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The first chapter quizzes readers on mostly technical, basic details of design (like dpi), all of which can be found in Williams's previous publications (for example, The Non-Designer's Design Book). Readers will be dismayed, possibly annoyed, that the quiz answers are not provided. Even if not knowing the answers means that you need remedial help, it feels like a bit of a tease.
The next chapters show how to use stock images, or your own images, to increase the visual impact of your piece (basically through an increase in contrast). The best part of this section, and the book as a whole, is the "before-and-after" approach in the examples; they're like a series of makeovers. The captions effectively describe what was changed in the image, and how it improved the design.
The book applies a similar set of makeovers to various types of design projects: logos, forms, newsletters, tables of contents, etc. In the final section, seven designers, including coauthor Tollett, break down the process that they went through on a job of their own.
Self-taught graphic designers probably would make the best audience for this book, but designers who are of their own "school of thought" might find fault with some of the tenets that are put forth. Graphic design by nature is a subjective enterprise--at the mercy of "styles." What you get in this book is more of a "desktop-publisher style" (many of the drawings are clip art, for example). There's a lack of sophistication in the design of the book, as well as in the illustrations of posters, letterheads, advertisements, and other applications that are used as examples. On the other hand, this same open, naive look gives the book an inviting appeal, and makes it perhaps a bit less daunting than style guides, such as Robert Bringhurst's The Elements of Typographic Style, that are intended for die-hard professionals. --Angelynn Grant
Topics covered:
Style advice for design projects, including:
Williams gives us more principles of sound design, which she then shows at work through a series of daily applications--letterhead, web sites, brochures, etc. She uses the principles in example after example, explaining why they are examples of good or blah design. I return to her examples again and again for simple ideas to juice up my non-profit communications and raise my customers' expectations of visual communication.
Snazzy pictures, lots of ideas, and comforting encouragement all make this one an essential part of my reference library.
At first, I was almost going to give up and hand over the project to a professional but after reading the book, I found many helpful ideas and was inspired to give it a try on my own. I produced a flyer, a Flash presentation, a product logo and a report layout and cover based on the lessons from these two books. I will not claim that they are works of art but many friends and clients have complemented on the outcome. Some of my clients even thought that I had had them professionally done.
Although there are others who will say that some of us just has the flair for designing, I don't think I would have been able to do all that without the help of these two books. For those of you who wish to create artwork for print, I would recommend starting with "The Non-Designer's Design Book" and then advancing to this book. Also check out some other books by the same publisher mentioned in the introductory chapter of this book.
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