Type & Layout: Are You Communicating or Just Making Pretty Shapes (Kickstarting Business Series)
Format: PDF / Kindle (mobi) / ePub
With additional material by Geoffrey Heard and the original foreword by advertising guru the late David Ogilvy, this is a book for anyone who has a say in what appears in print and needs to know whether, as well as looking good, it will do its job by being read.
Out of print for several years, this expanded and updated edition of the book is based on research carried out by the author in Sydney. Parts were first published in a brochure Communicating or Just Making Pretty Shapes by the Newspaper Advertising Bureau.
It created a furor in the publishing and advertising industry because while it supports some old mores, it demolishes others. As David Ogilvy says in the foreword: "Hitherto designers have had to rely on their guesses as to what works best... all too often they guess wrong. Thanks to Colin Wheildon they no longer have to guess. No guesswork here. Only facts."
Previously published as Type & Layout: How Typography and Design can Get Your Message Across or Get in the Way, by Strathmoor Press, Inc., Berkeley, California, USA. ISBN 0962489158
E"ha"rt",mt - Matl"'E Sn'1'IW Headlines in capitals are all too common in magazines-and in advertisements everywhere. Those who argue for lower case because of its apparently greater legibility have the physiology of reading on their side. When a person reads a line of type, the eye recognizes letters by the shapes of their upper halves. With lower case this is simple, Headline Type 63 Figure 23 LOOK AT THE TOP HALF I (""\ (""\ V A T T U I:: T (""\ D U A I t::' THEN AT THE BOTTOM I
Readers were given samples with text printed on tints of 10 per cent of the base color, and increased in strength in increments of 10 percent. Again, readers were invited to comment on the presentation of the text. More than half of those who responded to the invitation made a comment with an interesting marketing application: at low strength tint, the tint seemed to soften the harshness of the white paper (this supposed harshness had not been mentioned before, nor was it afterwards). The
40% PMS 399 tint 22% 13% 65% This test was discontinued when the combined results for good and fair comprehension failed to reach 50 percent of the total. Table 14 PMS 399 on Its Tints Comprehension Level Good Fair Poor PMS 399 on 10% tint 8% 8% 84% PMS 399 on 20% tint 2% 6% 92% PMS 399 on 30% tint 0% 3% 97% This test was discontinued because the combined results for good and fair comprehension failed to reach 50 percent of the total. In these tests of lighter or more
danger, but only if serif type is used. The argument is that the fine strokes and serifs disappear when the material is reversed. To test this, similar articles were prepared set in 10 point Univers, with all other dimensions being identical to the remainder of the test papers. With the text printed black, comprehension levels were comparable with those recorded in the tests of sans serif versus serif body matter. Good comprehension was 14 per cent, fair comprehension 25 per cent, and poor
issue for a competing product falls flat? How can one sales letter yield $1 million more in revenue than a similar letter, mailed at the same time to a statistically identical group of prospects? And if a newspaper editorial on a City Hall scandal sets off a public furor, why should a similar opinion piece go largely ignored? Depending on your trade, you might explain these differences in results in a great variety of ways. For example: » An advertising executive may compare how well each