Signs of the Times - March 2014 - (Page 19)

How to Create Stand-Out Graphics By Dan Wilson Dan Wilson, Roland DGA's associate creative director, has worked in the design field for 14 years and, for the past seven years, for Roland DGA (Irvine, CA), where he progressed from senior graphic designer to art director, to his present position. Dan contributes to Roland's marketing plans and oversees creative execution through all media. He holds a BA in Art from Azusa Pacific University. Contact Dan at dwilson@rolanddga.com. T o be effective, large-format graphics must be noticed. For sure, there are many ways to get a graphic noticed, but if you want viewers to pause and view your graphic, one design element is always necessary - a dominant focal point. Large-format graphics usually appear in places where people are on the move and, whether they're searching for your graphic or not, their eyes are scanning. Your design should have one element - the focal point - that immediately draws them in. Here are five tested techniques for creating a dominant focal point: Contrast - You can achieve graphic contrast in various ways: size, color, shape, detail or other attributes, but any object that is noticeably different from its surroundings will always stand out. Negative space - Similar to contrast, an element surrounded by open space stands out. Negative space in a design can be just as valuable as any other design element. It's key to bringing attention to a focal point. Directional lines - Distinct lines created by images or other design elements will lead the viewer's eyes to a focal point. If several elements have lines that converge, the convergence point will command attention. Subject - Content subject also determines visual dominance. We all know that special-interest audiences are drawn to certain content, e.g., beach photos to wintertime travelers. Consider and apply what will capture your viewer's interest at first glance. Placement - The design layout also determines how quickly a viewer notices the dominant element. Consider where the critical content falls within the viewer's sightlines. Study the overall composition, and place the key element where it's most easily seen. Previewing your design on a computer monitor doesn't show the actual setting, so do what you can - make a test print, use such 3-D viewing software as Google SketchUp and study the installation space - to consider how the viewer will see and interact with your graphic. Theory aside, determining how well your arrangement works is a matter of seeing your graphic as would the intended viewer, and then determining what does or doesn't work. SIGNS OF THE TIMES www.signweb.com 19 http://www.signweb.com

Table of Contents for the Digital Edition of Signs of the Times - March 2014

Signs of the Times - March 2014
Contents
ST Update
Technology Update
Designing for Large Format
Vinyl Apps
Strictly Commercial
Lighting Techniques
The Moving Message
Technology Review: Summa’s DC5 and DC5sx printers
Technology Review: PrinterEvolution Neo Series printers
Design Matters
New Products
Happiness Squared
They Speak the Language
The 2013 Lighting Survey
Ganassi Racing’s Green Light
Dynamic Digital Signage Made Simple, Part 3
Industry News
Advertising index
Editorially speaking

Signs of the Times - March 2014