JPS Design Group - Graphic Arts graphic design, packaging design, web design en-us Sat, 18 Nov 2017 06:59:00 -0800 Mon, 13 Nov 2017 00:00:00 -0800 no Top 4 Graphic Design Concepts Every eLearning Instructor Needs to Know <p>teaching and education has always been about more than just the subject matter. it’s also about how the material is packaged and presented to learners. with elearning, students might never see their teachers or meet in a group with their peers. because elearning lacks some of these components of traditional education, the visual aspect has become more important than ever. good graphic design is a key part of creating effective elearning material.</p> <p>there are plenty of elearning creators who are excellent educators, but might not have been trained in visual communication. even if you’re not a graphic designer by trade, you can incorporate these graphic design principles to instantly improve the effectiveness of your elearning courses.</p> <h2>1. use images with purpose.</h2> <p>this means using images when they add something to the content, not when they distract from what students are meant to learn. images should complement and enrich the text. </p> <p>image quality is just as important as image content. your elearning content should project a professional appearance, and it can’t do that with out-of-focus, pixelated images. using low quality images devalues your content. it can make learners doubt that your course is a reputable source of information.</p> <h2>2. incorporate color psychology.</h2> <p>whether or not they realize it, your learners strongly associate colors with certain concepts and ideas. to make sure your message is getting across the way you want it to, it’s important to understand those associations and use colors accordingly.</p> <p>here are some of the most common color associations:</p> <p>red: red might be used to represent love, passion, and romance (think valentine’s day hearts, roses, etc.). more commonly in this context, it’s used to represent a warning or danger (it’s the color of stop signs, blood, etc.). either way, we’re conditioned to immediately give our attention to text or accents in red.</p> <p>green: green is generally considered a “safe” color (think of green on a stoplight or a green check mark indicating approval on a form). it’s also commonly associated with health, nature, and in some contexts, money and finance. </p> <p>blue: blue tends to be associated with authority: it’s frequently used in bank logos, branding for health and drug companies, and in many other professional contexts to indicate reliability and trustworthiness. this is a great color to use for emphasis without drawing attention away from your main message. </p> <h2>3. know your fonts.</h2> <p>fonts are an underappreciated aspect of good graphic design for elearning. after all, whatever font you choose, your learners are going to spend quite a lot of time staring at it. there are literally thousands of font options out there. but your best bet as an elearning course designer is to stick to the basics. </p> <p>a clean, sans serif font like verdana, arial, or helvetica is always a safe choice. (sans serif simply means that the letters don’t have little extensions, called serifs, at the end of the line strokes. times new roman is a serif font. the default font on your phone or tablet is almost certainly sans serif.)</p> <p>you can deviate from these standard sans serif fonts in your titles or headings, but use other fonts sparingly. generally speaking, you should only use two or, at most, three fonts in your entire course. it’s important to use fonts consistently as well. one font for all of the text body and another easy-to-read font for the titles and headers is a good format.</p> <h2>4. keep your layout clean and logical.</h2> <p>when it comes to the overlap of graphic design and elearning, cognitive load is an especially important aspect to keep in mind. per psychologist world, <a href=''>cognitive load</a> “is a theory which aims to understand how the cognitive load produced by learning tasks can impede students’ ability to process new information and to create long-term memories. cognitive load is typically increased when unnecessary demands are imposed on a learner, making the task of processing information overly complex.”</p> <p>what does this mean for elearning? essentially, it means that the harder your learners have to work to understand the flow of your course, the less attention they can devote to actually learning the material.</p> <p>part of this comes from the technical implementation and method of delivery for the course. but graphic design is a large component as well. a couple of tips for reducing cognitive load:</p> <ul> <li>utilize white space (also known as negative space). this literally means blank, empty space that isn’t occupied by text or images. including plenty of white space makes your course appear neat and organized.</li> <li>build your layout around key focal points. as soon as your learners open a new page or module, their eyes should be drawn to a specific element that captures what the page is all about. if your layout has too many focal points, learners will find it hard to make sense of the information on the page. the same is true if your layout has no focal points.</li> <li>incorporate visuals. this relates to our first graphic design principle: images should reflect the core message of the module. but visuals don’t have to mean photographs. consider replacing chunks of text with infographics, charts, or graphs, which are often much easier for learners to process. even when you are using text, create a visual hierarchy with the use of headings, subheadings, and bullet points.</li> </ul> <p>original article on <a href='' target='_blank'><strong>elearing inside</strong></a>.</p> Graphic Arts Mon, 13 Nov 2017 00:00:00 -0800 Trends in Beauty: How to Use Naturalism <p>in a digitally driven culture, desire to get back to nature has greater value than ever as consumers are craving new, more intense connections with the natural world.<br /> <br /> combining the best aspects of a natural lifestyle with the convenience of today’s digital connectivity, naturalism is gaining a new premium status. brands are embracing the intricacies and imperfections of natural visual codes and cues; raw, traditional materials, earthy color palettes and handcrafted products.</p> <h3>the desire for naturalism</h3> <p>once reserved for a specific eco-consumer and the realms of organic foods, the desire for naturalism is becoming more prevalent across a number of categories.<br /> <br /> in response to the slick, polished digital experiences we are surrounded by each day, consumers are rejecting over-manipulated, synthetic and embellished products and experiences and instead are placing a higher value on naturalism.<br /> <br /> while naturalism was perhaps born in the world of personal care, we’ve seen naturalism becoming ingrained across most categories, including fashion, interiors and product design. and as a result, it is now coming full circle with new expressions and new codes of natural in the beauty industry.</p> <h3>what does naturalism look like?</h3> <p>so, what does naturalism look like? in interior spaces, we invite the outside in as immersive indoor planting takes over the summer and graphic greenery is printed onto everything from wallpaper to packaging design.<br /> <br /> graphic patterns and typography champion handmade craft as brands increasingly celebrate natural through type and pattern, inspired by textile design, modern graphic art and printing. in addition, consumer awareness of synthetic and animal-derived ingredients continues to grow bringing with it a preference toward transparent brands and vegan-friendly and naturally derived products.<br /> <br /> deodorant brand <a href='' target='_blank'>schmidt’s naturals</a> is challenging established codes and perceptions of natural in a category traditionally cynical of natural product efficacy. refreshing and vibrant leafy patterns on pack celebrate their natural, plant-powered products and have helped assert them as a new player in the market alongside brands like secret and dove. <br /> <br /> driven by a craving for closer connections to nature, earthy color palettes such as rich yet muted tones of yellows and brown provide relief and relaxation, a welcome break from our rapid-response, digital lives. in their hong kong store, natural beauty brand burt’s bees incorporates inviting, warming color tones to emulate the magic of being inside a beehive, while a feature wall of honey jars house the natural ingredients used in their products.<br /> <br /> further than this, naturalism is impacting existing codes of premium as synthetically perfect, polished and pristine products are rejected in favor of exposing natural materials and finishes. raw materials are hero’ed in products and interiors where effects such as peeling plaster and natural cork replace a slick, polished finish.<br /> <br /> similarly, in cosmetics, wood, stone and ceramic materials are used in packaging and products to enhance natural credentials. a clay cleansing bar soap features in the face product ranges of <a href='' target='_blank'>herbivore </a>cosmetics, while naturals brand <a href='' target='_blank'>neom organics </a>incorporates a ceramic vessel in their treatment candles.<br /> <br /> naturalism celebrates the un-designed: graphic design that dismisses the traditional grid system and symmetry, instead embracing an un-staged, imperfect aesthetic. from kanye west’s album cover to supreme’s candid fashion photography, natural design expressions are creating a fresh sense of authenticity that pays tribute to being in the moment.<br /> <br /> for beauty packaging, this means challenging the norm, breaking the traditional rules and being bold and brave with graphics on pack. take inspiration from <a href='' target='_blank'>bleach london</a>, who are carving a unique space in the beauty category as they continue to broaden their bold product offering from edgy, vivid hair colors to bright pressed glitter and vibrant lip kits. their brand identity of shattered type reflects this bold expression and their irreverent marketing strategy as they break expected design codes for beauty packaging.</p> <p>how can you use naturalism to elevate your brand through packaging?<br /> <br /> champion natural packaging materials, utilize textural and tactile labels, commission handcrafted illustrations and, ultimately, celebrate nature’s imperfections through packaging.</p> <p>original article on <a href='' target='_blank'><strong>beauty-packaging</strong></a>.</p> Graphic Arts Sat, 4 Nov 2017 00:00:00 -0800 From Michelangelo to Dadaism: designers’ favourite creative eras <h3>suki heather, creative director, akqa</h3> <p>“pushing the boundaries of creativity, dada was an influential, early 20th century avant-garde art movement conveying ideas beyond aesthetic. a collective of like-minded individuals used diverse mediums to express and call into question war, society, gender and identity. hannah hÖch, the queen of subversion, pioneered techniques like photomontage to recut narratives, creating visual statements that were both comedic and shocking at the same time. dada rejected traditional norms, building a raw, risk-taking and unapologetic style, inspiring generations of artists, from music to fashion and literacy to graphics. this was a way of thinking that’s never seemed more relevant today.”</p> <hr /> <h3>ellen munro, creative director, brandopus</h3> <p>“it’s hard not to say the present. every day we’re able to look back and take inspiration from all the fascinating times that have come before, curating and creating something entirely new using old influences. if pushed though, i’d love to have been designing in the late 1950s to early 1960s. it was the era of alan fletcher, paul rand and bob gill, who fused clever, witty design alongside expressive illustration. it would have been amazing to have been a part of the heyday of simple and clever design thinking. their designs and ideas are still held in high regard, with many still in use today over 60 years later.”</p> <hr /> <h3>dan kraemer, founder and chief design officer, ia collaborative</h3> <p>“in woody allen’s film midnight in paris, the character paul describes nostalgia as “denial of the painful present”. while now may be a justifiable time to indulge in such ‘golden age thinking’, i actually believe that today is the best time to be a designer. never before has design had so much ability to positively impact people’s lives. leading corporations are appointing chief design officers, nine of last year’s 25 top venture-backed start-ups had designers at the helm, and crowdfunding communities are backing designer-entrepreneurs to bring passion-driven projects to the world. maybe i’d like to be a designer 100 years from now, to be a part of what will no doubt be an even more positive impact on the world.”</p> <hr /> <h3>jon vallance, associate creative director for brand and graphics, pearlfisher london</h3> <p>“us-based graphic designer aaron james draplin talks about how, historically, the real heroes of design have always been completely inconspicuous. they are the guys working a regular job, or the artists punching in their hours and creating timeless design without really meaning to. when i look through design annuals i do find myself agreeing with this. page after page, the work that strikes me as truly revolutionary never really comes from anyone ‘famous’. that said, i recently found out that the image of ‘man and god’ in the vatican city’s sistine chapel is an anatomically perfect representation of the human brain, and the ceiling itself represents the human nervous system. this was a big ‘bear in the toblerone’ moment for me, so perhaps michelangelo’s era in the 15th and 16th centuries is my answer.”</p> <p>original article on <a href='' target='_blank'><strong>design week</strong></a>.</p> Graphic Arts Tue, 22 Aug 2017 00:00:00 -0800