Graphic communication in nigeria
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Graphic Communication
in Nigeria
Abdulrasheed Afolabi
Printed by:Pioneer PrintersLagos.
© Abdulrasheed Afolabi First published January 2011
All Rights Reserved
Published by
Page planning & cover designAbdulrasheed Afolabi
Print production supervisionAbdul Wakil Murtadha
ISBN: 978-978-912-418-3
Jowon Plaza, First Floor, #16, Tinubu Road, Illupeju Rd, Lagos. Tel: 08023543605 E-mail: pioneer_publishing@yahoo.com,
Pioneer Publishing
To my dearest father
A retired printer who ignited my love for the
ink and paper business.
Acknowledgments
Glory be to Allaah, The Merciful Lord. The Beneficent. The
Most Compassionate.
My profound appreciation goes to my parents Alhaji and Alhaja
Adeshina Afolabi for educating and raising me to adulthood.
Also, to my wife Halimah Raji-Afolabi and children Khadijah
and Khalid for their understanding and support.
In addition, my warmest appreciation goes to Mr Rukeme
Nuserime, the Dean of School of Art, Design and Printing
Technology, Yaba College of Technology. His constant prodding
on the need for academic staff to publish books on graphic arts
gave a fillip to publishing this book. The following wonderful
persons have also contributed immensely to the success of this
project; Mr. F.B. Ajimo, Mr. G.A. Adeniyan, Mr. C.O. Nwankwo,
Mr T.A. Agbaje, Mr. F.O. Jimoh, and Mrs. Bunmi Adetayo.
Lastly, I wish to show gratitude to the following who have
contributed immensely to my academic and professional
development: Professor Ralph A. Akinfeleye, Dr. Lai Oso, Dr.
Victor Ayedun-Aluma, Dr. Abigail Ogwezzy, Dr. Oloruntola
Sunday, Dr. Bunmi Ajibade, Mr. Olujimi Kayode, Dr. Yinka
Alawode, Dr. Isiaka Aliagan, Alhaji Ridwan Adeyemi, Dr. Zaid
Aderolu, Dr. Ibrahim Yusuf Arowosaiye and Mr. Opeyemi
Shobowale.
iv
Foreword
In spite of the much talked about threat to print, it is obvious that
the print medium still remains relevant in the media industry in
contemporary world. This is not a surprise: history has shown
that in the face of the emergence of a new medium, the old
medium, rather than die, merely evolves to co-exist with the new
one.
Certainly, the "Gutenberg era" is yet over as print has refused to
bow to even the latest kid on the block - the Internet. Print
continues to build on its numerous strengths, one of which is
permanence. The print media, no doubt, maintains a relevant
role in the mass communication industry today.
The graphic communication industry is a major aspect of the
media and communication field. From advertising to public
relations, journalism, instructional education, publishing, etc,
graphic communication has a central role to play. Unfortunately,
there is a dearth of good textbooks covering the vital aspects of
graphic communication. The book Graphic communications in
Nigeria is coming at the right time. The book is unique for a
number of reasons.
First, using an introductory approach it covers the fundamental
areas in the field of graphic communication. The presentation of
information in the book helps in prompting further enquiry by
the reader.
v
Also, the author of the book makes a good attempt at relating the
age-long trade of graphic arts to the prevailing digital
technology. At the moment, there is virtually no area of human
activity that has escaped the impact of digital technology. By
highlighting the interplay between graphic arts and digital
technology, the book reflects the technology currently in use in
the graphic communications industry.
Besides, the book is written with the Nigerian audience in mind.
Apparently, the level of adoption of technology in the graphic
communication industry varies from country to country. By
putting the principles, trends and issues in the graphic arts
industry in the Nigerian context, the book helps readers acquire
an in-depth, practical and up-to-date knowledge on the workings
of the industry.
Moreover, the wealth of information on investments and training
opportunities in the book makes it an indispensable guide for
business investors and job seekers who may want to build a
career in the industry. Evidently, the graphic communication
industry is a gold mine that can be tapped into to power the
nation's drive for wealth creation and eradication of poverty.
From the above highlighted features, the book Graphic
communications in Nigeria will, no doubt, be of great use to
students, scholars and practitioners in the fields of journalism,
advertising, education, visual arts and other allied fields.
Particularly, the book is highly recommended to students in
courses like mass communication, printing technology, graphic
arts, industrial design, publishing and other related courses.
Lastly, readers should be rest assured that they will acquire
immense knowledge about graphic communications through the
information presented in this book.
Dr. Oloruntola Sunday
Department of Mass Communication,
University of Lagos, Yaba, Lagos
January 5, 2011
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GRAPHIC COMMUNICATION IN NIGERIA GRAPHIC COMMUNICATION IN NIGERIA
Abdulrasheed Afolabi is a teacher and practicing graphic
communicator at the department of Printing Technology, School
of Art, Design and Printing Technology, Yaba College of
Technology, Yaba, Lagos. With a long and varied experience
spanning twenty years in the printing industry, the author has, at
various times, worked as trainee printer, production supervisor,
print estimator, print marketer and production editor. For three
years he worked as a publications officer on the book/journal
publishing project at the department of Mass Communication,
University of Lagos.
Afolabi graduated from the department of Printing Technology,
Yaba College of technology. Thereafter, he completed a post
graduate diploma course in Communication studies at the
Adebola Adegunwa School of Communication, Lagos State
University, (LASU) Surulere, Lagos. In addition to academic
trainings, the author has undertaken professional certificate
courses in advertising (APCON), computer graphics and Digital
prepress. He has recently rounded off a Masters programme in
Communication Studies at the school of communication, LASU.
He is a member of the Chartered Institute of Printers of Nigeria
(CIPPON).
About the Author
viii
Chapter 1
An Introduction to Graphic Communication 2
Communication is Life 2
Visual Communication: A Form of Communication 3
What is Graphic Communication? 4
Relevance of Graphic Communication in Contemporary
Nigeria 8
The Role of Computers in Graphic Communication 9
Digital Print Production Process 11
Old vs. New: The Faces of Printing Technology 12
Graphics in the Service of Communication for
Development 17
Chapter 2
The Verbal Elements of Graphic Communication 22
The Role of Typography in Graphic Communication 22
An Introduction to Typefaces 23
Factors in Choosing a Typeface 23
The Common Faces of Typefaces 24
Guidelines for Using Typefaces 30
Editing and Proofreading: Tools for Producing
Winning publications 34
Editing to the Rescue 35
"The 4Cs in the Service of the Cardinal C" 36
Proofreading as a Quality Control Mechanism 37
How Fonts Impact Business 40
Chapter 3
The Visual Elements in Graphic Communication 44
The Role of Visuals in Communication 44
An Overview of Visual Language 45
Features and Roles of the Basic Visual Elements 46
The Use of Colour in Graphic Communications 51
Colour Symbolism 52
Colours as Brand Symbols 53
The Importance of Colour in Educational Technology 55
Contents
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GRAPHIC COMMUNICATION IN NIGERIA
Chapter 4
Strategies for Effective Visual Message Design 58
Introduction to Visual Message Design 58
The Pattern of Human Eye Movement 59
Knowledge of the Target Audience 61
Planning and the Principles of Design 62
Layout Techniques for Effective Print Design 67
The Use of Visual Metaphor in Print advertising in
Nigeria 82
Chapter 5
Printing: History, Processes and Impact on Human
Development 86
The Genesis of Printing 86
The Basic Printing Methods 87
Relief Printing 88
Flexography: Letterpress' Attempt at Coping
with Change 90
Offset Lithographic Printing 92
The Lithographic Printing Plate 94
Gravure Printing Process 98
Silk Screen Printing Process 100
The Cultural Impact of Printing 102
A Brief History of Printing in Nigeria 104
Chapter 6
Printing and the Digital Revolution 108
The Digitalization of Print 108
The Fundamentals of Digital Imaging 109
Working with Scanners 111
Understanding Digital Prepress 114
The Digital Language 114
The Raster Image Processor (RIP) 115
The Imagesetter 116
The Importance of File Management in Digital Prepress 119
Sending your Work for Outputting 120
The New Technologies in Print Publishing in Nigeria 121
Large Format Printing: Producing Banners with
Digital Technology 127
Digitalization in Colour Separation: Impact on Print
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Production 128
Chapter 7
Branding and Printing: The Inseparable Duo 132
Branding for Survival 132
Strengthening Brands with Screen Printing 133
Screen Printing in Nigeria 134
Large Format Printing: A Virile Platform for
Outdoor Advertising 135
Enhancing Product Appeal with Packaging 136
A Look at Package Printing 138
Packaging in Nigeria 139
Heat Transfer Business in Nigeria: A Money Pot
for Entrepreneurs 143
Chapter 8
The Post Press: Turning Printed Sheets to Finished
Products 146
Printing Substrates as Media of Print 146
Cards/Boards for Print Production 148
The Importance of Finishing Operations 148
Cutting 149
Folding 150
Scoring 150
Perforating 151
Gathering and Collating 151
Punching and Drilling 152
Die-Cutting 152
Embossing 153
Foiling 154
Laminating 156
Binding 157
Paper Manufacturing Problems in Nigeria: Any
End in Sight? 162
Chapter 9
Legal and Ethical Issues in the Graphic Communication
Industry in Nigeria
Laws Prevent Chaos 166
The Importance of a Contract in Graphic
Communications Projects 167
Copyright Laws 168
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Passing Off 171
Important Guidelines for Printers and their Clients 172
Pornography 175
Children and Young Persons (Harmful Publications) Act,
1961 176
Counterfeiting 177
Relevant Laws on Professional Practice in Nigeria 178
Ethical and Moral Issues in Nigeria's Graphic
Communication Industry 182
Book Piracy in Nigeria: Printers beware! 186
Appendix A 189
Appendix B 199
Appendix C 203
Glossary 213
Index 219
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GRAPHIC COMMUNICATION IN NIGERIA
A graphics design studio
Communication is Life
ife is meaningless without communication. In the simplest sense, communication is the conveying of Linformation through the sharing of meaning from one
person to another (inter personal) or from one individual to a number of other individuals (group communication) or from the originator of information (the source) to a widely dispersed heterogeneous audience (mass communication). In essence, communication is a variety of behaviours, processes and technologies by which meaning is transmitted or derived from
1information.
Thus, communication is based on information that is generated beforehand and then brought into form (encoding into symbols) that allows it to be transmitted to one or more other persons. The receiving person then decodes the message and derives meaning
2from the transmitted message. From the aforementioned, it can be deduced that the basic process of communication consists of the following elements:
Seeing comes before words. The child looks and recognizes
before it can speak.- Lynell Burmark
(i) The Source: i.e. the originator of the information.(ii) Encoding: This is the process of converting the information symbols into a form that allows transmission from one person to another.(iii) Message: the information to be transmitted.(iv) Medium: the channel through which the message is to be transmitted.(v) Decoding: the process of deriving or extracting meaning from the transmitted information.(vi) The Receiver: the recipient of information.
Visual Communication: A Form of Communication
Human communication takes place in two ways:
• Verbal communication: What can be read or heard.
• Visual communication : What can be seen.
Visual communication affects us in most profound ways; what we do, how we feel and even who we are. According to Albert Mehrabian, 93% of communication is non-verbal. A research conducted at the 3M Corporation concluded that we process
3visuals 60,000 times faster than text. That is perhaps why Lynell Burmark, the author of several books on visual literacy, said, “…
unless our words, concepts, ideas are hooked onto an image, they will go in one ear, sail through the brain, and go out the other
4ear.”
For example, it is much easier to show a circle than to describe it. (See Fig.1- 2) Graphic description Textual description
A curved line with every point equal distance from the center
Fig. 1-2. Importance of Visual Communication
Visual communication is a wide and multi-disciplinary field. It encompasses graphic communication, fine arts, multi-media, dance and choreography, photography, interior design, textile design, fashion design, etc. Visual communication, as Towson University puts it, applies the fundamentals of major art forms to
5“professional problem solving” . In other words, art is used as a medium for conveying specific ideas and messages.
What is Graphic Communication?
Graphic communication is the “process of selecting and arranging artistic elements in order to bring about understanding
6and meaning sharing.” Graphic communication is an art and a science; it is a blend of art, science, technology and management.
Fig. 1- 1. Diagram of the communication process
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Feedback
Noise
Source Encoding Message Channel Decoding Receiver
Graphic communication refers to all areas of media and mass communication involving the creation, production, and distribution of images for advertising, marketing, books, magazines, newspapers, catalogues, packages and other media in
7printed and digital form. On its part, the International Graphic Arts Education Association (IGAEA) defines graphic communications as:
...the processes and industries that create, develop, produce, and disseminate products utilizing or incorporating words of pictorial images to convey information, ideas and feelings. GC (Graphic communications) products facilitate learning, enjoyment, motivation and commerce.
Graphic communications include family of market segments embracing the technologies of printing, publishing, packaging, electronic imaging, and their allied industries; they are often referred to as the graphic arts,
8print, or imaging industries.
Talking about graphic communication without reference to graphic design is like soup without salt. Graphic design is the back bone of graphic communication. It is a commercial form of art that is used to convey messages through meaning sharing. In specific terms, graphic design is:
…the arrangement of line, type, shape and texture under consideration of factors like balance, contrast, unity, value
9and colour on a printed page or any other given media.
In short, graphic design is used to achieve the objective of visual communication. As history records, William A. Dwiggins, in
1922, coined the term “graphic design” which finally led to the 10
recognition of the discipline as a viable profession. Graphic design unlike fine arts, seeks to communicate a message clearly to a target audience (Box 1-1 highlights the differences between graphic design and fine arts). Since we communicate at every point in our lives, design cannot be eliminated. That leads to the vital question, “Is graphic design really communication?” Essien Ikpe provides some insights:
…the most important elements of the communication process are the source/sender, or presenter/encoder, the text/message or code, channel, noise, receiver/decoder and feedback. Graphics has some influence on all these elements in contributing to meaning sharing. However, it is more pronounced in the element of the message or code. Message or code involves the use of symbols - verbal
11(words) and graphic (illustrations) - to convey meanings.
Since the goal of graphic communication is effective communication through graphic design; graphics, according to Ikpe, are therefore vital tools in the communication process to intensify, clarify and interpret human experience in visual communication.
At this juncture, an attempt will be made to link graphic design with the communication process. Here, the graphic designer as encoder uses symbols (the message) in the form of a poster, a press advert or a brochure (the medium) which is exposed to the target audience (the receiver) who are then able to decode the meaning of the visual messages based on their knowledge or cultural experience.
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Also, Peter Muller showed that graphic design is a communication process by his reference to the noise factor in the visual communication process. (As explained earlier, noise is one of the essential elements in the communication process). He explained that an increase in information for the recipient of transmitted information through unintended means introduces uncertainty about the transmitted message. Examples of noise elements in the graphic communication process include bad prints, poor paper quality, poor reproduction of tones and colour, bad layout, inappropriate typography, wrong choice of photographs, e.t.c. All these introduce noise into graphic messages and can distort the effect or impact of a design project.
Relevance of Graphic Communication in Contemporary Nigeria
Graphic communication finds extensive use in the following areas:
• Instructional education: Visualization is a vital tool in achieving educational objectives. It is one of the strategies educationists use in achieving effective communication in educational instructions. The varieties of visual materials used in schools include photographs, line drawings, paintings, posters, slides, classroom charts, signs, films, models, graphs, books and
12newspapers.
• Publishing: Publishers of books, newspapers, magazine and other periodicals have found increasing use of images and effective layout as the audience become more image-reliant. With the stiff competition from television, business-savvy publishers have come to appreciate that the way to go is to put more images on the printed sheet.
• Advertising and Public Relations: The marketing communications industry remains the foremost user of graphic communication. Specifically, advertising is one field that relies on extensive use of visual images to communicate messages to target audience. Reports as at 2006 indicate that the advertising
13 industry billings in Nigeria was in the region of N34 Billion. Advertising as an instrument of organized marketing is
14reinforced by apt display of quality print materials. Print items like press adverts, outdoor adverts, promotional items, etc requiring graphic communication processes take quite a large chunk of advertising campaign budgets.
• Social marketing: Graphics are used extensively as visual materials in behavioral communication for change.
GRAPHIC Highlight
Box I-1: Differences between graphic design and fine arts
Micheal Brady, an art critic, affirms that “ art and design are different. The differences between art and design lie not so much in how they look as in what they do: They have different purposes, they are made differently, they are judged by different criteria, and they have different audiences”.
Brady concludes: “The difference between art and design is in the way we look at them. Design is meant to be looked away from and art to be looked at and into. Design graces our lives with the aesthetic presentation of useful and beneficial things, and art graces us with representations of things to ponder and perceive. Art and design are closely related but nonetheless separate. It is a good thing to keep them straight.”
Michael Brady Eyesite: Art and Design: What?s the Big Difference?http://www.unc.edu/~jbrady/Essays/Art_Design.html
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• Multimedia design: website design has taken graphic communication to new heights in recent time. With the emergence of “motion graphics” that have found great use in areas such as cartoon production and animation, the best is yet to come from multimedia graphic communicators.
• TV Production: Graphics are used in producing montages used in television programme production as well as footages that accompany news items.
• Business presentation: Business graphics are used widely in enhancing the presentation appeal of business executives. A carefully packaged business proposals embellished with good and communicative graphics is more likely to get more attention from decision makers than a business proposal that presents the facts and figures in a bland, uninteresting or non-captivating manner.
The Role of Computers in Graphic Communication
The field of graphic communication witnessed the introduction of computers in 1985 as the Macintosh computer blazed the trail of the desktop publishing revolution at the global level. Computers gained wide industrial use in the Nigerian visual arts industry around the early 1990s. Computers, no doubt, acted as catalyst for the rapid development of the visual arts industry in Nigeria in the last two decades.
William Arens, author of the bestselling Contemporary Advertising, considers the computer a time saver, a stress saver and a motivator to producing great visuals. He says:
By using graphics or imaging programs on computers, today's graphic artist or designer can do much of the work previously performed by staff artists. On the screen, the artist can see an entire page layout, complete with illustrations and photos, and easily alter any of them in a few minutes. Before computers, designing a variety of layouts could take days, and final art was not as so detailed
15or complete as designs created today on the computer.
PC and Macintosh-based computer systems have been found to be very ideal for computer graphics design. Design softwares that are commonly used in the Nigerian graphic arts industry include: Pagemakers, QuarkXpress (for page making), and CorelDraw, Adobe Illustrator (for drawing and general graphic design), Adobe Photoshop, Corel Paint (for image manipulation) and Microsoft Word (for word processing). These computer hardware and software have changed the process of preparing visuals in graphic communication. Generally, the enhanced productivity which computers have engendered in graphic communication has in many ways translated into profitability
Fig 1-3. Computer graphics softwares have taken over the traditional skills in the graphic arts industry.
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and job satisfaction to graphic communicators. But it has also not been without some casualties. The casualties who have been swept aside by the wind of technological change are the traditional graphic artists who rely on the cut-and-paste cum air-brush technique.
Evidently, the causalities are the recalcitrant skilled hands who refused to blend with technology. As Lisa Walker and Steve Blount reiterate in their book, Getting the Max from Your Graphics Computer, “the burning question is not whether to use
16design computers, but how.” Since graphic communication is presently largely driven by technology, the graphic communicators must adapt to change. In adaptation lies their survival and job satisfaction.
Digital Print Production Process
The emergence of computer technology has brought profound changes to the way graphic reproduction is done. With particular reference to print advertising, the most important development in computer graphics in recent years is the digitization of images. Digitizing is a computer process of breaking an image (illustration) into grid of small squares. Each square is assigned a computer code for identification. With a digitized image, computer graphics specialists can break down an illustration and reassemble it or import other components into the original image.
There are various types of processes used in print production. The major ones are letterpress, gravure, offset lithography, flexography, screen printing, electronic printing and computer
print production. The features of the above processes are outlined in chapter five.
Old vs. New: The Faces of Printing Technology
The digitization of print, as mentioned earlier, has brought about a new phase in the history of printing. This has given printing technology an entirely new face. In the traditional print production process, there are six stages. They are:
1. Layout and Design: the creation of a plan for the design. The graphic artist, using a layout pad, T-square, triangle, pens, and pencils, works through various alternatives on the best visual presentation of the message.
2. Composition: this is the assembling of alphabetical characters and image into a paste-up mechanical that is referred to as the camera-ready copy.
3. Photo-conversion: this is the camera work of converting the camera-ready copy into films. It involves photographing the mechanical unto light sensitive materials using the darkroom camera. The exposed films are then developed through a chemical process. The end product of this process is a positive or negative film.
4. Image carrier making: the image carrier could be a letterpress etched plate or a lithographic plate. The activities involved include stripping and platemaking using the films produced from the photo-conversion process.
5. Image transfer/duplication: this process is the mass production of the image by transferring the image on the image
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carrier unto the substrate which could be paper, cardboard, polymer etc. The printing machines used in doing this are varied in working principles, sizes, speed and efficiency.
6. Finishing and binding: at this stage, the mass printed sheets are completed through a series of activities that include cutting folding, perforating, drilling and binding.
In sharp contrast to the above scenario, print production in the ICT driven society is hugely streamlined, leading to faster production and high print quality. Here, there are only three stages:
1. Pre-press stage: all activities involved in preparing the file for reproduction. This starts with designing and ends with the making of the printing plates. This includes stage1-4 in the traditional print production process in Fig. 1-6.
2. Press stage: the actual mass reproduction on the printing press using the different printing processes available. This is stage 5 in the traditional print production process in Fig.1-6.
3. Post-press stage: popularly dubbed the finishing stage, it entails the collating, folding, stitching and trimming of printed materials. All activities involved in packing for distribution also under this stage.
Fig. 1-4. The different stages of letter composition in the traditional composing system
Types are stored in the type case Type composing with the composing stick
Composed type in a galleryThe chase housing the printing form.The chase is secured using furniture and quoins
Fig. 1-5. The different parts of the cutting machine used in post press
Light barrier
Side table withaligning gauge
Cutting buttons
Paper pile in cutting position Handwheel for
the final settingof dimensions
Pedal
Machine Table
Cutting table/air cushion table
Knife andpressing bar
Control panel Light barrier
Frame
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Graphic Perspective
Graphics in the Service of Communication for Development
The process of developing print materials for social campaigns like breast-feeding, polio vaccination, smoking, etc thrives on a sound k n o w l e d g e o f d e s i g n communication. Words and images are the two basic elements of the print medium. Print has the advantage of permanence thus print materials are often used in social marketing campaigns. Some examples include:
Flip charts: they are regarded as one of the best interpersonal communication tools for creating dialogue and rapport between field staff and rural communities.
Picture cards: they are drawings used in similar way as flip charts. However, they are different from flipcharts in the sense that they do not portray a series of events but a single act and they are usually on paper.
Others are: Handbills (flyers), posters and billboard.
Message DevelopmentDeveloping the concept for a behavioral change campaign starts with outlining a strategy. This strategy must be shaped by an
analysis of the problem. To develop a n e f f e c t i v e s t r a t e g y , communicators must have a good grasp of the most relevant factors causing the main problems. The concept developed must be transformed into a message. The message is a short phrase or sentence that summarizes the story in simple and understandable terms. A good message must be short, straight to the point and interesting.
VisualizationVisualization is the task of reinforcing messages with visuals. Visuals are crucial to people’s ability to u n d e r s t a n d a n d r e m e m b e r messages. However, the visual images must be culturally relevant and appropriate ones.
The Creative Strategy/Copy PlatformThe creative strategy is a written strategy statement of the most important issues to be considered in designing the messages. The copy platform on the other hand seeks to
1
17
examine the questions who, why, where, when and how of the messages.
Layout OptionsNo graphic design project will communicate effectively unless the graphic designer pays high premium on how people read/view the printed page, a knowledge of the target audience and a firm grasp of the principles of design and layout techniques for effective print design.
While reading a printed page, the traditional form of movement of the human eye is a Z. All layout options should follow this pattern.
Pre-testingThe essence of pre-testing is to help project staff know whether the intended audience understand and like the draft materials before they are produced in the final form.
In carrying out this process, interviewers show the draft materials to members of the audience and ask open-ended questions to know if the message is understood and acceptable. The more the level of pre-testing, the better for materials development.
The variables to be measured in pre-testing are:
Comprehension: is the message clear and the language (verbal and visual) appropriate?
Attractiveness: the visual may be unnoticed if printed in dull colours.
Acceptance: the visual must not be offensive to the audience.
Involvement: the intended audience must be able to identify with the material and recognize the message as meant for them.
Call to Action: the materials must state explicitly what the target audience must do. If however, the material does not ask for action, the point is not tested.
Finished ArtworkBased on the data generated from the field via pre-testing, modifications of the visuals are effected. As much as possible, the views of respondents must be incorporated since the essence of field testing is to ensure the effectiveness of print materials.
It must be reiterated that it is not only the comprehension of visual materials that is important but the acceptability.
At this juncture, specifications required in accomplishing the task should be defined. In order to get print production costs from printers, specifications such as the printing process, sizes, quality of paper, quantity of jobs, etc must be specified.
Lastly, the print production should be monitored to ensure that the message is not distorted.
Source: Excerpts from a presentation by the author at a workshop on print materials development for breast-feeding campaign organized by UNICEF and Lagos State Ministry of Information from 17th-20th November, 2009
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Print Industry: The Meeting Point. P. 25th15. Arens, W. (2004). Contemporary Advertising. (9 ed.) New York:
McGrawHill p.40916. Lisa Walker and Steve Blount , (1991) Getting the Max from Your
Graphics Computer. Ohio: F & W Publications Inc
NOTES
1. Muller, Peter (n.d) “Communication through Graphic Design”. R e t r i e v e d O c t o b e r 2 2 , 2 0 0 9 from http://www.prmueller.de/downloads/GraphicCommunication.pdf
2. Ibid3. Cited in Parkinson, Mike (2007). “The Power of Visual
C o m m u n i c a t i o n ” R e t r i e v e d O c t o b e r 3 0 , 2 0 0 8 from www.billiondollargraphics.com/infogrpahics.html
4. Ibid5. ___________“Introduction to Visual Communication” Retrieved
October 30, 2008 from www.shargaj.ac.ae6. Ikpe, Essien (2000). “Graphics of Communication”. In Wilson Des
(ed.) Introduction to Print Media. Ibadan: Sterling-Holden Publishers Ltd. Pp 96-124
7. Excerpts from the website of Graphic Communications program, California Polytechnic State University, San Luis Obispo. Retrieved October 22, 2009 from www.grc.calply.edu
8.http://tecjed.vt.edu.16080/gcc/html/virtualTextbook/PDFs/Definition of Graphic Comm.pdf
9. Peterson, Bryan. (1996). Using Design Basics to Get Creative Results. Cited in Parkinson
10. Gatta et al. cited in “Communication through graphic design” by Peter Muller
11. Ikpe, Essien (2000), p. 9812. Ogili, E. (2005). “Strategies for Effective Communication of
Educational Instructions in Nigeria” Malaysian Online Journal of Instructional Technology. Vol 2, No 1. Retrieved October 23, 2009 from http//pppjj.usm.my/mojit/articles/pdf/April05/07-Ezja.pdf
13.allAfrica.com: Nigeria: Advertising Industry Billings Hit N34 Billion. Retrieved from allafrica.com/stories/200609270231.html
14.Printers’ Digest (May/June 2009). Advertising Agency and the
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