Carolyn Knight and Jessica Glaser are academics from the University of Wolverhampton in the UK, graphic designers, and prolific design writers. Their numerous books focus on topics including the use of space in graphic design, mnemonics and memory devices and the understanding and creation of visual hierarchy. Their latest book is the best selling ‘Graphic Design Exercise Book’, published in English by RotoVision and in Spanish by Editorial Gustavo Gili. Their company Bright Pink Communication Design, works in such areas as healthcare, construction, education, financial services and the public sector.
Layout, for both print and screen, is one of the most important aspects of graphic design. Designs that extend across multiple pages or screens, whether containing large or small amounts of type, must be carefully controlled in a way that is enticing and is easy for all to access.
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As with most designers, being sure that we explore and select the most successful, memorable and stimulating designs is a vital aspect that underpins every project we undertake. For us, the beginning of a new challenge has never been as simple as asking ourselves what might be the best avenue to take and then sitting down at a computer and attempting to fulfill that idea.
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We can all agree that the work we do should inform, be appropriate to the client and their audience, and, of course, look good. But there’s a bonus third attribute worth aiming for—creating a lasting impression.
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A strong understanding of how designers control meaning is essential for anyone interested in graphic design or typography. In a previous article, we discussed how sophisticated and complex visual and verbal language can get, examining instances that show how type can be used to effectively take control of meaning.
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In this article, we will look at the powerful effect that typography has in taking control of meaning. We will discuss a range of examples, from verbal language that inspires and shapes visual treatment to visual language that dominates verbal meaning.
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