Chocolate flavored ice cream poster design creative instructions

1: Positioning of the cashier: There are many types of bakeries, such as narrow and long strips, rectangular and double-sided Square, semi-circular, very small and other store layouts. The design and positioning of the checkout counter is determined based on different store types, the overall layout of the store, and the smoothness of the purchasing flow. (Instead of randomly arranging what is good or bad based on the operator's past experience) It must be scientific. If the location of the cashier is not designed properly, it will affect the increase in sales. For example, in a bakery with a narrow and long apartment, the checkout counter is too far in. During peak sales periods, when customers are concentrated, customers will queue up in front of the checkout counter. Those who want to go out will not be able to get out, and those who want to come in to buy will not be able to get in, because The island and side cabinet aisles are also narrow, causing crowding of customers. The shopping environment of the entire store will affect customers' next purchase psychology, as well as whether customers outside the store will have concerns about entering the store. In order to cause the loss of customers and reduce operating income. Therefore, the location of the cashier is very important!

2: Reasonable use of store windows. The display windows in bakeries (cake shops) generally have more floor-to-ceiling glass. From the outside, it is the face of the bakery. Its image display and effective use are closely related to the business positioning of the store and the visual promotion of the brand. Most of the window displays are designed for display, bread and cake models, or this location can be used as a leisure area. The bakery should determine the specific use of the design window location based on the bakery's (cake shop's) geographical location, surrounding environment, location orientation, customer spending power and habits. Take a community store as an example: the designer focuses on the display of rich products and a baking atmosphere in the store, and uses decorative effects and lighting to assist product sales, as the theme design concept of the store. The window display position is an important part of the store. It is recommended to use bread, cake models and dry pastries as community store window display contents. Especially for a bakery that has just opened its first store, the brand is not well-known and a fixed consumer group has not yet been established, so it is particularly important to use the window as a product display window. If the store is located in a sunny location, you should consider using awnings or parasols to block direct sunlight and reduce the loss rate of bread. There is no need to place the leisure area in the window, because the consumer groups of community stores are fixed residents in the surrounding area and rarely stay in the store after purchasing products. When customers order or pick up cakes, there is only a waiting area. . The size of the brochure

The size of the brochure

210*285 generally the finished product is 16k larger (1cm shorter than A4), and the common ones are 12K slightly larger than 16K.

Several major elements of brochure design

The visual elements of brochure design are mainly text, graphics, color and layout.

1. Text

As an element of visual image, text must first be readable. At the same time, different font changes and changes in size and area will bring different visual experiences. The layout and design of text is one of the important means to enhance the visual effect and personalize the layout. In brochure design, the selection and use of fonts must first be easy to identify and read. We must not blindly pursue effects and lose the basic function of conveying information. Especially when changing the shape and structure of fonts, using special effects or choosing calligraphy or handwriting, you must pay more attention to its recognition.

The choice of font should also pay attention to the purpose of the appeal. Different fonts have different characters, and brochure designs with different contents and styles also require different font design positioning: either serious and dignified, lively and relaxed, elegant and classical, or novel and modern. Starting from the theme content, choose a font that is consistent with the conveyed content in a morphological or symbolic sense.

In the entire brochure, the fonts should not change too much, and attention should be paid to the harmony and unity between the selected fonts. The title or indicative text can be changed appropriately, and the text font should be consistent in style. The layout of text should conform to people's reading habits. For example, the number of words in each line should not be too many, and appropriate word spacing and line spacing should be used. Different font layout styles can also be used to create novel layout effects and bring different visual experiences to readers.

2. Graphics

Graphics is a visual language that uses images and colors to intuitively spread information, concepts and exchange ideas. It can transcend national boundaries, eliminate language barriers and enter various countries. The field communicates with people and is a universal visual symbol for human beings.

In brochure design, the use of graphics can play the following roles:

Attract attention. Effectively use the visual impact of graphics to grab the reader's attention. This kind of strong "attention effect" produced in an instant can only be achieved by graphics.

Look at the reading effect. Good graphic design can accurately convey the theme idea, making it easier for readers to understand and accept the information it conveys.

Induction effect. Catching the reader's curiosity, attracting the reader to the graphics and then directing their eyes to the text. There are various methods of graphic representation. Various traditional painting and photography techniques can produce graphics and images with different appearances and styles. Especially in recent years, the application of computer-aided design has greatly expanded the space for graphic creation and expression. However, no matter what means are used to express it, graphic design can be summarized into two categories: concrete and abstract.

Concrete graphics can express the specific form of objective objects, and they can also express a certain artistic conception. It truly conveys the beauty of form, texture, color, etc. of objects with intuitive images. It has a sense of reality and is easy to visually stimulate people's interest and desire, and gain people's trust psychologically. Especially some products with beautiful appearance often use real pictures to give people a pleasing feeling through exquisite design and production. Because of these characteristics, representational graphics still dominate brochure design.

In addition, concrete graphics are a form of visual language that people love and are easy to accept. Using concrete graphics to convey a certain concept or product information can not only enhance the expressiveness and persuasiveness of the picture, increase the attention value of the picture, but also make the communication effective.

It should be noted that the selection and application of concrete graphics and images must be closely related to the theme, and need to be refined and rigorously screened. It should be the sublimation of specific graphic expressions, rather than a simple list of picture images. ,put together.

Abstract graphics use non-realistic abstract visual language to express promotional content, which is a highly conceptual expression. In brochure design, abstract graphics have a wide range of expressions, especially modern technology products. Because they have abstract beauty, it is easier to express their essential characteristics with abstract graphics. In addition, for some products with poor image or no specific image, or when it is difficult to express some content and products with concrete graphics, using abstract graphics can achieve better results.

The simple and concise formal beauty and strong visual effects of abstract charts are the enhancement of people's aesthetic taste and the reflection of the spirit of the times. Compared with concrete graphics, they are more modern, symbolic and typical. Abstract expression is not bound by any expression techniques or objects, and is not limited by time and space, which expands the performance space of brochures.

No matter how abstract the graphic is, it must ultimately be accepted by the reader. Therefore, when designing and using abstract graphics, the abstract form should be consistent with the subject content and express the content or essence of the object. In addition, it is necessary to understand and master people's aesthetic psychology and appreciation habits, strengthen pertinence and adaptability, so that abstract graphics can accurately convey information and play their due role.

Concrete graphics and abstract graphics have their own advantages and limitations. Therefore, in the process of brochure design, the two expression methods sometimes appear at the same time or in a way that merges with each other, such as in abstract forms. Highlight concrete products in the performance. When designing, different expression methods should be used according to different ideas and objects.

3. Color

Among the elements of brochure design, color is an important component. It can create atmosphere, highlight the theme, strengthen the visual impact of the layout, and directly attract people's attention and emotional response; on the other hand, it can also reveal the personality characteristics of the theme and image more deeply, strengthen the perception, and give people Leave a deep impression and provide people with beautiful enjoyment while conveying information.

The color design of the brochure should be based on the whole, focusing on the overall unity of the color relationship between the components, so as to form a basic tone that can fully reflect the theme content; further consider the brightness, hue, and purity of the color. Comparison and adjustment of factors. The designer's accurate grasp of the main color tone can help readers form an overall impression and better understand the theme.

In brochure design, the use of color rules such as the symbolic color of the product and the association and symbolism of the color can enhance the communication effect of the product. Different types of goods are often represented by colors that match their feelings. For example, food, electronic products, cosmetics, medicines, etc. have large differences in color; and the same type of products can be subdivided according to their uses and characteristics. For example, food, in general, is mostly represented by colors with higher purity and clean feeling; among them, warm colors such as red, orange, and yellow can better express color, aroma, taste and other feelings, and arouse people's appetite, so when expressing food It has many applications; brown is often used to express some bitter-flavored foods such as chocolate or coffee; green gives people a fresh feeling and is often used to express vegetables and fruits; blue has a cool feeling and is often used to express frozen foods, refreshing drinks, etc.

In the process of using color, we should not only pay attention to typical sexual expressions, but also express our own personality. If the colors used are the same, they will lose their fresh visual impact. This requires breaking the restrictions of various conventional or customary colors during design, having the courage to explore, and designing novel and unique color styles based on the content or product features. In short, the color design of the brochure must not only be based on the content of the promotional material and the characteristics of the product, but also must be unique among similar designs and have a unique personality. In this way, recognition and memory can be enhanced and good visual effects can be achieved.

4. Arrangement

The various arrangement methods and rules we described in the chapter on arrangement design are also applicable to the design of brochures. It should be noted that the form and format of brochures change a lot, and the design should be treated differently according to different situations.

For brochures with fewer pages and smaller areas, the layout features should be eye-catching when designing; the colors and images should be clear and prominent; among the layout design elements, the main text can be appropriately larger.

For brochures with more pages, because there is more content to be expressed, in order to achieve a unified and overall feeling, attention should be paid to the use of grid structure in the layout; the changing relationship of rhythm should be emphasized, and certain rhythm should be retained. The amount of white space; the relationship between colors should maintain overall coordination and unity.

In order to avoid only paying attention to the effect of a single page and not grasping the overall situation during design, the following methods can be used to control the overall effect:

First determine the creative idea and determine the format according to the budget. and the number of pages; and reduce the graphic content and arrange them together in proportion according to the standard format, so as to facilitate comprehensive observation and comparison, and make reasonable adjustments.

Find out the most important factors in the whole book, set some standards or special images, and then design other factors after arranging these main factors. Seize a few key points in the whole volume, use dots to control the overall layout, achieve unity with change, seek unity with change, and achieve a harmonious and perfect visual effect.

Full-opening 889×1194 positive 787×1092

Four-opening 875×580 positive 775×530

Four-opening 430 ×575 positive 520×370

Eight open 420×285 positive 370×260

Sixteen open 210×285 normal 260×185

Thirty-two open degrees 140×203 positive degrees 130×185

What if you want to add bleeding

Just add 6 mm to each side!

Resolution 300

------------------------------------------ -

Positive 16 karat (185x260)

Daily 16 karat (210x285)

What is the unit of "open"?

How many sheets can be drawn out of the fully opened paper, that is, how many sheets can be drawn out.

For example: 16K means 16 cards are drawn in full open, and two cards are drawn in half open.

How big is it when opened?

Fully open: 780x1080

Large: 880x1180

Printing paper specifications

The so-called number of openings means cutting into several parts. For example, an 8-opening paper is 1/8 of the full opening (cut in half three times). Before designing, you must first select the paper size, because the printing machine can only use a few types of paper (usually full open, chrysanthemum open), and then use the machine to cut it into the required size after printing, so do not use the table below if you have nothing to do Special specifications other than that to avoid wasting space due to unsatisfactory printing on paper.

Because the machine needs to pick up and feed paper, the edges of the paper cannot be printed. Therefore, the original size of the paper will be larger than the actual specification. Wait until printing is completed before cutting the blank edge. fall off, so there is a difference between the full size and the cropped size. If the poster intentionally leaves a white border, you can choose not to cut it.

Open specification full size (mm) cut size (mm) commonly used paper

Full-open B11091X7871042X751 wall newspaper

Folio (half-open) B2787X545751X521 Poster

3 open 787X363751X345

4 open B3545X393521X375

5 open 454X318424X303, 8 open B4393X272375X260

16 open B5272X196260X18726 hole loose-leaf notepad

32 open B6196X136187X130

64 open B7136X98130X93

Ju full open A1872X621842X594 poster

Ju full open A2621X436594X421

Ju 3 open 621X290594X280

Ju 4 open A3436X310421X297

Ju 8 open A4310X218297X210 photocopy paper

Ju 16 open A5218X155210X148 manual

Ju 32 open A6155X109148X105 , Ju 64 open A7109X77105X74

The general process of offset printing:

Design into drawing → finalize OK → output film → make PS version → print on machine → each post-printing process → finished product into warehouse or Shipping

Some sizes

General standard sizes: "Depending on actual needs"

Tri-fold advertising standard size A4) 210mmx285mm

Standard size of general brochure A4) 210mmx285mm

Standard size of document envelope: 220mmx305mm

Poster: standard size: 540mmx380mm

Standard size of hanging flag: 8 openings 376mmx265mm 4 openings 540mmx380mm

Handbag: Standard size: 400mmx285mmx80mm

Letter note: Standard size: 185mmx260mm210mmx285mm

Business card: 90mmX55mm

Envelope

No. 1 165X102, No. 2 176X110

No. 3 176X125

No. 4 208X110

No. 5 220X110

No. 6 230X120

No. 7 230X160

No. 8 309X120

No. 9 324X229

No. 10 458X324

There are many types of printed matter, and different printed matters often require the use of different types of paper. The varieties and specifications of some commonly used printing papers are introduced below.

1. Letterpress paper

Toppan paper is the main paper used for letterpress printing of books and magazines. Letterpress paper can be divided into four grades: No. 1, No. 2, No. 3 and No. 4 according to the different composition ratios of paper materials. The number of the paper represents the quality of the paper. The larger the number, the worse the paper quality. Letterpress printing paper is mainly used by letterpress printing machines. This paper has properties similar to, but not identical to, newsprint. Since the ratio of paper pulp and the tapping of pulp are better than newsprint, the fiber structure of letterpress paper is relatively uniform. At the same time, the gaps between fibers are filled with a certain amount of filler and glue, and have also been bleached, which forms The adaptability of this paper to printing. It is slightly different from newsprint. Although its ink absorption is not as good as newsprint, it has the characteristics of uniform ink absorption; its water resistance and paper whiteness are both better than newsprint. Letterpress paper has the characteristics of uniform texture, lint-free, slightly elastic, opaque, slightly water-resistant, and certain mechanical strength.

Weight: 49～60)±2g/m2.

Specifications of flat paper: 787×l092mm, 850×ll68mm, 880xl230mm; and some special size paper.

Roll paper specifications: width 787 mm, 1092 mm, 1575 mm, length approximately 60m to 80oo meters.

2. Newsprint

Newsprint, also called white newspaper, is the main paper used for newspapers, periodicals and books. The characteristics of newsprint are: the paper is soft and has good elasticity; it has good ink absorption performance, which ensures that the ink is fixed on the paper quickly; the two sides of the paper are smooth and lint-free after calendering, so that the printed imprints on both sides are better Clear and full; has certain mechanical strength; good opacity; suitable for high-speed web printing. This kind of paper is produced from mechanical wood pulp (or other chemical pulp) and contains a large amount of lignin and other impurities. Not suitable for long-term storage. If stored for too long, the paper will turn yellow, become brittle, have poor water resistance, and be unsuitable for writing. Newspaper ink or book ink must be used. The viscosity of the ink should not be too high. The moisture content of the page must be strictly controlled during offset printing.

Weight: 49～52)±2g/m2

Flat paper specifications: 787×1092mm, 850xll68mm, 880xl230mm.

Roll paper specifications: width 787mm, 1092mm, 1575mm; length about 6000~8000 meters.

3. Offset paper

Offset paper is mainly used for lithographic (offset) printing machines or other printing machines to print higher-end color printed matter, such as color pictorials, albums, promotional posters, and color printed trademarks And some high-end books, as well as book covers, illustrations, etc. Offset paper is divided into three types: special, No. 1 and No. 2 according to the pulp ratio. There are single-sided and double-sided, and there are two grades: super calendering and ordinary calendering. Offset paper has small elasticity, uniform ink absorption, good smoothness, tight and opaque texture, good whiteness and strong water resistance. Conjunctival offset printing ink and better quality lead printing ink should be used. The viscosity of the ink should not be too high, otherwise powder removal and fuzzing will occur. To prevent dirt from sticking to the back, anti-fouling agents, powder spraying or lining paper are generally used.

Weight: 50, 60, 70, 80, 90, 100, 120, 150, 180 g/m2.

Flat paper specifications: 787×1092 mm; 850×1168 mm.

Roll paper specifications: 787 mm, 1092 mm, 850 mm.

4. Coated paper

Coated paper is also called printing coated paper. This kind of paper is coated with a layer of white slurry on the base paper and pressed. Made of light. The paper surface is smooth, the whiteness is high, the paper fibers are evenly distributed, the thickness is consistent, the elasticity is small, the elasticity is good, the water resistance and tensile properties are strong, and the ink absorption is good. Sexual and receptive conditions are very good. Coated paper is mainly used for printing albums, covers, postcards, exquisite product samples, and color trademarks. The pressure should not be too high when printing on coated paper, and offset resin-based inks and glossy inks should be used. To prevent dirt from sticking to the back, methods such as adding anti-fouling agents and powder spraying can be used.

Weight: 70, 80, 100, 120, 150, 180200, 210.240, 250g/m2.

Flat paper specifications: 648×953 mm, 787×970 mm, 787×1092 mm

5. Painted newspaper

The texture of painted newspaper is fine and white. Smooth, suitable for printing pictorials, albums and posters, etc.

Weight: 65, 91 and 12 g/m2

Flat paper specifications: 787×l092 mm.

6. Written paper

Written paper is also called book cover paper, which is the paper used to print book covers. Pigments are added to written paper during papermaking, and come in colors such as gray, blue, and beige.

Weight: 120g/m2.

Flat paper specifications: 690×960 mm, 787×1092 mm.

7. Embossed paper

Embossed paper is a specially produced surface decorative paper. The surface of the paper has a pattern that is not very obvious. The colors are gray, green, beige and pink, and are generally used to print single-color covers. The embossed paper is brittle and the spine breaks easily when binding. When printing, the paper has a large curvature and paper feeding is difficult, which affects printing efficiency.

Weight: 150~180g/m2.

Flat paper specifications: 787×l092 mm, 850×ll68 mm.

8. Dictionary paper

Dictionary paper is a high-grade thin book paper. The paper is thin, strong and resistant to folding. The paper surface is white and delicate, the texture is tight and smooth, and slightly transparent. Has certain water resistance. It is mainly used for printing dictionaries, classic books and other books with a large number of pages and that are easy to carry. Dictionary paper has high requirements on pressure and ink color in the printing process, so special attention must be paid to the printing process.

Weight: 30~40g/m2.

Flat paper specifications: 787×l092 mm.

9. Raw edge paper

The raw edge paper is thin, soft, light yellow, and hairless. Water resistance and good ink absorption. Raw-edged paper is only suitable for single-sided printing and is mainly used for ancient books.

10. Writing paper. Writing paper is paper for writing with ink. The paper must not swim when writing. Writing paper is mainly used in factories to print exercise books, diaries, forms, account books, etc. Writing paper is divided into special size, No. 1, No. 2, No. 3 and No. 4.

Weight: 45, 50, 60, 70, 80 g/m2.

Flat paper specifications: 427×569 mm, 596×834 mm, 635×ll18 mm, 834×ll72 mm, 787×l092 mm.

Roll paper specifications: 787 mm, 1092 mm.

11. Typing paper

Typing paper is a thin sheet of paper. The paper is thin and flexible. It is required not to have holes when typing, and it will not be damaged by the pen tip when copying with a hard pencil. scratched. Mainly used for printing documents, forms and multi-copy vouchers. Used as interleaving paper and printing and packaging paper in books. Typing paper comes in white, yellow, red, blue, green and other colors.

Weight: 20~25g/m2.

Flat paper specifications: 787×l092mm, 560×870mm, 686×864mm, 559×864mm.

12. Postage paper

Postage paper is used in printing to print various copies of books and printing and packaging paper.

Weight: 25~28g/m2.

Flat paper specifications: 787×l092 mm.

13. Cobb paper Cobb paper is thin and tough, suitable for printing multi-copy books; it is used in book binding to protect art works and play a beautiful role.

Weight: 17~20g/m2.

Flat paper specifications: 787×l092 mm.

14. Self-printed white paper has small elasticity, toughness, and is not easy to break when folded. It is mainly used for printing packaging boxes and commercial packaging sulfur lining paper. In bookbinding, medium-diameter paper (spine strips) or covers used for bound spines and hardcover books. There are special and ordinary, single-sided and double-sided.

According to the bottom layer, there are two types: gray bottom and white bottom.

Weight: 220, 240.250, 280, 300, 350, 400 g/m2.

Flat paper specifications: 787×787 mm, 787×1092 mm, 1092×1092 mm.

15. Kraft paper Kraft paper has high tensile strength and is available in single light, double light, striped, and grainless. Mainly used for packaging paper, envelopes, paper bags, etc. and printing machine drum lining.

Flat paper specifications: 787×1092mm, 850xll68mm, 787×ll90mm, 857×ll20mm design brief discussion on several common methods in long image layout

Text | _CEH__|Screenshots from the Internet and various websites

Long picture design is very widely used in the era of screen reading. In addition to the most directly thought of website and APP pages, there are also long picture packaging and long posters for personal portfolios. , e-commerce product details pages, long image ads on Weibo and WeChat, etc. Therefore, not only interface designers need to understand the composition method of long picture design, but as ordinary designers, we can also understand some design skills of long pictures and long pages.

In order to keep readers interested and stay longer, our design must not only look good but also provide certain visual guidance so that the content experience is consistent from beginning to end. of. To achieve this goal, we need to design specifically.

I hope this article can bring you some help. So let’s take a look at some of the more commonly used simple design methods for long image and long page design.

Repetition is to unify the vision and remind users or readers that they are still staying in the same content. Repetition can be repeated fonts, colors, sizes, spaces, forms, frames, etc. It is not Strictly copy the same elements, but follow certain rules to produce continuous changes on the page. In other words, when using repeated elements, there should be changes in the rules, and there should be rules in the changes.

Repeating numbers, text, English, typesetting forms, structures, etc.

Repeating typesetting forms, structures, etc.

Repeating shapes, symbols, characteristics, etc.

Repeat colors, color block applications, etc.

In addition to the repetitions highlighted, it is not difficult to find that various repetition methods do not actually exist independently, and are often mixed with applications. Of course, there are far more methods of repetition than just the ones listed.

F-shaped layout is a very traditional but very scientific layout method. It is a classic layout method summarized based on a large number of eye tracking experiments. It conforms to most people’s browsing habits. When we look at a page, we usually look at the upper left corner first (such as logo, navigation, title, etc.), then look at the horizontal content from left to right first, and then browse the entire page from top to bottom, thus forming a F-shaped visual path.

NNGroup’s eye tracking research chart (red and orange represent hot spots of attention, blue represents uninteresting parts)

From the F-shaped layout and eye tracking experiments we can get Here are some inspirations:

1. Try to place the most important information (such as logo, company name, title, navigation, etc.) at the top (even as accurate as the upper left corner), and try not to place it on the right

2. You can usually put some less important things on the right side, such as feedback, consultation, advertising, recommendations, etc.

3. When designing, you should pay more attention to the information on the left side. This is to pay attention to Where the power is concentrated, the right side is usually left blank

4. For layouts with multiple texts and content (such as news, community, event introduction pages, etc.), the F-shaped layout can be given priority

F-shaped layout of 36Kr web page

F-shaped layout of envatotuts page

F-shaped layout of game activity page

F-shaped layout of activity page

In addition to the F-type layout, the S-type (also called "Z" type, "Z type") is also a very classic type of page layout. Similarly, it is also in line with the human browsing process, and it is all done through the eyes. Proved by motion tracking experiments.

When we browse a page, our eyeballs will move left and right to read, and the point where our eyes stay will change from top to bottom of the page, thus forming an "S" shape moving left and right. path. This kind of layout is widely used in long pages, especially when introducing a certain picture of a certain product. Using the S-shaped layout will form a visual guide and make it smooth to read the entire page.

Eye tracking research chart

The first application of S-shaped layout in web pages may have started from Apple’s official website, using the left picture with right words and the right picture with left words to form a reading coherence.

For example, in the iPad details page below, in the first screen, I