I spent six hours this weekend clearing junk from my house. It felt great. I sorted through piles of boxes, threw out unwanted clothes and re-organised a load of storage. Then, my Dad came to visit and commented on what a lovely home we have. Now, he didn’t say ‘Wow, isn’t it tidy’ – in fact he didn’t notice that I’d been tidying, but by clearing away the distractions he was able to notice the lovely touches we have around the place – like art and photos.
A room that is clear of clutter and that is well laid out to enable you to move around freely, is a joy to be in. Good literature design (on and off-line) is the same. There are various design conventions in regard to leaving white space, to aligning and anchoring headings and sub-headings, etc. – and whilst most people picking up a brochure (except those of us who work in the business) won’t consciously see these rules being applied, they will enjoy a well designed piece much more. This is most evident when you see something that hasn’t been well designed – you don’t know why, it just doesn’t look right. Just like when you walk into a room that has been freshly vacuumed, you don’t actively notice the carpet pile all running in the same direction – it just looks better.
Whilst there are, of course, examples of anti-design where rules are actively broken to create a jarring and clashing visual impact – most marketing literature, particularly in B2B, requires the sort of design that allows the message to take centre stage, that gently gives a sense of the corporate culture, and that silently guides the eye to the key points.
So, take care if you’re tempted to prioritise content over design in times of budgetary squeeze – if the two aren’t balanced, you’re missing a trick.
