevisual communication designer is:

To create visual formats for mes-sages, taking into consideration theintended audience by using mutu-ally understandable alphabets, sym-bols, colors, images and selectingappropriate media so the messagescan be received, understood and re-sponded to.

As you begin working with yourgroup on visual communication ac-tivities, ask the participants tothink about this. Have them putinto their own words what theythink the goal of a visual commu-nication designer might be.

Kids & theCreative ProcessCreative problem-solving and cre-ative presentation of visual infor-mation are essential elements of thedesign process. You can help stimu-late creative thinking by providingkids with:

• Opportunities, time and materi-als to explore.

• Encouragement to express theirown ideas.

• Acceptance and respect for theircreations.

Often it is difficult for kids (andadults!) to talk about their creativework in front of others for fear theywill be criticized. It’s helpful to askkids to talk about the process theywent through to create their work.Ask your group to identify and talkabout aspects of each others’ work

56 – COMMUNICATIONS TOOLKIT • Visual Communication & Graphic Design©2000 Michigan State University Board of Trustees.

they like. This gives kids a chanceto use their new design vocabularyto describe what they see.

Only when kids are comfortablewith this positive presentation andfeedback process should you beginto add questions like, “How couldone part of this project be improved,and why?” or “If you could do thisagain, what might you do differ-ently?” Allow one group member topresent a suggestion to the de-signer, then give the designer achance to agree or disagree with theobservation. The “How Did I Do? ASelf-Check for Evaluating Your De-sign Project” skill sheet found onpage 72 also can provide a way forindividuals to privately evaluatetheir own work.

How to Use theMaterialsIn addition to “What Leaders Needto Know,” the visual communicationsection includes:

• Skill Sheets – Single conceptsheets that provide basic informa-tion and tips. Specific sheets arereferred to in many of the activi-ties and may be copied and reviewedby leaders and members before be-ginning an activity. These sheetsalso can be used independent of theactivities for quick reference.

• Design Warm-Up Activities –Short activities that introduce spe-cific visual communication concepts.These can be used as warm-ups forprojects.

• Projects – Longer activities de-signed to take a group through thedesign process using a format suchas a poster or logo. Depending onthe needs of the group, each ofthese activities can be completedin a single meeting or expanded intomultiple meetings or workshops.

Before using the activities, thinkabout the suggested procedures andmaterials. Then adapt them to fitthe needs and resources of yourgroup.

The activities are designed so thatthey can be carried out with theleast amount of specialized tools,technical training on those tools,materials and room setup. If yourgroup has access to and familiaritywith computer page layout anddrawing software or other commu-nication technology, you can adaptthe activities to take advantage ofyour available resources.

The activities provide “generic”situations for participants to applytheir design skills to. However, youcan substitute a real situation suchas designing posters for an up-coming event. If your group is inter-ested in making communicationstheir project, you can use the ac-tivities as a jumping-off point forexploring the area of visual com-munication design.

Life SkillsUsing the visual communicationand graphic design activities in thissection can provide young peoplewith practice in valuable life skillssuch as:

• Planning and researching aproject, and then organizing theinformation.

• Making decisions and solvingproblems creatively.

• Using resources wisely.

• Working as a team member.

• Learning useful and marketabletechnical skills (the elements andprinciples of design, for example)and applying these skills to aproject.

• Developing record-keeping skills(for example, creating a graphicsportfolio).

• Communicating a concept or mes-sage to others through visualmeans.

• Strengthening self-esteem byunderstanding one’s abilities andhaving an opportunity to experiencesuccess.

• Evaluating a project and settinggoals for improvement.

Self-Assessment& EvaluationAfter each activity or project youlead with young people, please helpthem think about what theylearned. Make copies of the “WhatI Learned” self-evaluation form onpage 8 and distribute them to yourgroup. Ask them to think quietlyabout the questions and make notesabout what they learned, how theyfeel about their skills in that areaand what they’d like to learn moreabout. Then lead a discussion withthe whole group and ask if anyonewants to share what they came upwith. Young people may want tokeep their “What I Learned” self-evaluation forms to refer to laterand as a way to document theirlearning process.


Beyond theToolkit:More Ideas &ResourcesCommunity as aResourceThere are probably individualsworking in the area of visual com-munication design in your commu-nity or neighboring areas. Their jobtitles are often “graphic designer”or “graphic artist.” Keep in mindthat the area of visual design isconstantly changing and so are thejob titles of designers! You may hearabout people who are working asmultimedia designers or desktoppublishers, or who have other titles.The designer’s job title often reflectsthe technology he or she is using.

You may find people with visualcommunication design skills work-ing in:

• Video or television studios design-ing word, symbol and data graph-ics, and studio sets.

• Advertising companies designingadvertisements for newspapers,magazines, billboards, catalogs andthe Internet.

• Book publishing art departmentsdesigning books, book catalogs andbook sales brochures.

• Sign painting and outdoor adver-tising companies designing signs,billboards and banners.

• Exhibit and display companiesdesigning exhibits and displays.

• In-house art departments for busi-nesses and government agenciesdesigning newsletters, reports, cata-logs, presentations and forms.

• Printing companies designing ma-terials to be offset or screen printed.

• Software companies designinggraphics for business, education orentertainment software.

• At home, “freelancing” illustra-tion, design, cartooning and morefor any of the groups mentionedabove.

• Internet service provider busi-nesses designing World Wide Webpages.

Your group may wish to invite localdesigners to talk about their workat one of your meetings or arrangeto visit a designer at his or herworkplace.

Additional ResourcesThe following materials will be use-ful for adults and older teens whowould like to learn more about vi-sual communications.

The World Wide Web is a growingsource of information on visualcommunication. Use the generalcategories listed here as searchterms with any of the Internetsearch engines (see pg. 134 for in-formation on Internet safety).

Business Practices & CopyrightInformation for GraphicDesigners

• Graphic Artists Guild Handbook ofPricing and Ethical Guidelines (9thEdition), edited by Rachel Burd.New York, New York: Graphic Art-ists Guild, 1997. This frequently

updated reference book provides in-formation for designers on pricinga variety of design work, writingcontracts and current copyrightlaws. World Wide Web address:(http://www.gag. org/)

Color

• Principles of Color Design, byWucius Wong. New York, New York:John Wiley & Sons, Inc., 1997. Thisbook provides an introduction to colorfor graphic designers and artists.

• Understanding Color: An Introduc-tion for Designers, by LindaHoltzschue. New York, New York:John Wiley & Sons, Inc., 1997. Thisbook provides basic color theoryinformation and exercises for art-ists and designers.

Creative Problem-Solving

• Design Yourself! by Kurt Hanks,Larry Belliston and Dave Edwards.Los Altos, California: Crisp Publica-tions, 1990. This book provides de-sign exercises, thought-provokingquotes and illustrations that willstimulate the creative planning andproblem-solving process.

Graphic Design & Layout

• The New Graphic Design School, byAlan Swann. New York, New York:John Wiley & Sons, Inc., 1997. Thisbook provides classroom or self-study exercises and projects in dif-ferent areas of graphic design. Itincludes exercises in using the ele-ments and principles of design aswell as the techniques necessary toput good design into practice.

• Making a Good Layout, by LoriSiebert and Lisa Ballard. Cincinnati,Ohio: North Light Books, 1992. Thisbook is an easy to use, step-by-stepguide to understanding the elementsand principles of layout design. Itprovides many design exercises andillustrations.


• SchoolArts Magazine. Worcester,Massachusetts: Davis PublicationsInc. This magazine is written by andfor art teachers. The articles explainclassroom art activities that teach-ers have used successfully and of-ten focus on understanding designelements and principles. This maga-zine is also a good source for find-ing suppliers of art materials.

• Dynamic Graphics Magazine. Peo-ria, Illinois: Dynamic Graphics, Inc.This magazine shows the productionof graphic design projects witheasy-to-follow instructions.

Presentation Graphics

• Designer’s Guide to Creating Chartsand Diagrams, by Nigel Holmes. NewYork, New York: Watson-Guptill Pub-lications, 1991. This book providesexamples and exercises in how tomake data look visually exciting.

• The Presentation Design Book: Tips,Techniques & Advice for CreatingEffective, Attractive Slides, Overheads,Multimedia Presentations, ScreenShows, edited by Margaret Y. Rabb.Chapel Hill, North Carolina: VentanaPress, 1990. This book provides tips

and techniques for designing effec-tive presentation graphics.

Print Design and Production

• Pocket Pal: A Graphic Arts Produc-tion Handbook, by InternationalPaper Company. New York, NewYork: International Paper Company.This frequently updated referencebook has been providing basic in-formation on offset printing tech-nology and practices since 1934.

• How a Book Is Made, by AlikiBrandenberg. New York, New York:Harper Trophy, 1988. This children’sbook explains in easy-to-understandlanguage and illustrations the processof writing, editing, producing,printing and marketing a book.

Type

• Designing With Type: A BasicCourse in Typography, by JamesCraig. New York, New York: Watson-Guptill Publications, 1992. Thisbook provides basic information onunderstanding and using type.

• Upper & Lower Case (U&lc) maga-zine. New York, New York: Interna-tional Typeface Corporation. This

publication is targeted for graphicdesign students, teachers and pro-fessionals. The articles showcasehistorical and current typefaces andtype designers. Additional articlesare available on the World Wide Webat (http://www.uandlc. com).

Exhibit Ideas

• See the “Designing Exhibits ThatWork” skill sheet on page 70, whichis adapted from CommunicationsMade Easy: A 4-H Guide to Present-ing Information, published byMichigan 4-H Youth Programs, 1978(out of print).


SKILL SHEET:

The Creative Process

The creative process is similar for allareas of communications — it usu-ally involves gathering information,brainstorming, planning, gettingfeedback, production and evaluation.Here are some things to consider ateach stage of your graphic designproject.

STAGE 1:

Gathering InformationBefore you start developing yourdesign, you’ll need to find out:• Who is the audience and what

do you want them to do?• What is the message?• What formats (such as adver-

tisements, fliers, brochures andpresentation graphics) areavailable and which format willbest suit your purpose?

• What setting will your designpiece be seen in? What will becompeting with it for attention?

• What production or reproduc-tion processes are available toyou and which one will bestsuit your purpose?

• What is the life span of yourdesign piece? Will it be readonce and recycled, or savedand used by more than oneperson?

• What is your timeline andbudget?

STAGE 2:

Brainstorming IdeasYour brain can work on a creativeproblem even when you’re not con-centrating on it! Be prepared –great creative insights can occur attimes when you’re doing somethingtotally unrelated to your project.

Brainstorming is a technique forgenerating lots of ideas in a shorttime (see “Brainstorming” on pg.5). Remember that all ideas aregood ideas at this stage!• Look in magazines, books or

other sources to see how otherssolved similar problems.

• Make lots of small, quick“thumbnail sketches” to tryout many visual ideas.

• Write lots of short, action-oriented headlines or slogans.

• Look for images (photographs,clip-art) that might go withyour message.

• Think about the feeling ormood you wish to convey, thenlook for type styles and colorsthat could help express it.

STAGE 3:

Fine-Tuning Ideas,Getting Feedback &Planning ProductionMake a more complete version ofyour best idea or ideas. This couldbe an actual size or scale model ofa drawing that looks as much aspossible like the final piece. You canuse it to:• Present to others for feedback.

• Serve as a “road map” forproducing your final artwork.

• Get cost and time estimates foroffset printing or other meth-ods of reproduction.

STAGE 4:

Producing theFinal PieceOnce your design is approved andyou’ve checked to make sure it willbe able to be produced within yourbudget, you can move on to pro-duction. Production methods will bedifferent depending on whetheryour final design will be:• Handmade.• Printed by a photocopier, offset

printing press or silkscreenprinter.

• Viewed on a television, videoor computer screen.

• Painted on a wall, signboard,vehicle or other object.

• Produced as a display orexhibit.

If your final product is going to behandled by others (such as aprinter) talk with the people whowill be working with your artwork.Be sure you know how they wouldlike it to be prepared. Include clear,written instructions and always givethem a phone number where theycan reach you with questions!

STAGE 5:

Evaluating ResultsDid your intended audience get yourmessage and respond the way youhoped they would? (See the “HowDid I Do?” skill sheet on pg. 72 forhelp in evaluating your work.)


SKILL SHEET: Design Building Blocks –

The Elements & Principles

The elements of visual design (line,shape, texture, space, size, valueand color) are like the wood, nailsand concrete used to construct ahouse. An expert builder is very fa-miliar with the materials of thetrade. Good designers also need tobecome familiar with the elementsof design – how to create them andwhen and how to use them.

If a builder constructed a housewithout understanding the basicprinciples of how the building ma-terials should be assembled, thehouse would probably collapse!Similarly, in a project such as aposter, the elements of design needto be assembled using the knowl-edge of a group of design prin-ciples. That way, the design will beable to do its job of communicatinga message.

(Note: Design reference materialsmay use different names for theelements and principles than thoseused here, but the ideas are gener-ally the same.)

Visual design elements:

Line – Any mark, whether straight,dashed, dotted, curved or jagged,connecting two points

Shape – Anything with height orwidth

Texture – The smoothness or rough-ness of the paper used in printing orthe illusion of a three-dimensionalsurface created by a photo or design

Space – The distance or area be-tween or around things

Size – How big or small somethingis

Color – Wavelengths of light thatare reflected back to the viewer’seye from objects

Value – The lightness or darknessof colors


Visual design principles:

Emphasis – Using the size, shape, color or texture ofelements to show levels of importance

Rhythm – Using elements to create a direction forthe eye to follow or to suggest a pattern of movement

Unity – Using elements that look like they belongwith each other

Balance – Arranging elements so that they create afeeling of evenly distributed weight

Design Building Blocks — The Elements and Principles skill sheet continued


SKILL SHEET:

Type Terms & Tips

Type has a long and fascinating his-tory, going back probably to 1045 A.D.with the beginning of printing usingmovable type (one individual pieceof type for each character) in China.In 1440, the German printer JohannesGutenberg used movable type to printhis first edition of the Christian Bible.Since then, thousands of typefaceshave been designed and a great dealhas been written about how to workwith type.

There are people who have focusedtheir careers on designing typefacesfor the communications industry.These designers work to create type-faces that are easy to read and re-produce, have characters that haveunity (look like they belong to-gether) and express a particularmood or image.

Following are some definitions ofuseful type terms. Visual ex-amples of many of these termsare provided on page 63. Someof the words may seem peculiar– like “font” or “leading.” Keepin mind that many of these termsare carryovers from old printingtechnologies! For fun, you canresearch where they originated!

Baseline – The imaginary line onwhich all letters in a line of typestand

Boldface – A heavier version ofa regular typeface, usually usedfor emphasis

Bullet – Characters used to be-gin lines of type arranged in alist; each bullet indicates a newitem in the list

Flush left – Type that lines upvertically on the left

Flush right – Type that lines upvertically on the right

Font – A set of all of the lettersand punctuation marks within aparticular size and style of type

Italics – Letters that slant to theright

Justified – Lines of type thatalign vertically on both right andleft sides

Kerning – Adjusting the spacebetween letters

Leading – The space measuredfrom baseline to baseline in linesof type

Pica – A measurement of typelength and depth commonlyused by graphic designers andprinters; there are 6 picas in 1inch

Point – A measurement of typesize; there are 12 points in a picaand 72 points in 1 inch

Rule – Lines of various thick-nesses; the thickness of rules isusually measured in points andlength in picas or inches

Sans serif – Typefaces withoutserifs (short cross-strokes)

Serif – Short cross-strokes thatare used in some typefaces

Typeface – All letters of a par-ticular type style

Type style – Variations withina typeface such as italics or bold-face

Typography – The art and scienceof arranging type using the prin-ciples of visual design with cur-rent communications technology

Type Terms


Type Tips

1. Serif typefaces – Times Roman,for example – are the most read-able for large areas of small type inprinted materials such as newslet-ters or books.

4. Use “white space” (areas of blankspace between letters, lines, wordsand paragraphs of type) to give thereader’s eye a chance to rest be-tween sections of information.

7. Using all capital letters or largeareas of bold, italics or underlinedtype reduces readability.

Serifserif

SansSerif

White space can be used to givethe reader’s eyes a rest.

White space can be used to givethe reader’s eyes a rest.

whitespace

This paragraph is aligned flush left. Itis easiest to read large areas of flushleft type.

This paragraph is aligned flush right.It is harder to read large areas offlush right type than type that is

aligned flush left.

This paragraph is centered.Use this alignment for specialemphasis or formal designs.

Use ALL CAPITAL LETTERS for em-phasis, not for large areas of text.

Use bold type for headlines or empha-sis, not for large areas of text.

Use italic type for emphasis, not for largeareas of text.

Use underline type for emphasis, not forlarge areas of text. (Use bold or italicbefore using underlining.)

This is 7-point type.





2. Sans serif typefaces – Helvetica,for example – are usually goodchoices for headlines or for videographics.

3. Using too many different type-faces and sizes in one design projectcan cause confusion and make thelayout look too cluttered for easyreading.

5. Large areas of flush right or cen-tered type are harder to read thanflush left. Use these alignments oc-casionally for special emphasis or,in the case of centered type, for aformal design. 8. Good type sizes for the main

reading areas of printed materialslike newsletters or books are 10-,11- or 12-point. Type sizes for pre-sentation graphics, posters and dis-plays should be larger. Make typesamples and see if you can readthem at the intended viewing dis-tance. Always consider the needs ofthe reader when picking a type size!

9. In general, smaller type worksbest in shorter line lengths andlarger type in longer line lengths.A “rule of thumb” to use for goodreadability is to keep the length oflines of type in columns between39 and 52 characters. (This will varydepending on the type size andface.)

Type Terms & Tips skill sheet continued

6. Match the headline typefaces youuse to your message. Type can beused to express many differentmoods – from formal and serious toplayful or comical. Remember thatreadability is the most importantthing. Avoid using stylized type-faces for your “body copy” or mainreading area.


SKILL SHEET:

Color Terms & Tips

color names for products (such as“passion pink” lipstick, “Bavariantorte” paint and “almond” floor tile)that they hope will have emotionalappeal for consumers.

ArtisticArtists express themselves in theirwork using various colored media –papers, paints, pencils or computerdrawing and painting programs, forexample. Color wheels and color tri-angles are tools artists can use toaid in mixing pigments as well asto create harmonious combinationsof subtractive colors.

Graphic artists who create artworkto be reproduced by offset or silk-screen printing use ink color swatchbooks to help them specify precisecolors. Designers who use comput-ers can choose from several differ-ent color selection systems withintheir software. Which one theychoose depends on whether theirfinal product will be slides, laserprints, offset printing or computergraphics to be viewed only on amonitor.

Color TermsAdditive color – The colors of light(red, blue and green) that, when com-bined, create white; the colors seenon computer monitors are additive

Analogous colors – Colors that arenext to each other on the colorwheel

Chroma – The name of a color; syn-onym for hue or color

Complementary colors – Colorsdirectly opposite each other on thecolor wheel

Hue – The name of the color, suchas red, blue or yellow; synonym forchroma or color

Intensity – The strength of a coloror hue; also called saturation

Monochromatic – Containing onehue only

Pastel – A fashion industry termfor colors that have white mixedwith them

Primary colors – In subtractivecolor, the simplest colors of thecolor wheel that cannot be createdby any other colors in combination(red, blue and yellow); in additivecolor, the wavelengths of light nec-essary to create all colors (red, blueand green)

Process colors – Ink colors used inoffset printing to reproduce full-color images (cyan blue, magenta,yellow and black)

Saturation – The degree of colorpurity; fully saturated colors canonly contain two primary colors andnever black or white; also calledintensity

Secondary color – Colors made upof two primary colors; subtractivesecondaries are orange, green andviolet, additive secondaries arecyan, yellow and magenta

Shade – A pure color mixed withblack

Spectrum – All the visible hues orcolors

Subtractive color – The colors ofthings resulting from the absorptionof light; paint colors are subtractive

Color can be described in at leastthree different ways – scientifically,emotionally and artistically. As adesigner, you’ll find it useful to un-derstand the basics of each of theseviewpoints.

ScientificScientists describe color as wave-lengths of light (red is longest andviolet is shortest). White light ismade up of all the colors of the spec-trum. When light hits a surface,some wavelengths of light are ab-sorbed and some are reflected. Thereflected wavelengths are the col-ors we see. For example, green grassabsorbs all the light wavelengthsexcept green, which is reflectedback to our eyes.

EmotionalWe often use colors to symbolizeparticular emotions. These colorassociations can vary greatly fromone culture to another. For example,the color red in one culture mightsignify happiness, but in anotherculture, aggression or anger.

The fashion and interiordesign industries create


Tertiary colors – Colors created bymixing the three primaries

Tint – A pure color mixed withwhite

Tone – A pure color mixed with grey

Triad – Three colors that are equi-distant on the color wheel

Value – The lightness or darknessof a hue created by adding black orwhite

Color TipsUse color to:• Highlight important

information.• Show levels of information and

organize material.• Attract attention.• Tie a layout together.• Create a mood or an emotional

response.

In a layout:• Warm hues (yellows, oranges,

reds) will appear larger andcloser.

• Cool hues (greens, blues) willappear smaller and fartheraway.

• Use one dominant color foremphasis.

• A small amount of an intensecolor will balance largeramounts of less intense color.

• A small amount of warm colorwill balance larger amounts ofcool colors.

• Complementary colors will workbetter together if one haslower value and intensity.

• All colors can be pleasing,depending on how they’reused. Experiment!

The Color Wheel(Subtractive Color)

The Color Triangle

Color Terms & Tips skill sheet


SKILL SHEET:

Designing Symbols &Logos That Work

SymbolsSymbols are designs that are used to representideas, processes, directions or things.

Well-designed symbols:• Are easy to recognize, understand and remember.• Are simple and bold with no unnecessary details.• Are easy to reproduce in small or large sizes.• Can be reproduced in one color, especially black.• Use “white space” (negative space) as effectively

as positive space.

Symbol Examples:

LogosLogos are designs that often combine a name with asymbol to represent a company, organization or indi-vidual. Well-designed logos have the same qualities aswell-designed symbols. In addition, you need to con-sider the use of typeface and style and how well theword or words work with the symbols. Logos should:

• Positively express the personality or image of theorganization, product or individuals they represent.

• Work well when used in intended applicationssuch as letterhead, business cards and signs.

Logo Examples:

Symbol & Logo Design TipsThe design process for symbols and logos is similar tothe design process for other visual communicationprojects (see “The Creative Process” skill sheet on pg.59). Here are some additional things to consider:

• You have probably been exposed to thousands ofsymbols in your lifetime, many you consciouslyrecognize and many your brain has unconsciouslystored away. When designing symbols or logos,it’s important to make sure that your designsdon’t accidentally resemble too closely theregistered trademarks of other businesses ororganizations. One way you can avoid this is byhaving others review and comment on yourdesigns. Another way is to look in the library orbookstore for books that showcase logo or symboldesigns.

• Another important reason to have several peoplereview your designs is to find out whether theycan understand what you are trying to communi-cate. What makes sense to you may confuse (orpossibly even offend!) someone else.


SKILL SHEET:

Designing PresentationGraphics That WorkPresentation graphics are visualaids used to clarify and highlightpublic speaking. Posters, chartsand overheads are some examples.

Consider YourAudience• Make type large enough for youraudience to read. Check out yourvisuals from the farthest distancethey will be viewed to see if theaudience can read them.

• Don’t stack type vertically or placeit at odd angles unless you reallyneed to for a special effect. Youraudience will get stiff necks tryingto read too much type that isn’thorizontal!

• Use points or areas of color to helplead the viewer’s eye through yourvisuals.

• Keep your visuals simple and theinformation on each one brief. Goeasy on the boxes, lines and otherpotential visual clutter. Break your

information up into several visualsand edit it so only the essential in-formation is shown.

• Don’t spend too much time on onevisual. You’ll lose the interest ofyour audience.

• Avoid using red and green togetherto compare data on charts andgraphs. It is difficult for people whoare color blind to see the difference.

Consider YourInformation• Take time to proofread and checkthe accuracy of your information.Never use visuals that you haven’tcarefully checked. (Failing to checkyour visuals ahead of time could beembarrassing to you and youraudience!)

• Vary the size, weight and color ofthe elements in your visuals whenyou need to emphasize something.

Too many elements used for empha-sis on one visual have the oppositeeffect – nothing will stand out!

Consider YourPresentationEnvironmentPlan time to check the availabilityof electrical plugs and extensioncords, curtains to darken windowsor the best arrangement of youraudiovisual equipment. If possible,double-check equipment beforeyour presentation to make sure itis working properly. Always have abackup plan just in case your equip-ment breaks down.


SKILL SHEET:

Designing LayoutsThat Work

Type• Keep headlines and wording brief– include only the most essentialinformation.

• Take time to proofread.

• Choose an easy-to-read typeface.Avoid using all capital letters, stack-ing headlines vertically or arrang-ing type at an angle unless a spe-cial effect is needed.

• Vary the size of the type (withinthe readable range) to show the lev-els of importance of different partsof the message. Make important in-formation big and less importantinformation smaller.

• Make samples of text using dif-ferent typefaces and sizes to seehow easy they are to read from thedesired viewing distance.

Artwork• Create art from enlargements ofyour original photos, drawings,paintings or cut-paper collages. Youcan also use copyright-free black-and-white “camera-ready” artwork(look in bookstores and libraries for“clip-art” books that specifically saythe art can be legally reproduced.)

• Use graphic elements such asrules, bullets and art to help guideyour viewer through your message.

• When possible, limit artwork toone large (at least one-third of thelayout area), eye-catching illustra-tion of the message. This will havemore visual impact than severalsmall (and hard to see from a dis-tance) images.

Color• Use color to catch people’s atten-tion and also as a tool for directingthe viewer’s gaze through themessage.

• Pick colors for type and art thatcontrast well with the backgroundcolor – for example, black type ona yellow background.

• A simple color scheme of two orthree colors (including the back-ground), with only one of the col-

ors being a highlight color, can of-ten communicate more effectivelythan a design that uses a rainbowof colors!

Space• Use formal (symmetrical) balanceprimarily for formal, seriouscommunication.

• Use informal (asymmetrical) bal-ance for topics that call for a moredynamic and interesting treatment.

• Plan for “open space” in your de-sign. Use open space to visuallybalance areas of text or artwork. Ifused properly, it can keep your de-sign from appearing too clutteredor busy.

• Make lots of “thumbnail sketches”(small, quick drawings) to see howa variety of headline and art ar-rangements might look.


Designing Layouts That Work Skill Sheet continued

Anatomy of a Flier or Poster

Express Yourself!January 1, 2001

A Location Near You

Does the Thought of DoingPresentations Make You Nervous?

You Can Learn to CommunicateWith Confidence At:

“Graphic”or “Clip Art”

Learn tips and tricks for creating and delivering dynamitepresentations. You’ll find out what the pros know about:

• Writing a memorable speech.• Designing presentation graphics that will get you noticed.• Calming stage nerves.• Speaking clearly and with confidence.• Making effective use of communications media.

ADMISSIONFREE!

“Rule” or line

“Bulleted”list

Decorative “initial cap” “Body copy”

or “text”

Border

Headline in“displaytype”

Subhead


SKILL SHEET:

Designing ExhibitsThat Work

Exhibits are visualdisplays designed toattract the attention ofpeople passing by. Afteran exhibit has caughtsomeone’s attention, itshould interest themenough that they stayand learn more about atopic, view items,sample products orpurchase something.

Exhibits can be as simple as a posterseries in a store window, or as elabo-rate as a multimedia show in abooth at the fair.

Effective exhibits:

• Attract attention.

• Summarize a single idea.

• Tell the visitor where to get moredetailed information.

• Present a good image of yourorganization.

Exhibits may also:

• Take a considerable amount oftime to plan, build and maintain.

• Require extra set-up time, spe-cialized help or special transporta-tion to move them.

• Require an attendant as well asmaintenance or replacement partsif you use live animals, models, photo-graphs or anything else that couldbe detached, handled or removed.

Planning TipsBefore you start construction, askyourself the following questions:

• What do I want to say? Exhibitsusually hold an audience for only afew seconds, so you must start witha very clear idea of what you wantto say. Pick a message that can beeasily demonstrated or illustratedand outline the most importantpoints.

• Who is my desired audience? Isyour message intended for people

who are old or young? Where dothey live? What are their back-grounds? What do they have in com-mon? What is important to them?If you can choose a location for yourexhibit, pick a place likely to at-tract your intended audience.

• Why am I doing this? Do I wantto teach a new idea? Persuade orencourage someone to do something?Reinforce an old idea? Show howsomething works? Sell something?

• Who can help me? Do you needto find people with special skills tohelp you? Will you need specialtools or materials?

• How much space is available?Will you have a whole room or partof a room? An exhibit case? A table-top?

• Will there be electrical outlets?Will you need lighting, slide pro-jectors, computers, tape players orother electrical devices to effec-tively get your message across?

Location, Location,LocationPut your exhibit where the mostpeople you want to reach will passby with time to stop and look atwhat you have to say. Always getadvance permission to set up yourexhibit from whoever is in chargeof the area you choose! Some placeswhere you might arrange to set upan exhibit include:

• Schools. Most schools have dis-play cases and bulletin boards.


• Public buildings. Check librar-ies, airports, post offices, countycourthouses and other public build-ings for areas you might get per-mission to use.

• Doctors’ or dentists’ offices.Medical offices are often willing toprovide space for exhibits on healthcare or nutrition, and patients ap-preciate having something to lookat while they wait.

• Shopping centers or malls. Theseareas are good for attracting large,diverse audiences.

• County fairs. Many people attendfairs especially to see the exhibits.

Exhibit Design Tips• Set up your exhibit to read fromtop to bottom, left to right likethe pages of a book.

• Make sure background materialisn’t distracting, illustrations are bigand bold, and lettering is easy toread. Follow this guide for letter-ing sizes:

Lettering Viewing Distance

¼ inch 8 feet

½ inch 16 feet

1 inch 32 feet

2 inches 64 feet

• Use horizontal lettering, not ver-tical.

• Use real objects, demonstrationsor models to add life to your ex-hibit (but be prepared for poten-tial breakage or theft).

• Keep your message brief and tothe point so viewers can digest itin just a few seconds. To conveymore detailed information, pass outbrochures.

• Sketch your exhibit ideas beforeyou start to build. This will give youa rough idea of size, materials andlayout.

• Try to anticipate problems. Willthe lettering run if it rains? Willwind blow the panels down? Willchildren break the models?

• Play it safe. Have a professionalcheck electrical wiring. Make surethere are no cords, wires or otherobjects anywhere people might tripon them. Anchor objects in yourexhibit well to prevent accidents.

Make Your Exhibit Workfor YouIf your exhibit has a person tend-ing it, he or she should:

• Be neat, polite and helpful.

• Wear a name tag.

Designing Exhibits That Work Skill Sheet continued

• Make sure the exhibit is function-ing correctly.

• Stay to the side, out of the way.

• Stay with the exhibit.

• Be prepared to answer questions,or tell people where they can getmore information.

• Keep the area clean.

If your exhibit is unattended:

• Check occasionally to make sureeverything is working correctly.

• Repair any tears, missing lettersor other pieces, or other problemsimmediately.

• Change the display regularly, orremove the exhibit when you arethrough.

• Keep glass display cases clean.


SKILL SHEET:

How Did I Do?A Self-Check for Evaluating Your Design Project

Use this checklist to evaluate andfine-tune your design work. Keepnotes on what you think you didwell and on areas in which you’dlike to improve.

Audience� Does the design appeal to your intended audience? Is the type

legible? Are the graphics appropriate for the age level? Is the designbias-free? What works well and what might you do differently?

Message� Do all elements of your design communicate your message? Is it

clear what you want the viewer to know or do? What works well andwhat might you do differently?

Format� Are the format (such as brochure, flier, poster, ad, display, overhead

transparency) and layout appropriate for presenting the information?What works well and what might you do differently?

Environment� Does the design stand out in the environment in which it was

intended to be used? What works well and what might you dodifferently?


DESIGN WARM-UP ACTIVITY:

Design Elements: Line

FOCUS:Understanding the use of line indesign

PURPOSE:• To experiment with creating

different line qualities• To create lines that give the

impression of different feelingsor moods

MATERIALS:� Various widths of black pens,

pencils, crayons, markers,brushes with ink and anyother writing instruments youcan find

� White paper� “Design Building Blocks – The

Elements and Principles” skillsheet (on pp. 60–61; one perperson)

SETTING:A room with work tables and chairs

TIME:About 30 minutes

PROCEDURE:1. Hand out and review the “Design Building Blocks – The Elements

and Principles” skill sheet with the group.

2. Tell the participants they are going to experiment with one of thebasic elements of design: lines. Designers use lines to help organizeor connect things, to show direction, to suggest feelings, to showrhythm, to suggest shapes and more!

Ask the group to make as many different kinds of lines as they canwith all the available drawing tools.

TALKING IT OVER:Ask the group to look at their collection of lines and describe thecharacteristics of the lines (such as soft, hard, neat, fuzzy, active,quiet, wiggly). Have the participants write a word they’ve used todescribe the line using the same type of line – for example, they couldwrite the word “wiggly” in a wiggly line style. Have them think abouthow a designer might want to use some of these qualities in a commu-nication piece such as a poster.

TRY THIS TOO:Have the group find examples of advertisements, posters, magazinelayouts or other communication pieces that use lines. Talk about howthe designer used lines in the piece.



Design Elements: Shape

FOCUS:Understanding the use of shape indesign

PURPOSE:To create combinations of shapesthat communicate an idea or thing

MATERIALS:� Scissors� Glue sticks or tape� Paper in colors that contrast

with the copies of the “Takethe Tangram Challenge” hand-out

� “Design Building Blocks – TheElements and Principles” skillsheet (on pp. 60–61; one perperson)

� “Take the Tangram Challenge”handout (on pg. 76; one perperson)



PROCEDURE:1. Hand out and review the “Design Building Blocks – Elements and

Principles” skill sheet with the group.

2. Tell the group they’re going to use an ancient Chinese shape puzzleknown as a tangram to experiment with one of the basic elementsof design: shapes.

3. Share the following information with the group:

Designers use shapes to represent ideas (for example, hearts oftenrepresent the concept of love and open books represent education).Designers use shapes in logos to represent what businesses or organi-zations do. They often use interesting shapes to attract readers to apage of information. For example, a photograph might be cropped likea starburst or type might be arranged into a triangle.

4. Ask the group to think of some other shapes that represent ideas.Have them list some of the different shapes they could use in adesign layout. For example:• Geometric shapes like triangles, squares, rectangles, circles• Natural shapes such as plants and animals• Abstract shapes (often similar to natural shapes, but simpler)

5. Divide the group into pairs, then distribute copies of the “Take theTangram Challenge” handout, the glue sticks or tape, and thecolored paper to use as backing.

6. Explain to the group that they will have 5 to 10 minutes to use thetangram pieces to create a shape. The shape should represent anobject from the list on the handout or an object they come up withon their own. Tell them they don’t have to use all of the tangrampieces provided. They can also trade pieces with other pairs. Whenthey’re done with the shape, have the teams fasten their completedimages to contrasting paper.

7. Bring the total group together and ask them to figure out whateach of the tangrams represents. Then have them repeat the activ-ity, creating shapes that represent an emotion or action from thelist on the handout or one they come up with on their own.

8. Go through the questions in the “Talking It Over” section.

TALKING IT OVER:Bring the total group together and talk about the following questions.

1. What was easier to communicate – a thing, an emotion or anaction? Why?


2. How might that ease or difficulty in communication relate to theexperience of designing a logo or symbol? (Point out that in gen-eral, the more complex an idea is, the more abstract the symboldesigned to express it usually is. As a result, it may be more diffi-cult to communicate the same meaning to a variety of people.Corporate logos are good examples of this. If a company representsmany products and services, their logo is usually quite abstract.)

TRY THIS TOO:Have the group look through magazines and collect examples of symbolsand layouts that make creative use of shapes.


DESIGN ELEMENTS: SHAPE HANDOUT

Take the Tangram Challenge

Tangrams are ancient Chinese puzzles in which players use seven pieces cut from a square to createdesigns and figures. The traditional game requires that all seven pieces be used in each design and thatno pieces overlap. For this activity, you may use as many of the pieces as you wish, but do not overlapthem.

CHALLENGE 1:Arrange the tangram pieces to make one of the ob-jects from the following list (or make up your own).

CHALLENGE 2:Use the tangram pieces to express one of the emo-tions or actions from the following list (or make upyour own).

• Airplane• Bird• Boat• Cat

• Flower• House• Mouse• Rabbit

• Snake• Tree

• Angry• Dancing• Happy

• Running• Sad• Sleeping

• Talking• Walking

Trace or copythe pattern andcut the piecesapart. You canglue the piecesto a piece ofpaper orcardboard of acontrastingcolor onceyou’ve createda design youlike.



Design Elements: Texture

FOCUS:Understanding the use of texture indesign

PURPOSE:• To experiment with finding or

creating different visualtextures

• To try using texture to commu-nicate a feeling

MATERIALS:� A variety of objects with

different surface textures suchas window screen, lace, wood,feathers, leaves, grass

� Samples of printed materialsthat use different textures ofpaper

� Printed materials with visualtexture (patterns) such aswrapping paper, wallpaper,sections of photos cut frommagazines

� Sheets of colored paper with-out much texture

� Crayons� Scissors� Glue sticks� “Design Building Blocks – The






2. Tell the group they’re going to experiment with one of the basicelements of design – texture. Share the following information:

Texture actually can be felt (like the surface of linen finish paper orembossed lettering) or texture can be an illusion (like paper that isprinted to look like fabric or wood.) Printed patterns also can give theillusion of texture when used as a background or border.

3. Ask the group to list some moods or feelings they think could becommunicated through texture.

4. Divide the group into pairs. Tell them they’re going to create textureswatch sheets (similar to the swatch sheets interior designers use toshow clients different color and fabric selections.) Have the partici-pants create visual textures by placing textured objects underneathsheets of paper and rubbing the flat side of crayons over the paper.

5. Next have the teams clip examples of visual textures from photos inmagazines. Have the groups cut their texture swatches into similarshapes and sizes, then fasten the swatches that look as though theyhave a similar “feel” onto sheets of paper with descriptive titlessuch as “woodsy,” “rough,” “shiny” or “delicate.”

6. Have the teams take turns presenting their swatches and ideas tothe total group.

TALKING IT OVER:Bring the group together as a whole and talk about one or more of thefollowing questions.

1. How could you use texture in a design project?

2. Can you think of other ways to “capture” textures to use in design?(Tell them that designers often have access to collections of phototextures on CD-ROM disks that they can apply to shapes or letter-ing. Also, textures can be electronically scanned into computer filesor photocopied directly from objects. Point out that another impor-tant use for texture in design is in signage, where raised letteringand the use of the Braille alphabet are necessary.)

TRY THIS TOO:• Have the participants create a scrapbook of texture swatch pages.• Have the group research some of the computer design programs that

use fractal mathematics to create fascinating visual patterns.



Design Elements:Space & SizeFOCUS:Understanding the use of space andsize in design

PURPOSE:To help participants become awareof the role of space and size in vi-sual communications

MATERIALS:� Solid color paper cut into

different sizes and shapes� Sheets of a contrasting solid

color paper� Scrap paper� Glue sticks, rubber cement or

clear tape� Pencils� “Design Building Blocks – The






2. Tell the participants they’re going to experiment with two of thebasic elements of design: space and size. Share the following infor-mation on space with the group:

In design, “space” is the area that type, shapes and lines occupy in acommunication piece. Space is also the areas surrounding what’s inprint (designers call this “open” or “white space”). The space be-tween objects, as well as the size of the space they take up in adesign, can give the impression of different relationships such as nearor far, crowded or lonely, important or not important. Space can beused to give the impression that a group of things belong together.Sometimes empty space is provided just to give the reader’s eye aplace to rest. Spacing between letters, words, lines and paragraphs isalso very important to the readability of type. The shape of the“white space” around objects can be used to communicate meaningas well.

3. Ask the group if they can think of any symbols or logos that makeuse of both positive and negative space. (The 4-H logo is oneexample – the H’s are negative spaces in the cloverleafs.)

4. Share the following information on size with the group:

Using different sizes of objects in a design can attract more attentionthan using objects that are all the same size. Making something thatis usually very small – such as an insect – very large in a design(maybe even so big that it is partially cut off the edge of the page) isunexpected and will make the viewer want to know more. The size oftype or symbols is critically important when a driver needs to read aroad sign from a distance in a moving car.

5. Ask the group to think of some other examples in which size mightbe critical.

6. Divide the group into pairs. Write the following ideas (or create yourown) on individual slips of scrap paper.• Lonely or outcast• Joyful• Leadership• Contrast unified or harmonious with divided or confused• Contrast tidy with messy• Contrast huge with tiny• Contrast wide with narrow


7. Fold the slips and place them in a hat or other container. Have theteams take turns drawing slips. Explain that their task is to comeup with a way to represent the idea on their slip by arranging andpasting geometric shapes on a contrasting color of paper. Tell themthat they may need to try several arrangements before mountingtheir shapes.

8. Have the teams take turns presenting their designs to the groupand see if people can guess what ideas the layouts represent.

TALKING IT OVER:Ask the participants how easy or hard they thought this activity was.How many arrangements did they have to try before they got one thatreally worked? Explain that planning the size and space arrangementsin a design project is similar to doing a room arrangement. It’s mucheasier to rearrange small pieces of paper furniture on graph paper thanit is to move life-sized furniture! Similarly, drawing rough thumbnailsketches makes it quick and easy to try out different arrangements oftext, headlines, photos and illustrations on a page.

TRY THIS TOO:Have the group collect examples of advertising designs in magazinesthat make interesting use of space and size.



Design Elements: Color

FOCUS:Understanding the use of color indesign

PURPOSE:To help participants become awareof the properties of color

MATERIALS:� Tempera or gouache paints

(yellow, blue, red, black andwhite)

� Paint brushes� Water containers� Newspapers� Color palettes or cups for

mixing colors� Pencils� White index paper� “Design Building Blocks – The


� “Color Terms and Tips” skillsheet (on pp. 64–65; one perperson)

� “The Color Wheel and Triangle”handout (on pg. 82; one perperson, photocopied on card orindex stock)

� “Explore Color” handout (onpg. 83; six per person, photo-copied on card or index stock)

SETTING:A room with work tables, sink andchairs

TIME:1 to 2 hours

PROCEDURE:Before the meeting:1. Photocopy the handouts.

2. Cover tables with newspapers and set out painting supplies.

During the meeting:1. Hand out and review the “Design Building Blocks – The Elements


2. Tell participants they are going to explore one of the basic elementsof design: color.

3. Give each participant a copy of the “Color Terms and Tips” and “TheColor Wheel and Triangle” handouts. Review the handouts with thegroup and explain that they are each going to create a tool thatthey can use when selecting colors for their design work.

4. Have them paint their color wheels, starting with the “subtractive”primary colors (yellow, red and blue), then mixing the secondary(the color in the middle between two primary colors). Finally, havethem paint the intermediary colors between the primary and sec-ondary colors.

5. When the color wheels are completed, ask participants to point outthe following:• Hue• Analogous colors• Complementary pairs of colors• Warm colors• Cool colors• Color triad

6. Tell the group to paint their color triangles by choosing one primaryor secondary color, then mixing it with white, grey and black.

7. When the color triangles are finished, ask participants to point outthe following:• Hue• Tint• Shade• Tone

8. Distribute six copies of the “Explore Color” handout to each partici-pant. Ask them to label the designs and color them using thefollowing color schemes:• Warm colors• Cool colors


• Analogous colors• Monochromatic• Triad• Complementary

9. When the designs are dry, display them around the room, groupedby color scheme.

TALKING IT OVER:Bring the group together and ask the following questions about the emo-tional associations of color.

1. What feelings might the different color schemes represent? Why?

2. Does everyone associate the same colors with the same emotions?How might this information be used in visual communicationdesign?

3. What would you do differently if you were designing information foran audience from a different culture than your own?

TRY THIS TOO:A tremendous amount of information is available about color. Thegroup may be interested in exploring an area of color research such asfashion color. Color forecasting companies anticipate color trends forentire industries. Have your participants think about the range ofmanufactured products that might depend on color research. The groupcould have fun collecting and discussing the color names used forconsumer goods in stores and catalogs.


DESIGN ELEMENTS: COLOR HANDOUT:

The Color Wheel & Triangle


DESIGN ELEMENTS: COLOR HANDOUT:

Explore Color

COLOR SCHEME:



Design Principles: Balance

FOCUS:Understanding the use of balancein design

PURPOSE:To help the participants practiceapplying balance to a simple designproblem

MATERIALS:� Magazines� 8.5-inch by 11-inch white

paper� Glue sticks� Scissors� Bright red markers or crayons� “Design Building Blocks – The


� “Balancing Shapes” handout(on pg. 86; two per group)





2. Tell the participants they’re going to experiment with one of theprinciples of design: balance. Share the following information withthe group.

Unbalanced design may give the reader a feeling of uneasiness.Balanced design feels more secure and allows the viewer to concen-trate on the message you’re trying to communicate.

Two kinds of balance are generally used in design – symmetrical(formal) and asymmetrical (informal). Symmetrical balance is anarrangement of objects at equal distance to the left and right of thecenter of the overall design. Asymmetrical balance is an arrangementof objects with equal “visual weight” on either side of the design. Thedesign elements of color, size and shape all provide visual weight. Forexample, bright colors and large shapes would look “heavy” on theright side of an asymmetrical design and could be balanced by a largearea of white space on the left side.

3. Have the group look at advertisements in magazines and identifyexamples of both kinds of balance.

4. Divide the group into two-person teams. Tell them they’re going tocreate and compare designs with the two kinds of balance. Distrib-ute two sheets of 8.5-inch by 11-inch white paper and two copies ofthe “Balancing Shapes” handout, scissors, a bright red marker orcrayon and a glue stick to each team.

5. Tell the participants that to create a symmetrical design, theyshould cut out all the shapes on one of the “Balancing Shapes”handout. Then have them color the small white circle with the redmarker or crayon.

6. Next have them fold one sheet of white paper in half (in eitherdirection) and set the paper down so that the folded line is runningaway from them. Explain that this fold is the “line of symmetry.”Tell them to arrange the shapes they’ve cut on the white paper sothat the right side of the paper is a mirror image of the left side.

7. Now tell the group that to create an asymmetrical design, theyshould cut out all the shapes on the other “Balancing Shapes”handout. Then have them color the small white circle with the redmarker again.


8. Have the participants look at the shapes and think about whichones have the most and the least “visual weight.” Tell them toarrange the shapes on the page so that the shapes look balancedbut are not symmetrically placed.

9. If you have enough time, have the groups create several symmetri-cal and asymmetrical designs to see how many different combina-tions they can come up with using the same shapes. Have the teamsdisplay their designs around the room.

TALKING IT OVER:Bring the whole group back together, and while they look at the designs,ask the following questions:

1. What kind of feeling do you get from the symmetrical designs? Inwhat kinds of design projects might you use this kind of balance?

2. What was easier to balance – the symmetrical or asymmetricaldesigns? (Point out that asymmetrical balance becomes easier withpractice.)

3. How did adding the colored circle affect the overall balance of thedesigns?

TRY THIS TOO:Have the group investigate how the principle of balance is used in adver-tising layout design. The participants could clip magazine ads, sort themby the type of balance used in the design and create a design referencenotebook.


DESIGN PRINCIPLES: BALANCE HANDOUT

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Design Principles: Rhythm

FOCUS:Understanding the use of rhythmin design

PURPOSE:To practice applying rhythm to asimple design problem

MATERIALS:� Tape recorder� Taped musical selections with

different rhythms (such as fast,slow, smooth, erratic)

� 8.5-inch by 11-inch whitepaper

� Black and colored markers orcrayons

� “Design Building Blocks – TheElements and Principles” skillsheet (on pp. 60–61; one perperson)





2. Tell the participants they’re going to experiment with one of theprinciples of design: rhythm. Share the following information withthe group.

Rhythm in design is like rhythm in music – it is created by repeatingelements in a pattern, which unifies the composition. Like music, ifthe same pattern is repeated too long, it will become boring orannoying, so variations in the pattern are needed to maintain theviewer’s or reader’s interest. Even patterns with equal spacing be-tween elements are more relaxing, while uneven patterns are moreexciting.

3. Tell the group they’re going to create designs with rhythm with thehelp of music. Distribute several sheets of 8.5-inch by 11-inch whitepaper and one black and one colored marker or crayon to each person.

4. Tell the group to close their eyes and listen for the rhythmic pat-terns and variations while you play a short musical selection (about5 minutes). After they’ve listened to the music once, tell themyou’re going to play the selection again. As they listen to theselection the second time, have them make marks on their paper torepresent the rhythms they hear in the music. These marks can beany kind of line, shape or color they think is appropriate. Remindthe group that there is no “right way” to do this! Repeat thisprocess with the other musical selections.

5. Display the rhythm drawings in groups by musical selection.

TALKING IT OVER:Bring the group back together and ask the following questions:

1. What similarities can you find within the drawings made duringeach musical selection? Is the mood of the musical selection re-flected in the drawings? How?

2. If you wanted to create the same mood in a poster design, howmight you incorporate rhythm in your design? (Discuss backgroundart, repeating shapes and colors, and alternating sizes and weightsof type.)

TRY THIS TOO:Explore the work of artists Henri Matisse, Larry Poons, Vasily Kandinsky orothers who have created artwork inspired by music. Collect examples of theuse of visual rhythm in a design reference notebook for future reference.



Design Principles: Emphasis

FOCUS:Understanding the use of emphasisin design

PURPOSE:To practice applying emphasis to asimple design problem

MATERIALS:� 8.5-inch by 11-inch white

paper� 2-inch square cardboard

templates� Black and bright colored

construction paper� Scissors� Glue sticks� Pencils� Black markers or crayons� “Design Building Blocks – The






2. Decide whether you’re going to have the participants work individu-ally or in pairs. If they’ll be working in pairs, have them form two-person teams now.

3. Tell the participants they’re going to experiment with one of theprinciples of design: emphasis. Share the following information withthe group.

Emphasis is used in design to make important things get noticedfirst. You can vary the shape, color, angle, size, texture, value or linethickness of an object in a layout to give it emphasis. If a design hastoo many areas of emphasis, however, nothing will stand out and theviewer will become confused.

4. Distribute the 2-inch square cardboard templates, pencils, scissors,8.5-inch by 11-inch white paper and colored construction paper.

5. Explain that each person or group will create five designs that showdifferent ways to create emphasis. Tell them to start each design byusing the 2-inch cardboard template to trace and cut out nine 2-inch squares from black paper. Then arrange the squares in threerows of three with about ½-inch of white space between each row.

• Design 1 (Shape): Cut a 2-inch diameter shape that is not asquare out of black paper and replace one of the squares with thispiece. Paste all the pieces onto a white sheet.

• Design 2 (Color): Cut a 2-inch square out of red or another brightcolor of paper and replace one of the squares with this piece.Paste all the pieces onto a white sheet.

• Design 3 (Size): Cut a black square that is a little smaller orlarger than 2 inches and replace one of the squares with thispiece. Paste all the pieces onto a white sheet.

• Design 4 (Angle): Position one of the squares at a slightlydifferent angle than the others. Paste all the pieces onto a whitesheet.

• Design 5 (Texture and Value): Replace one of the squares with a2-inch black square with a different texture and value (lightness/darkness of black). Create the texture by either rubbing a blackcrayon on a piece of white paper placed over a textured object orby making an even pattern of lines over the paper. Paste all thepieces onto a white sheet.


• Design 6 (Multicolor): Create a similar design with nine differentbright-colored 2-inch squares cut from construction paper andpasted onto a white sheet of paper with about ½-inch of whitespace between each square.

6. Tell the participants to view each of their designs by first closingtheir eyes, then opening them and seeing what part of the sheetcatches their attention first.

TALKING IT OVER:Have the participants get back into the larger group and ask the followingquestions:

1. Did some types of emphasis stand out more than others? Whichones?

2. What had emphasis in the multicolored design? Which is moreeffective for showing emphasis – the design with black and oneaccent color or the multicolor design?

TRY THIS TOO:• Have the group cut several ads from magazines and look at each one

to see where their eyes go first when they look at the ad. Discusswhy. See whether the group can find examples of ads with confusedemphasis.

• The group may wish to keep a notebook for their designs andobservations.

123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345123456789012345

Design 1 (Shape) Example

Design 2 (Color) Example

Design 3 (Size) Example Design 4 (Angle) Example Design 5 (Texture and Value)Example



Design Principles: Unity

FOCUS:Understanding the use of unity indesign

PURPOSE:To learn how unity is created in vi-sual communications design

MATERIALS:� One complete and different

issue of the same newspaper(such as the July 11, 12 and 13issues of the Anytown HeraldPress) per work group

� Paper� Pencils or pens� “Design Building Blocks – The






2. Tell the participants they’re going to explore one of the principles ofdesign: unity.

Explain that a unified layout looks like all the design elements belongtogether. As in an attractive outfit of clothes, a unified design uses type,artwork, colors, patterns, shapes and lines that harmonize.

3. Divide the participants into small groups. Distribute newspapers,paper, and pencils or pens. Tell them that they’ll have about 15minutes to look for and take notes on the ways the newspaperdesigner created unity in the layout. Tell them to look for:• Repeating type styles, colors, shapes or textures• Grouped elements• Evidence of a grid (an invisible framework for arranging type, art

and space) being used throughout the publication

4. After they’ve looked through their newspapers, have the partici-pants return to the larger group. Ask for volunteers to report theirsmall groups’ findings to the larger group.

TALKING IT OVER:Ask the following questions:• As you listened to the small group reports, did you note a sense of

design unity from one issue of the newspaper to the next?• Why do you think unity might be important to the readers of a

daily newspaper?

TRY THIS TOO:• Try having the group do a similar exploration of unity as it applies

to television shows or audiovisual materials.• The group may wish to keep a notebook for their observations.


ACTIVITY:

You’re My Type

FOCUS:Communicating using typefaces

PURPOSE:• To help participants become

aware of the many styles oftype

• To help participants under-stand how different typedesigns can be used to commu-nicate different messages

MATERIALS:� Glue sticks� Paper� Rulers� Pencils� Scissors� “Typeface Sample Sheet”

handout (on pg. 92; one perperson)

� “Type Terms and Tips” skillsheet (on pp. 62–63; one perperson)


TIME:20–30 minutes

PROCEDURE:1. Give each person a copy of the “Typeface Sample Sheet” handout.

Explain that the sheet includes just a few of the thousands oftypefaces that have been designed since the invention of printingwith movable type (see the “Type Terms and Tips” skill sheet formore information).

2. Have the participants divide into two-person teams. Give them 3minutes to introduce themselves to their partners by describing thetypes of activities they enjoy or by sharing other information aboutthemselves.

3. After the partners have introduced themselves, tell them they’ll bedesigning a monogram for their partners using a typeface thatvisually represents their partner’s interests.

4. Pass out glue sticks, paper, rulers, pencils and scissors.

5. Share the following information with the participants:

Choose a typeface from the “Typeface Sample Sheet” that is the bestmatch for what you learned about your partner from his or herintroduction. Cut out the first letters of your partner’s first, middleand last names in that typeface. Use a ruler and pencil to draw alight “baseline” on a sheet of paper that you can follow to align theinitials. Paste the initials onto the paper. You could also hand-drawthe lettering or enlarge some letters on a photocopier and trace themonto a paper.

6. When the teams are done, ask each person to introduce his or herpartner using the nameplate he or she has designed.

TALKING IT OVER:Ask the group the following questions:

1. Why did you select the typeface that you did?

2. Do you think you were able to “capture” some aspect of yourpartner’s interests using the typeface you chose?

TRY THIS TOO:People who design typefaces are called typographers. The study of typedesign is called typography. Information is available on these areas inthe library under the broader topic of graphic design. Computer softwarehas been developed that gives designers the ability to create new type-faces. If the group has access to a computer with drawing software, theymay be interested in trying to create their own alphabet.


YOU’RE MY TYPE HANDOUT:

Typeface Sample SheetBeesknees ITC*

Bradley Hand ITC*

Cheltenham ITC Bold BT*

Eras Ultra ITC*

ITC Officina Sans Book*

Snap ITC*

Juice ITC*

Matisse ITC*

Tempus Sans ITC*

Viner Hand ITC*

* ©Copyright International Typeface Corporation


ACTIVITY:

Scanning the VisualEnvironmentFOCUS:Thinking about visual communica-tions in our environment

PURPOSE:• To help participants become

aware of the variety of visualcommunications that surroundthem

• To help participants learn toidentify some different formsof visual communications

MATERIALS:� Pads of paper (one pad per

team)� Pens or pencils

SETTING:Public building or center such as aschool, community center, mall ordowntown area

TIME:30–45 minutes

PROCEDURE:1. Divide the group into two- or three-person teams. Give each team a

pad of paper and pen or pencil.

2. Tell the teams they’re going on a “visual treasure hunt.” Theyshould find and record as many examples of visual communicationas they can in 15 minutes (you can give them more time if youthink it’s necessary). Ask them to name some examples of the kindsof things they might look for (such as signs, logos, T-shirt messages,bumper stickers, billboards).

3. Ask each group to choose a person to record the group’s findings inwords or sketches.

Leader’s Note: Before your group disperses to gather examples of visualcommunication, review with them some appropriate safety rules. For ex-ample, staying together, staying alert to their surroundings and eventshappening around them, and meeting at the designated time at the des-ignated meeting place.

TALKING IT OVER:After the group has gotten back together, have each team present theirfindings. Have the group discuss the following questions:

1. How many messages were you able to find? Were you surprised at thenumber? Do you think there were even more that you didn’t notice?

2. Did some messages stand out more than others? Why? (Ask for adescription of color, type size, types of illustrations and otherdesign features.) Did some messages take longer to find? Why?

3. Do the visuals you found have different “jobs?” (Examples mightinclude directional signs, advertising, graffiti.) Did you see anymessages in Braille, raised lettering or other methods specificallydesigned for people with low vision or special needs?

4. How do you normally look at your visual environment – how muchdo you actually see? Discuss how people selectively view the visualenvironment depending on what they’re doing or thinking about atthe time.

TRY THIS TOO:Many of the visuals your participants found were created by graphic de-signers. Group members could look for more information in the libraryunder the topics of graphic design and advertising. People in the profes-sions of architecture, urban planning and industrial design are also in-volved in designing the visual environment of cities and towns.


PROJECT:

Design a Logo

PURPOSE:To design a personal logo

MATERIALS:� Pencils� Graph paper� Ruler or straight edge� Tracing paper� Glue sticks� White paper� Black fine-tip and wide-tip

markers� Photocopier (optional)� “The Creative Process” skill

sheet (on pg. 59; one perperson)

� “Designing Symbols and LogosThat Work” skill sheet (on pg.66; one per person)

� “Typeface Sample Sheet”handout (on pg. 92; one perperson)

� “What I Learned” self-evaluationform (on pg. 8; one per person)

SETTING:A room with work tables and mov-able chairs

TIME:At least 60 minutes (more if youwish to have participants create amore polished product)

PROCEDURE:Before the meeting:It will be helpful if the group has experienced at least a couple of thedesign warm-up activities before doing this project. While all of theelements and principles are important to the design of logos, warm-upsthat focus on shape, space, rhythm or unity are good ones to start offwith. If you can do only two design warm-ups, choose one from thedesign elements and one from the design principles. The “You’re MyType” activity is also good to use before designing logos if the partici-pants are unfamiliar with typeface designs.

During the meeting:1. Tell the group that they’re going to design personal logos that will

contain a visual symbol and their initials. Pass out and brieflyreview “The Creative Process” and “Designing Symbols and LogosThat Work” skill sheets. It is helpful to view and discuss examples ofprofessionally designed logos from magazines and productpackaging.

2. Have the participants write some words to describe themselves andthink about a symbol (such as an animal or object) to representthemselves. Pass out copies of the “Typeface Sample Sheet” and askthe participants to look for a typeface that fits their personality.

3. Explain to the group that making thumbnail sketches is a great wayto brainstorm visual ideas. Using the information about themselvesthey’ve brainstormed, have them begin to explore some logo designsby drawing thumbnail sketches. Encourage them to fill several pageswith sketches and to not throw any away. Explain that sometimes asketch you initially don’t like may end up sparking another creativeidea that does work well.

4. Ask the participants to pick one of the thumbnails they like bestand draw it larger in pencil on a sheet of white paper. Have themrefine the design in pencil, then trace over and fill it in carefully inblack ink. This can be used as their “camera-ready art” to include inother identity products such as personal letterhead and callingcards.

5. If you have time, suggest that each person develop ideas for callingcard and letterhead layouts using their logo designs. These could bepresented as sketches or laid out using reduced photocopies of thelogos along with type from a typewriter or computer. To help withthis, you may want to provide examples of professional calling cardsand letterhead designs.


TALKING IT OVER:Ask for volunteers to present their logos to the group and talk aboutthe evolution of their ideas from brainstorming to final design. Ask thegroup how they might go about creating a logo for a company orproduct they weren’t familiar with.

TRY THIS TOO:The group might be interested in creating a final product incorporatingtheir logos. If they want to have calling cards or letterhead offsetprinted, they could visit a commercial printing company and discusswith a printer how they would need to prepare their final art. Otheruses for their logo designs are to:• Have a rubber stamp made.• Embroider or appliqué the design into a sewing project.• Paint, silk-screen or stencil the design onto a personal item such as

a T-shirt.• Have small groups search for good logo examples in magazines and

tell the larger group why they think the designs are successful.


PROJECT:

Design a Poster or Flier

PURPOSE:To use the design process and ele-ments and principles of design in aposter or flier format to communi-cate a message

MATERIALS:� Magazines, catalogs or photo-

copies of black-and-white clipart

� Scissors� Glue sticks, rubber cement or

clear tape� Colored pencils� Wide-tip and narrow-tip black

and colored markers� Rulers� Colored or white paper or

posterboard� Scrap paper� “The Creative Process” skill sheet

(on pg. 59; one per person)� “Design Building Blocks – The

Elements and Principles” skillsheet (on pp. 60–61; one perperson; optional)

� “Designing Layouts That Work”skill sheet (on pp. 68–69; oneper person)

� “Thumbnail Sketch Page” hand-out (on pg. 100; one per person)

� “How Did I Do? A Self-Checkfor Evaluating Your DesignProject” skill sheet (on pg. 72;one per person)

� “Sample Projects” handout (onpg. 99; one per person)


SETTING:Room with work tables and chairs

TIME:2 hours or more

PROCEDURE:Before the meeting:1. It will be helpful if the group has experienced at least a couple of

the design warm-up activities before doing this project. While all ofthe elements and principles are important to poster design, thewarm-ups that focus on space, size, color, type or balance are goodones to start with. If you can do only two design warm-ups, chooseone from the design elements and one from the design principles.

2. This activity puts young people in situations where other kids inthe group will respond to their presentation skills or give feedback.It should be done only when group members respect each other andare willing to abide by the following guidelines for respectfulbehavior. If you choose to use this activity, review these points withyour group in advance.• Listen carefully to other people’s presentations.• Provide feedback in a positive way.• Don’t be rude, critical or hurtful.• Be aware that everyone has differing abilities.• Be considerate of other people’s feelings.• Follow the Golden Rule: Treat other people the way you would like

to be treated.

3. You may wish to decorate the walls of the room with posters you’vecollected.

4. If you plan to have the teams’ posters or fliers reproduced by offsetor other printing processes, talk to a printer in advance to find outhow to best prepare the camera-ready art.

During the meeting:1. Tell the group they’re going to design either posters or fliers (fliers

are small posters that are usually 8.5 inches by 11 inches). Dividethe group into two- or three-person teams and have them work onreal publicity situations, situations they make up or one of theprojects from the “Sample Projects” handout. Point out that mostposters or fliers are viewed for only 8 to 10 seconds, so they’ll haveto make a strong impression fast!

2. Ask the teams what kinds of information they might need beforethey begin their design project. Pass out copies of “The CreativeProcess” skill sheet. Briefly review the design stages and then giveparticipants a chance to answer the questions in “Stage 1: GatheringInformation.”

3. Next, tell the group that it’s time to start brainstorming ideas andlayouts for their “design elements.” (You may wish to distribute and


review the “Design Building Blocks – The Elements and Principles”skill sheet with the group.)

4. Distribute the “Designing Layouts That Work” skill sheet and goover it with the group. Emphasize that all ideas are good ideas atthe brainstorming stage! Then pass out the “Thumbnail SketchPage” and have the teams make several thumbnail sketches ofpotential layouts. If teams are having a hard time coming up withideas, suggest they look at magazine ads for sample layouts thatthey could adapt to their project.

5. After the teams have created a variety of thumbnail sketches, askeach team to choose the sketch they think has the most potentialfrom the ones they have drawn. Have them produce a more detailedlayout (graphic designers call detailed layouts “comprehensives” or“comps”) of that sketch, or if time is short, have them go directlyto laying out the final art on paper or posterboard. Team memberscan take responsibility for different elements of the design depend-ing on their comfort level with drawing and lettering.

6. Production: Discuss with the group how production techniques varydepending on the materials available and whether the final postersor fliers will be one-of-a-kind or reproduced by photocopying,silkscreening or offset printing. Tell them that no matter how theirposter or flier is to be reproduced, all art and lettering must beproduced in black and white. It must be neat, with any guidelineserased and all written material carefully proofread! If your grouphas access to computers with page layout software, they can pro-duce their projects electronically.

TALKING IT OVER:Have the teams present their final products to the group and explainthe design decisions they made. Ask the group to identify the strongpoints of each design. You can also have the participants use the “HowDid I Do? A Self-Check for Evaluating Your Design Project” skill sheetto reflect on their work.

TRY THIS TOO:• One “low-tech” (but still effective for beginners) way to do this

activity is to have the teams produce their posters or fliers withhand-drawn lettering and art using wide-tipped markers or to cutand paste colored paper or clip-art mounted on paper orposterboard. Lettering stencils may be helpful, too. Participants canmake guidelines with a ruler or T-square and pencil, then erase thelines when the poster is finished. They could also enlarge andmount computer-generated type or art on their posters and fliers.

• “Graphic design” is the profession of people who work with thedesign and production of “primarily” printed information. Peoplewho do graphic design work can often be found in advertisingagencies, on the staff of newspapers and magazines, or at printingbusinesses. The group may be interested in researching graphicdesign at the local library or arranging a visit with a local graphicdesigner.


• The group might be interested in taking on the job of designingpublicity posters for a local group or event. Theme T-shirts areanother type of “wearable poster” design project the group mightenjoy trying.

• Have the participants look around, either in the building whereyou’re meeting or in the area, for examples of posters that catchtheir attention. If the group is meeting in a public building, havethe teams go outside and look for examples. (The activity called“Scanning the Visual Environment” on page 93 has suggestions forhow to do this.) Have the participants talk about why the layoutsare or are not effective.


DESIGN A POSTER OR FLIER HANDOUT:

Sample Projects

Create a poster or flier for a [event name] at[place]. Write a creative title for the event. In-clude the “what,” “when,” “where” and “how toget more information.”

Create a flier for a [event name] for kids in el-ementary school. Write a creative title for theevent. The fliers will be sent home from schoolwith students and must attract kids as well astheir parents. Include a tear-off form that par-ents must fill in and return to the school to reg-ister their kids. Include the “what,” “when,”“where” and “how to get more information.”

Create a recruiting flyer or poster to get [volun-teers] to come to a [community service activ-ity]. Write a creative title for the event. Thesewill be placed on bulletin boards around town.Include the “what,” “when,” “where” and “howto get more information.”

Create a poster or flier to recruit new membersto a club or group. Write a creative title for theevent. The target age group is 9- to 14-year-olds.These will be passed out at school and also pinnedup on bulletin boards. Include the “what,” “when,”“where” and “how to get more information.”

Create a poster or flier advertising a [event name]for senior citizens. Write a creative title for theevent. Include the “what,” “when,” “where” and“how to get more information.”

Create a poster or flier advertising [event name]to raise funds to send a club to camp. Write acreative title for the event. These could be dis-tributed door-to-door or placed in local businessesand gathering places. Include the “what,” “when,”“where” and “how to get more information.”

Create a poster or flyer to advertise a [fund-rais-ing event] to raise funds for [cause]. Write a cre-ative title for the event. These could be distrib-uted door-to-door or placed in local businessesand gathering places. Include the “what,” “when,”“where” and “how to get more information.”

Create a poster or flier advertising a new book[invent a title] on [topic]. These could be placedin local businesses such as bookstores and [topic-related stores or gathering places]. Include the“what,” “when,” “where” and “how to get moreinformation.”


DESIGN A POSTER OR FLIER HANDOUT:

Thumbnail Sketch PageUse this page to draw quick, rough thumbnail sketches of your project ideas.


PROJECT:

Design PresentationGraphics

Note: This project can be adapted for poster presentations by substitutingposter board for the overhead transparencies and projector.

PROCEDURE:Before the meeting:1. It will be helpful if the group has experienced at least a couple of

the design warm-up activities before doing this project. While all ofthe elements and principles are important to the design of presenta-tion graphics, warm-ups that focus on line, color, type, emphasis,balance or unity are good ones to start off with. If you can do onlytwo design warm-ups, choose one from the design elements and onefrom the design principles.

2. This activity puts young people in situations where other kids inthe group will respond to their presentation skills or give feedback.It should be done only when group members respect each other andare willing to abide by the following guidelines for respectfulbehavior. If you choose to use this activity, review these points withyour group in advance.• Listen carefully to other people’s presentations.• Provide feedback in a positive way.• Don’t be rude, critical or hurtful.• Be aware that everyone has differing abilities.• Be considerate of other people’s feelings.• Follow the Golden Rule: Treat other people the way you would like

to be treated.

3. Photocopy and cut apart the projects listed on the “Group ProjectSuggestions” handout or create your own and write them on slips ofscrap paper. Place the slips into a hat, box or other small container.

4. Photocopy the “Designing Presentations That Work” and “It’s a Dog’sLife” transparency presentation sets onto overhead transparency film.

During the meeting:1. Tell the group they’re going to design several overhead transparency-

type presentation graphics. Ask the participants why they thinkusing graphics during a presentation might be valuable. (Charts anddiagrams can help clarify spoken words, images help keep theaudience interested and help them remember important points,projected summaries of spoken points help people with low hearing,illustrations assist nonreaders.)

2. Point out the following advantages of overhead transparencies:• They are easy and inexpensive.• They are portable.• They don’t require a totally darkened room, so the audience can

see to take notes.

PURPOSE:To provide experience in designingand using presentation graphics

MATERIALS:� Overhead projector and screen� Overhead transparency film

(enough for presentation setsand projects)

� Overhead markers� “Designing Presentations That

Work” overhead transparencypresentation set (on pp. 110–121)

� “It’s a Dog’s Life” overheadtransparency presentation set(on pp. 122–130)

� Cellophane tape� Pencils� Rulers� Scissors� Hat, box, basket or similar

small container� “The Creative Process” skill

sheet (on pg. 59; one perperson)

� “Designing PresentationGraphics That Work” skill sheet(on pg. 67; one per person)

� “Planning Grid for OverheadTransparencies” handout (onpg. 103; one per person)

� “Font Sheet” handout (on pp.104–105; one per team)

� “Storyboard” handout (on pg.106; one per team)

� “Circle Sheet” handout (on pg.107; one per team)

� “Group Project Suggestions”handout (on pp. 108–109;enough copies for one activityper team)


• You can face the audience while presenting.• They provide a friendly, hands-on way to present to small- to

medium-sized groups.

3. Review “The Creative Process” and the “Designing PresentationGraphics That Work” skill sheets with the group.

4. Present the overheads from the “Designing Presentations ThatWork” and the “It’s a Dog’s Life” overhead transparency presentationsets. (It’s more fun if you can get individuals from the group tovolunteer to present one or more of the overheads.)

5. Divide the group into pairs and have the teams take turns drawingan activity slip from the hat.

6. Explain that the teams will have about an hour to prepare andpractice using overhead transparencies to accompany a presentationon the topic they have drawn. Encourage all team members toparticipate in the final presentation.

7. Distribute the markers, overhead transparency film, and the “Plan-ning Grid for Overhead Transparencies,” “Font Sheet,” “Storyboard”and “Circle Sheet” handouts. Encourage them to use the:• “Planning Grid for Overhead Transparencies” to help them align

letters on the overhead transparency sheet.• “Font Sheet” to trace letters to help them keep the lettering size

in a readable range.• “Storyboard” sheets to make idea sketches or to write notes to use

during their presentations.• “Circle Sheet” to help them draw circles for pie charts.

8. When the teams have finished preparing and practicing their pre-sentations, you can ask for volunteers or have the teams drawnumbers from a hat to determine the order in which they willpresent their team’s final product to the group. Ask them to includea brief explanation of the subject matter. When each team finishesits presentation, ask the audience to point out the presentationtechniques they used and the things they did well.

TALKING IT OVER:Ask the group what they liked about the activity and about usingoverheads. Ask if anyone in the group has ever tried using presentationgraphics computer software. Point out that a number of computer soft-ware programs allow speakers to organize their presentations in advanceby entering their notes into outlines, then creating their graphics usingtemplates provided in the program.

You can also have the participants use the “How Did I Do? A Self-Checkfor Evaluating Your Design Project” skill sheet to reflect on their work.

TRY THIS TOO:The group might be interested in creating longer illustrated presenta-tions on topics they choose. They may also be interested in researchingcomputer presentation graphics and multimedia applications.

MATERIALS CONTINUED:� “How Did I Do? A Self-Check

for Evaluating Your DesignProject” skill sheet on pg. 72;one per person)


SETTING:Room with work tables and chairs,windows that can be darkened andelectrical outlets

TIME:2 hours


DESIGN PRESENTATION GRAPHICS HANDOUT:Planning Grid for Overhead Transparencies


DESIGN PRESENTATION GRAPHICS HANDOUT:

Font SheetFont – A set of all of the letters and punctuation marks within a particular size and style of type.

Franklin Gothic ITC Bold, 36 point*





Aa Bb Cc Dd Ee FfGg Hh Ii Jj Kk LlMm Nn Oo Pp QqRr Ss Tt Uu Vv WwXx Yy Zz 1 2 3 4 5 67 8 9 0 ` ~ ! @ # $ %^ & * ( ) _ - + = { } [ ] |\ : ; “ ‘ < , > . ? /

Font Sheet Handout continued




Storyboard



Circle Sheet


DESIGN PRESENTATION GRAPHICS HANDOUT:Group Project Suggestions

Make two overheads about “The Beach.”

Overhead 1:Format: Bulleted TextTitle: “Tips for a Fun Trip to the

Beach” (or write your owncreative title!)

Bulleted Text: Write your own creative items!

Overhead 2:Format: Bar GraphTitle: “Hours Spent Swimming at

the Beach” (or write your owncreative title!)

Data: Month: Hours:January 0April 1July 20October 4

Be prepared to talk for a minute from eachoverhead.

Make two overheads about “Lawn Mowing.”

Overhead 1:Format: Bulleted TextTitle: “Lawnmower Safety Tips”

(or write your own)Bulleted Text: Write your own creative items!

Overhead 2:Format: Bar or Line GraphTitle: “Hours Spent Mowing Lawn”

(or write your own)Data: Month: Hours:

January 0March 2May 6July 8August 6September 3October 1


Make two overheads about “Chocolate ChipCookies.”

Overhead 1:Format: Text Table

Overhead 2:Format: Bar or Line GraphTitle for both overheads:“Average Chocolate Chips Per Cookie” (or writeyour own creative titles!)

Data for both overheads:

Brand: Ave. No. of Chips:Nibbler 8Chipisco 5Generic 2Doorway 10


Make two overheads about “My Family Tree.”

(Note: Each person in the group may wish to dohis or her own family tree.)

Overhead 1:Format: Title

Write your own creative title!

Overhead 2:Format: Flow chart showing familytreeData: You provide!



Make two overheads about “How to Eat aSandwich Cookie.”

Overhead 1:Format: Bulleted text explaining step-

by-step processWrite your own creative text!

Overhead 2:Format: Diagram of a Sandwich Cookie

Create your own information!


Make two overheads about “The Parts of aTennis Shoe.”

Overhead 1:Format: Title

Title: Write your own creative title!

Overhead 2:Format: Diagram of tennis shoe

Create your own information!


Make two overheads about “A Typical Teen’sRoom.”

Overhead 1:Format: TitleTitle: Write your own creative title

Overhead 2:

Format: Floor plan (diagram) of roomContent: Use your imagination!


Make two overheads about “Soft DrinkPreferences of Students.”

Overhead 1:Format: Table

Overhead 2:Format: Pie Chart (use circle sheet as a

drawing aid)

Title for Both: Write your own creative titles!

Data for both overheads:

Brand: % Students Who Prefer:Choke 25%Popsy 25%Fountain Brew 15%Vern’s 10%Generic 25%


Group Project Suggestions Handout continued


DESIGN PRESENTATION GRAPHICS: “Designing Presentations That Work”Overhead Transparency Presentation Set

PRESENTATION GRAPHICS:1234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890

Presentation graphics are visualaids used to clarify andhighlight public speaking.




Consider the Audience:

�Use an easy-to-readtypeface and size.

�Keep text brief and use asimple layout.



Consider the Audience:

Don’t make typetoo small for youraudience to read.

(This is too small!)



Consider Your Audience:

D S TO T YN A P‘ C ET K !



Consider Your Audience:An

gled t

ype t

akes

more

effort

to re

ad!



Consider Your Audience:

Don’t

BOXES,LINES,

and other

VISUAL

ELEMENTS

Overdo




Consider the Information:

�Proofread and check foraccuracy.

�Use visual emphasis tohighlight important points.



Consider Your Information:

Don’t try to put everything you plan tosay on one presentation graphic like thisone because your audience will spend theirtime reading and not paying attention toyou. Instead, break your message downinto a series of concepts or, better yet,edit it down to a much shorter versionthat summarizes the main point you wishto make – in other words:

“Keep it short!”




IF ALL GRAPHIC ELEMENTS ARE THESAME SIZE, WEIGHT, STYLE AND COLOR,LIKE THIS, YOUR VISUALS WILL LACK

VISUAL EMPHASIS.

Use variations in

size,weight,

style& color

to create visual emphasis.




Too much

can be overpowering.

EMPHASIS!




Consider the PresentationEnvironment:

�Plan time to double-checkroom set-up and equipment.

�Always have a backup plan!



Overhead Projection Techniques:1234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890

� “Reveal” text on bulletedlists, using a piece of paperor make a series of overheadsadding one step to each.

�Write information on theoverhead as you present.

�Highlight points with markeron the overhead as youpresent.

�Use overlays for presentingmultistep processes or ideas.

�Turn off the projector whenyou’re done making a point.


DESIGN PRESENTATION GRAPHICS:“It’s a Dog’s Life” Overhead Transparency Presentation Set

It’s aDOG’SLife!

Format: Title



BonesWaterTreesCatsLeashShoes

Format: Bulleted List

The Basics



Daily Time Use

Format: Table

ACTIVITY HOURS/DAYSleeping 12.0Eating 4.8Chewing 3.6Barking 1.2Scratching 2.4TOTAL 24.0



Format: Bar Graph

Sleeping

Eating

Chewing

Barking

Scratching

1 2 3 4 5 6 7 8 9 10 11 12

HOURS

Daily Time Use



Format: Line Graph

Barking Hours

MON. TUES. WED. THURS. FRI. SAT. SUN.

DAYS

1

2

3

4



Format: Pie Chart

Daily Time Use

Sleeping50%

Eating20%

Chewing15%

Scratching10%

Barking5%



Format: Diagram

Lick Here

Jump Here

TreatsDispenser

CommandCenter

Can Opener

Watch Outfor These

Dog’s Best Friend

Wind LeashHere



Format: Flow Chart

Dog’s Family Tree

Fifi Otis TotoPurdie

TrampLady

Lassie Laddie


Format: Map Diagram


Dog’s World

Garage

Fence

House

Hole

X

Tree

Deck

Street

Buried Bone

Garbage Can

Documents

Communications Toolkit - Visual Communication and Graphic Design