OUGD405 - Leaflet Production (Back)

With the leaflet's cover established, production of the back of the leaflet could begin. Having an established visual language and research ready to be condensed and transferred, the greatest task here will be setting the type to ensure maximum readability is evident to the target.

First however, the A4 page is set up using the signature three horizontal Pantone Cool Grey 11 stripes on the white ground to divide the document into six sections - supplying each of the six crossings with apt individual space as well as structure.

This is followed by the addition of symbols, set right in a straight vertical line down the right of the composition. These simple, cohesive and relevant symbols enhance the design's identity and provide greater balance between information and visuals. They seamlessly integrate into the visual language due to the consistent colour palette whilst providing visual information from which the target can create and establish memorable connections to each crossing. The Pantone Yellow C rings that surround each symbol not only extend the presence of uniformity, but also allow each individual piece of visual information to maintain prominence regardless of ground colour - whether sat on a grey or white stripe of ground.

Following this I wanted to evaluate remaining space to resolve concerns around ordering information.   I filled each of the six sections with Lorem Ipsum before setting the type according to theory.

According to Fassett's Theorem of Legible Line Length, 'line length that contains 45 to 65 characters (including letters, numerals, punctuation and spaces) are legible. Line lengths exceeding these limits challenge legibility.'

With this in mind I supplied the dummy text to the leaflet, ensuring line lengths were within the theorem's limits.

Whilst the above experiment showcases the visual language's ability to effectively provide order and structure to the hierarchy of the design, the space in-between the bodies of text and symbols is too much, leaving a disruptive gap in the leaflet's aesthetic. 

Swapping the Lorem Ipsum for the leaflet's real content before type-setting and ordering the information to again meet Fassett's Theorem, I then shifted the bodies of text right, in an almost central compositional placement. This in turn moved the abundance of remaining space to the left of the composition. I utilised this space by supplying heading's for each crossing with vertical baselines, reading from bottom to top. This optimises space within the leaflet whilst giving each element of visual information room to breath and be identified singularly, and also as a well structured whole-aesthetic.

White and yellow text is applied to the grey stripes of ground, whilst grey text is applied to white stripes of ground. This enhances the ordered aesthetic of the leaflet whilst creating tonal energy via contrast that allows the targets' gaze to seamlessly navigate between each crossing's information and its boundaries. Yellow is used as a feature colour to differentiate secondary information and highlight significant information.

Headings for each crossing, being Zebra, Pelican, Puffin, Toucan, School and Pegasus, are set at a point size of 20. This differs to the 10 point size used to deliver all other featured information. This point size is a standard size used in print, with type size generally being between 10 and 12 point size in this sector (including .5 sizes). This puts Massimo Vignelli's ideology into use via the presence of only two point-sizes of type on a page, most notably one large point size followed by half of the original point size.

The information is delivered in a standard format with capitals used only at the start of sentences, words of importance and for names. This suits the formal, direct informational tone of voice used in the leaflet. Readability also benefits from this setting, as words are more easily understood and absorbed as a result of the familiarity of this way of writing. Bullet points are also used to present the information as to provide structure and break up what would alternatively be a large, monotonous body of text.





Typographic information on the leaflet is optically kerned and set flush left for optimum readability to be experienced by the target. Another of Vignelli's theories, the flush left type is the easiest formatting to read as the gaze has one starting point and clear, distinct line-ends due to the rag un-justified rag line.

There are many contributing factors to the leaflet that make it a success in suitability for purpose and target. Relevant, appropriate and considered design decisions in conjunction with supported theory result in a design that effectively captures the subject of the leaflet visually whilst appearing familiar, and therefore of interest, to the target audience. The aesthetic is dignified and well structured, optimising space and hierarchy to efficiently present multiple visual elements. This is appealing to late teens on there verge of adulthood and adults thereafter.

An alternate leaflet specifically targeted at motorists uses the same visual language to deliver the succinct information for purposes of consistency and cohesion, however features alterations in rules and regulations that apply to them, ensuring the audience is targeted directly.