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| Introduction | |
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| From a Designer's Point of View | |
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| Quick Checklist for Designers | |
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| Getting the Idea | |
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| A Hard Look at Creativity | |
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| The Five Forces of Creativity | |
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| Becoming Creative | |
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| Creativity Is Not a Talent | |
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| Tips for Fueling Creatively | |
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| Stand on Your Head | |
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| The Inspiration File | |
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| Change Your Perspective | |
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| Know Your Market | |
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| Developing the Concept | |
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| Brainstorming with Words | |
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| Visual Brainstorming | |
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| Dealing with Creative Block | |
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| Rationalization | |
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| Procrastination | |
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| Burn Out | |
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| Overwork | |
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| "I'm not a creative person." | |
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| Abstraction, Symbolism, and Visual Metaphor | |
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| Abstraction | |
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| Symbolism and the Visual Metaphor | |
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| How are Symbols Used? | |
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| Modern Symbolism | |
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| Propaganda and Motivational Psychology | |
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| Visual Overload | |
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| Icons | |
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| Dealing with the Cliche | |
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| Color Symbolism | |
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| White | |
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| Yellow | |
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| Green | |
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| Red | |
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| Purple | |
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| Pink | |
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| Blue | |
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| Black | |
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| Grey | |
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| Summing it All Up | |
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| Putting It All Together | |
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| The Production Process | |
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| Thumbnails | |
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| Roughs | |
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| Proof | |
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| Chart Your Process | |
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| Section 1 Projects | |
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| A New Face on Sunny Island | |
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| Reinventing the Zoo | |
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| So Long, Crazy Harry | |
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| Using the Elements | |
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| Shape/Container Relationship | |
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| Looking at the Container | |
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| Placing a Shape Within the Container | |
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| Real-World Shape/Container Relationships | |
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| Balance--Use of Space | |
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| The Theory from a Designer's Viewpoint | |
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| Types of Balance | |
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| Formal (Symmetrical) Balance | |
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| Informal (Asymmetrical) Balance | |
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| Radial Balance | |
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| Negative and Positive Space | |
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| The Theory From a Designer's Viewpoint | |
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| Layout | |
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| Use Master Pages to Design More Effectively | |
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| Layout Development | |
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| Creating Visual Interest | |
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| Columns | |
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| The "Z" | |
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| The Focal Point of the Page | |
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| Rhythm | |
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| Unity | |
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| Layout Makeovers | |
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| Line | |
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| Lines From a Designer's Viewpoint | |
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| Lines as Objects: Physical Characteristics of Lines | |
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| Line Direction, Implication, and Emotion | |
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| The Emotional Content of a Line | |
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| Type | |
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| Type Categories | |
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| Serif Type | |
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| Sans-Serif Type | |
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| Script (Invitation) Type | |
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| Decorative Type | |
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| Pi (Symbol) Type | |
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| Type Families | |
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| Kerning, Tracking, and Leading | |
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| Type Do's and Don'ts | |
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| Do | |
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| Don't | |
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| Using Type to Create a Mood or Idea | |
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| Color | |
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| Color Perception and Meaning | |
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| Memory Color | |
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| Complementary Colors | |
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| Using the Proper Color Mode | |
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| Printing Processes | |
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| Spot Color | |
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| RGB Color | |
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| Color Management | |
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| Color Viewing | |
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| Black-and-White (or Green-and-White...) | |
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| Suggestions for Using Color | |
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| Paper, Binding, and Finishing | |
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| The Best Place to Start is at the End | |
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| A Few Words about Imposition | |
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| Size Does Matter, Especially to the Postal Service | |
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| Paper Type, Color, and Texture | |
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| The Right Paper for the Job | |
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| Finishing Choices | |
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| Folding | |
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| Diecutting | |
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| Embossing, Foil Stamping, and Lamination | |
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| Varnish | |
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| In Conclusion | |
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| Using Pictures Effectively | |
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| Picture Clarity | |
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| Composition | |
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| Framing the Subject | |
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| Move Closer | |
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| Pictures of People | |
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| Line of Sight | |
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| Layouts for People Pictures | |
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| Enhance Visual Impact | |
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| The Photograph as an Object | |
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| The Photograph as a Floating Object | |
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| Other Effects | |
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| Section 2 Projects | |
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| A New Face on Sunny Island | |
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| Reinventing the Zoo | |
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| So Long, Crazy Harry | |
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| The Graphic Design Marketplace | |
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| Publication Design | |
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| Specialties within Publication Design | |
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| Special Markets--Catalog Design | |
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| Hints for Successful Publication Design | |
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| Breaking into the Market | |
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| Start Small, Start Local | |
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| Illustration | |
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| Information Graphics | |
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| Early Information Graphics | |
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| The Importance of Information Graphics | |
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| Ethical Considerations | |
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| Technical Illustration | |
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| Editorial Illustration | |
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| Defining Your Style | |
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| Editorial Illustration Specialties | |
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| Breaking into the Market | |
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| Corporate Identity | |
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| Hallmarks of Good Logos | |
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| The Client Is Always Right? | |
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| "I don't know what I want. I'll know it when I see it." | |
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| "This is exactly what I want..." | |
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| Point-of-Purchase Display and Packaging | |
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| Point-of-Purchase Display | |
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| Types of POP | |
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| Packaging | |
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| Special Design Concerns for Packaging | |
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| Special Market Segment--Music Industry Design | |
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| Advertising Design | |
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| So What's It All About, Anyway? | |
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| Know Your Market | |
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| Promise, Amplify, Proof, Action | |
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| Developing a Full Campaign | |
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| Special Market Opportunity--Writing Copy | |
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| Breaking into the Market | |
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| Web Design and Multimedia | |
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| Designing for the Web | |
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| What You See May Not Be What You Get | |
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| Fonts | |
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| Colors | |
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| Monitor size | |
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| File Size and Download Time | |
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| Multimedia Design | |
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| Presentations | |
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| Interactive CD-ROMs | |
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| Interactive Kiosks | |
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| Gallery | |
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| Glossary | |
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| Index | |