<![CDATA[<body><h1><strong>Grace Garrett the Graphic Design Sydney Company. </strong></h1>
<h2><strong>Graphic Design</strong> includes <strong>logos</strong>, annual report, business cards and corporate Identity. Grace Garrett Graphic Design Sydney also focuses on <strong>business identity</strong>, corporate identity and the creation of a unique internet presence by website design. Grace Garrett Graphic Design Sydney is the Business Identity Styling Company.</h2>
<strong> <h1>Graphic Design Sydney - What Makes a Great Logo</h1></strong><br />
by JSB Morse
<p>If you are a consumer, or a marketer, or a CEO of a company looking for branding, you should be interested in <strong>logos</strong>. <strong>Logos</strong> are the centerpiece of a company’s brand image and can tell you a lot about the company. The quality of a logo can tell the consumer how much their image (and customer opinion) means to that company. The effectiveness of a logo can help sell whatever product or service that the company offers. Also, the beauty of a LOGO is something that the company can be proud of and identify with.</p>
<p>Branding is the most important aspect of a company’s marketing strategy and should be heavily considered. Companies that took their branding lightly during their inception may suffer in the long run. This happens even if their service or product is great, because their <strong>logo</strong> is unprofessional, confusing, or offensive. Companies with bad <strong>logos</strong> may not be taken seriously or worse, they may be made a butt of a joke.</p>
<p> There are four principles that make for a great logo graphic design. A great logo must:</p>
<ul>
<li>follow solid basic Graphic Design principles</li>
<li> be functional</li>
<li> represent the company</li>
<li> be unique</li>
</ul>
<p>
<h1>A Great Logo Must Follow Basic Graphic Design Principles.</h1>
</p>
<h2>The Fed Ex logo meets all criteria of a good logo.</h2>
<p>This may be the most obvious necessity for great <strong>logos</strong>. The <strong>logo</strong> must be soundly designed and look good. The aesthetic appeal of a <strong>logo</strong>, or any piece of art or graphic design for that matter, is subjective and relative to a person’s mood when they view the <strong>logo</strong>. However, there are fundamentals of graphic design that must be followed to ensure that a logo will appeal to anyone. The fundamentals include, but are not limited to space, color, form, consistency, and clarity. It is recommended that a <strong>graphic design</strong> professional have some influence on your logo, whether it be redesign or touching up, to ensure basic graphic design principles are followed. An intern created it, but many <strong>graphic designers</strong> perfected it.What may result otherwise is a logo that looks like a third grader designed it. The story of the child who designed the Nike <strong>logo</strong> is amusing, but it is false. In fact, a design intern at Nike named Caroline Davidson came up with the idea in 1971 for $35. But much more effort as put into the graphic design after the initial concept. The <em>logo</em> started as a simple graphic design idea for a stripe to be placed on a shoe that an economics professor designed. What resulted was a universally known logo that works on apparel as well as the internet or print graphic designs.</p>
<h2>A Great Logo Must Be Functional - Classically functional.</h2>
<p><strong>Logos</strong> are the most important marketing pieces for a company because it must represent that company in many different contexts and still get the message across. A logo may be seen on the web, in a brochure, on a t-shirt, or on glassware. It could be used on dark backgrounds, on light backgrounds, on textured surfaces, or could be used in various sizes like on an awning or on a postcard. A major indication of a poorly designed logo is graphic effects that can be added in Photoshop like 3D embossing, shadows, glares, or photo imagery. It's important to know that simplicity does not mean that the logo is missing anything. In fact, to aid in functionality, the logo must be simple. A great logo must have the ability to be printed or used in all of the contexts mentioned above and still represent the company effectively. A few things that are important when talking about functionality are the simplicity, scalability, color, and depth. It’s important to the functionality of a logo that it’s not too intricate and that it doesn’t incorporate things like gradients or shadows as integral parts of the graphic design. When the logo is reduced in size or placed on a loud background, it should retain its integrity. In addition, the logo should allow for two color presentation, such as black on white, as it would be on a t-shirt.</p>
<p><h1>A Great Logo Must Represent the Company</h1></p>
<p>A logo needs to represent the company it serves. This means that the style must be easily identified with the industry/product/service and must give a clear picture of what is being marketed. If a company is selling auto parts, a delicate script font would not capture the essence of the company. A suitable font would be bold and sturdy-looking. A logo sets the tone for the company. This applies to single-serving <strong>logos</strong> like Dasani or a multipurpose logo like NBC. In the case of Dasani, we are given a clean, smooth, cold-looking logo to represent water and with NBC we are given with a multicolored peacock representing the different divisions of NBC. Originally the logo was created to show enhancements in color broadcasting, also a good representation. A great logo must encompass the entire company too, not just one aspect of it. In the 60s, AT&T had a bell logo which represented the clarity of sound and references Bell Telephone Laboratories. In 1984, AT&T introduced a logo representing a wider range of services and a more modern look to reflect the major advances that the company helped invent like the transistor, the solar power cell, and unix operating system.</p>
<p><h1>A Great Logo Must Be Unique</h1></p>
<p>Another important trait of good <strong>logos</strong> is the the ability to stand out against the crowd. Copycat <strong>logos</strong> are destined to fail or be confusing to the consumer. Usually they will result in a loss in sales. When Pepsi Cola had a similar logo to the already established Coca-Cola, it suffered in the competition between the two soft drink companies. Only when Pepsi switched their brand to something unique did they see a major increase in sales.A unique logo will also tend to be one that stands the test of time. Cookie-cutter <strong>logos</strong> that bank on trends of the day will look dated and need to be replaced after the trend dies off. In the late 90s, the swoosh logo was popular. It was everywhere and it quickly became dated.</p>
<p>
<h1>Graphic Designing a Professional Brochure</h1>
<br />
by Damion McDunn</p>
<p>Writing a successful brochure is one of the more difficult graphic design tasks. Unlike billboards and signs, brochures have to span three attention lengths. 1. The "read me now" when a view chooses to pick it from a rack of brochures or open the mailer. 2. The "quick scan" as a viewer decides whether it was a mistake to pick up your brochure. 3. The "I'm interested give me value" when a viewer decides to actually read the brochure which could be sometime later than he/she picked it up. Whew. After all this, you still need to get them to do something.</p>
<p>Goal<br />
Ok then, if you are still reading, let’s get your brochure right. First and foremost is understanding your objective. You know more about your business or subject than any rational human will ever care to know. Yes, your business is great, you have 50 great products, a great guarantee, a wonderful service department, a glossy coat, and fresh breath. None of these matter because they have nothing to do with the viewer. Create your ultimate objective around your viewer.
Bad Goal: Provide information about our downtown district.
Good Goal: Bring a visitor downtown to one of the eclectic restaurants.</p>
<p>Target Audience<br />
Who will be viewing this brochure? When you decide on an audience get specific enough to personify an individual. What is his name? How many kids does he have? What kind of car does she drive? On the surface we are answering basic demographics such as age, income and education but we ultimately need to make the viewer feel and act. This is done by truly understanding the individuals that make up your audience.</p>
<p>Learning Objectives<br />
One of the biggest trends in today's marketplace is customer education. Decide what you want to educate the viewer. Thank the customer by making your brochure worth their time. Make it interesting, unique and let it support your goal.</p>
<p>Emotional Objective<br />
Learning leads the viewer to the next step. No matter what we like to think about ourselves, we take action because we feel. Why should they care? How do you want the view to emotionally respond? </p>
<p>Behavior Objective<br />
You've fed them knowledge and you've made them care. Now tell them exactly what you want them to do with these pent up emotions. Name Step 1., Step 2.,. if you have to, but give them explicit directions as to how they should proceed. </p>
<p>Design<br />
The article title is "Designing a Professional Brochure" and we have yet to talk about graphic design. In architecture school professors always said, "Form follows function." Truly even the best-looking graphic design is just graphics unless there is intent behind it. If you skipped the nonsense about goals and objectives, I urge you to take a u-turn towards the top of the page and read it. The bulk of my time as a designer is spent on objectives and target audience, not on graphics. Graphic design is a communication language, not art. (we do print beautiful postcards for art however). Goals and objectives in hand, we now move to graphics.</p>
<p>Theme and Structure<br />
Maintain a consistent feel throughout your brochure. Using limited colors such as one or two background colors and a highlight color allows the user to easily distinguish the importance level of the information. Although the brochure is designed and printed flat, create a consistent grid for each panel, allowing enough margin space to avoid feeling cluttered. Feel free to break this grid with important elements, but the viewer needs the consistency to read the "off grid" or non-standard elements as important. </p>
<p>Text<br />
Graphic software manufacturers should institute an alert when the third font is chosen, "The system has recovered from a serious error. The program will now revert to a previous font face." Using on font face for titles and headings and one for copy with italics and bold used sparingly increase the viewers comprehension of your brochure. San-serif fonts (like this one, Arial) are more readable at smaller font sizes. In general, trim your copy before reducing the font sizes, keeping font sizes large (min 12pt, dependent on viewer age).</p>
<p>Quick-read Text<br />
Nothing makes text more readable than the lack of it. Enough blank space is critical and when it's missing it is usually due to too much text. Carefully choose your heading text and include bulleted lists or bold elements to allow a viewer to scan and understand your brochure within ten seconds. </p>
<p>Other Text Notes<br />
• use power words such as new, easy, results, proven<br />
• AVOID ALL CAPS, ITS DIFFICULT TO READ AND REDUCES RESPONSE RATES<br />
• use bold and italics sparingly<br />
• use image captions, they are one of the most read elements<br />
• use short common speech, voluminous exposition and supercilious verbiage diminish recall<br />
• avoid text over images unless you gradient or lighten the image 80-90% (far more than your fist glance estimate)<br />
• narrow text columns increase readability<br />
• call to action, step by step tell the viewer what they need to do after reading <br />
• include brief company and contact information (its amazing how often this is overlooked) </p>
<p>Images<br />
One great image is worth ten good ones. Keep you images few, but powerful. Not everyone will read your brochure, but they will see it. Images are so powerful that there is no faster way to reduce the read rate than poor images. I am not a photographer and I cringe at every check I write to one, but it is worth it. An inexpensive alternative is stock imagery. (Corbis.com is the leader in stock photography) Choose beautiful stock imagery over poor-quality snap-shots. Cover
Your brochure will be fighting a sea of other marketing material and must scream "read me." Avoid text columns on the brochure cover. Get your point across in as few words as possible (2-10). Also remember if your brochure is sitting in a rack, only the top one-third will be visible at all. The cover is center-stage for your images; make sure they are vibrant and intriguing. The only job of the cover is to entice people to pick up your brochure. Above all else, keep the cover simple.</p>
<p>Persistent Value<br />
Information alone is not enough. Give the viewer a reason to keep the brochure because it contains something they will use later. This can be a map, a useful list, contact information, coupons, or even a recipe. Marketing is about repetition, so give yourself your viewer one more opportunity to read your brochure. </p>
<p>Evaluation: how did you do?<br />
The first question you should ask is "does the viewer know what to do once they have read the brochure?" A few informal opinions can answer this quickly. Many graphic designers will test a few front cover designs or images to see which is the most effective.</p>
<p>Evaluation list:<br />
• Is it Intriguing?<br />
• Is there enough white space or breathing room?<br />
• Can viewers understand the intent of the brochure in under ten seconds?<br />
• Are images few and effective?<br />
• Does the viewer have a reason to pick it up?<br />
• Does it provide value to the viewer?<br />
• Does it tell the viewer what to do next?</p>
<p>Creating a successful brochure is one of the more difficult graphic design challenges, but it can result in one of your most effective marketing tools. There are many opinions concerning the graphical look of a brochure, but there are graphic design fundamentals regardless of the look. Designing your brochure with these ideas in mind will shape the actual graphical layout. The graphic design tips found here will hopefully provide you with a solid foundation for you to build your best brochure yet.</p>
<p>
<h1>Graphic Design Principles for Business Cards</h1>
<br />
by Chris Reinhold</p>
<p>When first looking at creating business cards, it can be tempting to carry out the whole process yourself, as the amount of money that professional companies charge can simply be unaffordable to some. Whilst many people effectively create their own business cards and can make it look somewhat easy, there are several principles that need to be adhered to throughout the process, particularly when looking at the graphic design aspects. The first and foremost point that should always be noted is that the business card should be a direct representation of your company. For example, if your company is a firm of lawyers, then the cards should generally be sleek and minimalist, getting straight to the point and with no unnecessary use of color or images. Conversely, if the company the business cards are for is an event company who specializes in parties for children, then color should be in abundance, without being over-the-top and the whole graphic design should seem quite busy and eclectic, without being untidy. Overall, it should be a perfect representation of fun, which is what the company tries to create in their parties. Using color within business cards is something that needs to be thought of considerably, as the wrong amount of color can effectively make or break a business card. It can be difficult to provide a set procedure that should be followed when referring to color, but in essence, it should fit with the image of the company, not be too harsh and generally only a feature a maximum of three or four colors.<br />
Many people, when creating business cards, forget the importance that <strong>logos</strong> and images have. By providing a visual image on a business card, the person who receives the card has something that not only draws their eyes to the card when looking at a variety of different business cards, but also offers something that can be associated with a company or service, which can be extremely beneficial for any company.</p>
<p>One of the most important graphic design principles to consider when creating business cards is the layout of the content. There are plenty of websites that can be found by typing a phrase such as business cards uk content layout into a search engine and it is highly recommended that they are studied, as the wrong content or the incorrect layout of the content can effectively deem a business card useless. Referring back to the initial point that a business card should be a direct representation of the copy, the content included should be prioritized so that only the most important information relating to the company is included, with any secondary information being included if space permits. Furthermore, it is important to consider bolding, italicizing and increased font size to ensure that the most important information stands out and grabs the attention of the reader.</p>
<h1>Wiki Graphic Design Principles</h1>
<h2>Elements of Graphic Design</h2>
<p>Design elements are the basic units of a visual image. These elements include:<br />
</p>
<h3>Graphic Design - Space</h3>
<p> Space is the area provided for a particular purpose. It may have two dimensions (length and width), such as a floor, or it may have three dimensions (length, width, and height). Space includes the background, foreground and middle ground. Space refers to the distances or areas around, between or within components of a piece. There are two type of space: positive and negative space. Positive space refers to the space of a shape representing the subject matter. Negative space refers to the space around and between the subject matter.<br />
</p>
<h3>Graphic Design - Line</h3>
<p> Line is the basic element that refers to the continuous movement of a point along a surface, such as by a pencil or brush. The edges of shapes and forms also create lines. It is the basic component of a shape drawn on paper. Lines and curves are the basic building blocks of two dimensional shapes like a house's plan. Every line has length, thickness, and direction. There are curve, horizontal, vertical, diagonal, zigzag, wavy, parallel, dash, and dotted lines.<br />
</p>
<h3>Graphic Design - Balance</h3>
<p> Balance can be either symmetrical or asymmetrical. Balance can also refers to a sense that dominant focal points don't give a feeling of being pulled too much to any specific part of the artwork. Balance can be achieved by the location of objects, volume or sizes of objects, and by color. Balancing lighter colors with darker colors, balance bold colors with light neutral colors.<br />
</p>
<h3>Graphic Design - Color</h3>
<p> Color is seen either by the way light reflects off a surface, or in colored light sources. Red colors seem to come forward while blue seems to recede into the distance.[citation needed] Color and particularly contrasting color is also used to draw the attention to a particular part of the image. There are primary colors, secondary colors, and tertiary colors. Complementary colors are colors that are opposite to each other on the color wheel. Complementary colors are used to create contrast. Analogous colors are colors that are found side by side on the color wheel. These can be used to create color harmony. Monochromatic colors are tints and shades of one color. Warm colors are a group of colors that consist of reds, yellows, and oranges. Cool colors are group of colors that consist of purples, greens, and blues.<br />
</p>
<h3>Graphic Design - Shape</h3>
<p> A shape is defined as an area that stands out from the space next to or around it due to a defined or implied boundary, or because of differences of value, color, or texture.[1] Shapes can also show perspective by overlapping. They can be geometric or organic. Shapes in house decor and interior design can be used to add interest, style, theme to a design like a door. Shape in interior design depends on the function of the object like a kitchen cabinet door. Natural shapes forming patterns on wood or stone may help increase visual appeal in interior design. In a landscape, natural shapes, such as trees contrast with geometric such as houses.<br />
</p>
<h3>Graphic Design - Texture</h3>
<p> Texture is perceived surface quality. In art, there are two types of texture: tactile and implied. Tactile texture (real texture) is the way the surface of an object actual feels. Examples of this include sandpaper, cotton balls, tree bark, puppy fur, etc. Implied texture is the way the surface on an object looks like it feels. The texture may look rough, fizzy, gritty, but cannot actually be felt. This type of texture is used by artist when drawing or painting.<br />
</p>
<h3>Graphic Design - Form</h3>
<p> Form is any three dimensional object. Form can be measured, from top to bottom (height), side to side (width), and from back to front (depth). Form is also defined by light and dark. There are two types of form, geometric (man-made) and natural (organic form). Form may be created by the combining of two or more shapes. It may be enhanced by tone, texture and color. It can be illustrated or constructed.<br />
</p>
<h3>Graphic Design - Unity</h3>
<p> Unity refers to a sense that everything in a piece of work belongs there, and makes a whole piece. It is achieved by the use of balance, repetition and/or design harmony.<br />
</p>
<h3>Graphic Design - Value</h3>
<p> Value is an element of art that refers to the relationship between light and dark on a surface or object and also helps with Form. It gives objects depth and perception. Value is also referred to as tone.<br />
</p>
<h1>Principles of Graphic Design</h1>
<p>The principles of graphic design govern the relationships of the elements used and organize the composition as a whole. Successful graphic design incorporates the use of the principles and elements to serve the graphic designer's purpose and visual goals. There are no rules for their use. The graphic designer's purpose and intent drives the decisions made to achieve harmony between the elements.</p>
<p><br />
The principles of design consist of:<br />
</p>
<p>Harmony<br />
Harmony is achieved through the sensitive balance of variety and unity. Color harmony may be achieved using complementary or analogous colors. Harmony in graphic design is similarity of components or objects looking like these belong together. Harmony may be visually pleasing and harmony is when some of the objects like drapes and couches share a common trait. A common trait between objects could be: color(s), shape(s), texture, pattern(s), material, theme, style, size, or functionality.<br />
</p>
<p>Contrast<br />
Contrast is the occurrence of differing elements, such as color, value, size, etc. It creates interest and pulls the attention toward the focal point.<br />
</p>
<p>Repetition (rhythm, pattern)<br />
The recurrence of elements within a piece: colors, lines, shapes, values, etc. Any element that occurs is generally echoed, often with some variation to maintain interest. Rhythm in interior graphic design also may be used to reduce randomness.<br />
</p>
<p>Variety (alternation)<br />
The use of dissimilar elements, which creates interest and uniqueness. Variety like a painting or some reflective wood panels added on a plain wall may be used to reduce monotony. Helps infuse color to a house decor to attempt to increase graphic design beauty.<br />
</p>
<p>Emphasis (dominance or focal point)<br />
Emphasis refers to areas of interest that guides the eye into and out of the image through the use of sequence of various levels of focal points, primary focal point, secondary, tertiary, etc. Emphasis hierarchy may give direction and organization to a graphic design, and avoid subconscious confusion to sometimes improve the graphic design's visual appeal and style. Emphasis hierarchy or focus is not giving each object in a project equal dominance within a piece of work. Emphasis or dominance of an object can be increased by making the object larger, more sophisticated, more ornate, by placing it in the foreground, or standout visually more than other objects in a project. The primary focus point or area receives the largest emphasis in a room.<br />
</p>
<p>Proportion (scale)<br />
Proportion involves the relationship of size between objects. Proportion is also relative sizes of surface areas of different colors. Proportion also depends on functionality of object. Art painting can be given the correct size in relation to room to make it an effective decorating component or source of colour.<br />
</p>
<p>Functionality<br />
A graphic design must have good functionality. Proper functionality is simply the best possible graphic design and best possible location of this graphic design that the occupant(s) requires. Such designs are clean, nearly sterile, tidy, brightly lit, warm, visually appealing, is relatively dry, has relatively clean and healthy breathing air, and exceeds high level health and safety standards. Great functionality and best possible materials for the function usually also increases visual appeal.<br />
</p>
<p>Proximity<br />
Proximity is the placing of similar objects closer together physically, and unlike objects further apart. This aids in creating unity. For example, different furniture styles with different colors compressed in a small bedroom does not look as nice as the same furniture placed further apart in a very large living room.<br />
</p>
<p>Color theory<br />
Color theory in interior design includes the color wheel. Color theory involves the idea of how color affects human thoughts and emotions. Color harmony is a pleasing combinations of colors and the amount of these colors in a design like a room decor. Color harmony could also be a visually pleasing color combination that enhances the style and character of a design like a home interior design. Color harmony involves using a limited number of colors in a color palette usually seven or less initially to help preserve design unity. A visually pleasing color combination may be chosen for the color palette of a room for a particular age group and gender. Good design like a home is not just colours and shapes but the concept, feelings, ambiance and style it gives.<br />
</p>
<p>Decluttering, organization and harmonization of accessories<br />
Neatness or tidyness, clean rooms, construction precision and organization in architecture and home appliances is important. When there is too much storage in rooms, work space must be made by decluttering, organizing and general cleaning. Collected clutter may hide the initial showcase visual appeal of a room. Clutter also makes a room more laborious to clean.<br />
</p>
<p>Lighting and light reflection<br />
Lighting is important in home interior design. It allows the observer to clearly see the design. Home interior design decor and furniture usually looks better in brighter lighting. The brightness of a room also depends on the light reflectivity of the surface materials and the total surface area of the objects in a room; hardwood flooring makes a room look brighter than white carpet, because real polished wood is more light reflective and carpet has more surface area.<br />
</p>
<p>Lighting coloration<br />
Light coloration is important to setting the mood in a photograph or work of visual art. Using various types of lights can denote specific mood changes. For example, a red-light may be used to denote an alert of some sort in the form of a beacon. Differences in lighting can affect the mood as well. Halogen lamps and fluorescents can give a cooler feel to visual design works. These can be replicated through psychological studies.[citation needed] In digital mediums, lighting can be applied through a variety of filters. For example, filtering out noise and changing hues in a subtle manner can give a simple but tolerable logo feel to a red-alert beacon.<br />
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