First, follow the principle of similar merger.
In the face of a design, we first classify and summarize the information, and then summarize the information level. Such as title, subtitle, subtitle, quotation or explanatory text, text, etc. , and then the picture information related to the text is also finely classified, so that the text corresponds to the picture one by one, forming a clear information level. In this way, information of the same kind and at the same level can be consciously integrated in the same area during design, forming a unified design style.
Second, determine the central content.
Because the brochure needs to convey effective information, it is necessary to determine the central content of the edition in the layout design, which can be determined according to the company's attributes, product attributes, market, consumer demand and other aspects. The most important thing on the leaflet is to have a central content that can attract attention. Therefore, in the design process, we need to pay attention to the contrast between different contents. You can determine a central content in each information layer, select different central content in a targeted manner, and establish a new typesetting layout.
Third, follow the neighborhood rule.
In the layout design of brochures, following the proximity principle is to make the layout elements of the same information level as close as possible, and the closer the layout elements are, the stronger the overall sense of the layout is; On the contrary, the arrangement elements of different information levels should be separated as far as possible to avoid clutter and ambiguity of information. Clear information division can make information transmission clearer and more organized. If the distance and location of the information layer in the partition are too random, it will lead to unsmooth information transmission.
Fourth, make clear the relationship between black, white and gray.
When we analyze the layout design of brochures, the relationship between graphics and graphics, graphics and text, text and text, arrangement elements and background, whether in color or non-color, can be summarized as three spatial levels: black, white and gray. In picture-based typesetting, it is necessary to analyze the brightness relationship of pictures to determine the black, white and gray relationship of other typesetting elements in the layout; In text-based typesetting, text information is the main element used to form the relationship between black, white and gray. Text information mainly includes title, subtitle, quotation, explanatory text and text. Title information can express the relationship between black, white and gray through font, size, thickness and color. Characters can show different gray levels through different font sizes, fonts, word spacing and line spacing. Through the contrast of brightness between black, white and gray, the level change of information is highlighted, and then the aesthetic feeling and sense of space of the layout are enhanced.
Fifth, pay attention to the catalogue design of brochures.
Brochure catalogue is the first page for readers to browse, which requires focused, clear navigation and comfortable arrangement. Therefore, we should pay attention to the use of contrast in font and typesetting in order to find out important information; Merge similar themes; Clever combination of catalogue and picture; Pay attention to alignment, font repetition and contrast.
Sixth, skillfully use "point", "line" and "surface" in typesetting.
In brochure layout, "point" mostly exists as an abstract point, and a smaller image can be called "point" in the whole page. Such as relatively small symbols in a layout, text belonging to symbols, and the like. Different shapes of points give people different visual feelings, and different shapes play an active, balanced, stable or rich role in layout.
There are three kinds of lines in brochure layout: lines formed by text arrangement, visual guide lines and geometric lines. In specific typesetting, we must be good at using this invisible line. Because it guides people to pay attention to the design theme. Decorating the whole page with lines not only makes the form and content perfectly unified, but also achieves the purpose of information coherence.
In visual composition, the surface often shows various shapes, such as geometric shape, organic shape, irregular shape, curved shape and so on. In the layout design of a brochure, the face can be a picture, a shape formed by abstracting the layout elements such as quotations and words into a "face", and it is a negative space or negative shape in the layout. In order to strengthen the overall concept of brochure layout, we should consciously understand the text as "face" when designing. It is an effective way to avoid the disorder of layout space by emphasizing the area occupied by "face" and the visual effect of black, white and gray.
The seventh color starts from the whole.
Color is an important part of brochure typesetting design elements. It can create an atmosphere, contrast the theme, strengthen the visual impact of the layout, and directly attract people's attention and emotional response; The color design of brochures should be based on the whole, using the symbolic color, color association and color law of commodities to form the basic tone that can fully reflect the theme content; We should also consider the contrast, coordination and relationship between factors such as lightness, hue and purity of color. The designer's accurate grasp of the main tone can help readers form an overall impression and better understand the theme.
Eighth fine layout
The layout combination in brochure design directly affects the visual effect of the work. There are many layouts. When designing, the designer should make clear what necessary words and pictures are needed to express the main part of the content. They can consider the browsing order from top to bottom and from left to right, and focus on the top left of the page. It is particularly important to note that there are many changes in the form and format of brochures, and they should be treated differently according to different situations when designing. For example, brochures with few pages and small area should have eye-catching layout characteristics in typesetting design; Color and subject image should be prominent; For brochures with more pages, because there are more contents to express, grid structure is often used in typesetting; There should be a certain connection between colors, reflecting a sense of unity and integrity.
Modern enterprises can give people a sense of beauty in life, but they also have their own laws. At the same time, brochure design is also the embodiment of cultural and artistic level. Therefore, in typesetting design, it is necessary to achieve unity in unity and change, so as to achieve a harmonious and perfect visual effect.