OUGD405 - Leaflet Production (Front)

The first step in producing the leaflet was to reproduce (visually) and construct the visual language of pedestrian crossings, using the most significant associated aesthetics - Belisha Beacons and horizontal black and white stripes.

Production began with dividing an A4 document into six sections via the use of three horizontal Pantone Cool Grey 11 stripes on white ground. This was followed by the addition of an over-layed vertical strip interrupting the grey and white stripes, appearing left compositionally. This strip depicts alternating Pantone Process Black C and white sections with rounded ends to create the cylindrical illusion of depth - mimicking a Belisha Beacon post. The post is completed with a circle of Pantone Yellow C at the top signifying the sphere of light. A subtle glow enhances the realism of the crossing-aesthetic.

This re-created pedestrian crossing aesthetic enhances suitability for purpose and target through the syntactic field made evident. This will not only establish an immediate connection to featured content, but will also evoke response from the target through familiarity. The setting provides apt space for an ordered hierarchy and inclusion of type.


















Next, white and yellow text is applied to the grey stripes to inform the target on the leaflet's subject, featured content and specific target. By setting white text on the dark grey, tonal energy is created via contrast that draws the targets' gaze to the lightest visual element(s). Yellow is used as a feature colour to differentiate secondary information and highlight significant information.

Another visual aid used to make a distinction between the title and following information is the modernist principle, as detailed by Massimo Vignelli, of using only two point-sizes of type on a page, most notably one large point size followed by half of the original point size.

Page taken from 'The Vignelli Canon'

For example, the leaflet features the title 'Pedestrian Crossings' set in Futura at a point size of 40.
All other information featured is also set in Futura, but at a point size of 20.

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.

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.








An abundance of factors make the leaflet cover successful in suitability for purpose and target. Relevant, appropriate and considered design decisions in conjunction with supported theory result in a cover 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, and in that appealing to late teens on there verge of adulthood and adults thereafter. Information on content is succinctly detailed and straight to the point.

There will be two leaflets produced, one for pedestrians and one for motorists. Using the same visual language to deliver the information for purposes of consistency and cohesion, the cover specific to motorists features alterations in wording to ensure the particular audience is targeted directly. This is where yellow emphasis of words is at its strongest and most effective, evidenced below.