The Best Graphic Design Laptops

If you’re a graphic designer, then you might be wondering what the best laptop for graphic design is. This is a question that can be easily answered when you take a look at the laptops hardware, rather than the software installed. The hardware will influence how well the laptop performs when running software programs.

Plenty of people tend to choose either Apple or Dell when it comes to notebooks, due to strong brand awareness. They usually employ a lot of marketing strategies which make it clear that you won’t ever regret choosing one of their products. These two brands are known pretty much anywhere you look as the top manufacturers for all things laptop related.

If we’re talking about laptops for graphic design, then we shouldn’t ignore these two brands either since their products usually integrate the best in the tech world, and the models they bring out on a regular basis will have the latest processor model, along with more RAM than the previous model and a better graphics card.

Let’s take a look at a few of the things that actually matter for graphic designers:

Screen Size and Resolution

When you choose a laptop, make sure you understand this spec. The screen resolution if the amount of actual pixels the laptop can output on the screen, and it won’t necessarily have to do with the actual screen size itself. There are certain ultra-portable laptop models with small screens but high resolutions. This doesn’t mean you should settle for a small screen laptop for your design work. A 13 inch laptop might be attractive at first sight, and it might bring a lot of portability to the table, but it gets rather difficult to do any editing on such a small screen.

Your aim should be at a laptop which carries a screen that’s at least 15.4 inches in diagonal screen size. Also, the pixel density, or DPI should be high. There are new laptop models which can output Full HD resolutions even on a standard 15.4inch screen.

Before you buy the thing, make sure you test it out. This means doing an actual resolution test and see which resolution works best for you. These newer notebooks are capable of decent resolutions and it would be wise to take your time and go through them.

You should open up several programs, like Adobe Photoshop or Illustrator and see how the overall layout of the software fits into the screen, how large the editing space really is and if the edited image is sharp enough for you to work with. After several tries, you should come to a point where you find a laptop that’s just perfect for the work you intend to do.

If there’s a laptop you might like, like one of those MacBook Air which are rather small both in resolution output and the screen size itself, it’s a good idea to get a monitor which you can use to extend the current laptop desktop, so you can store all the toolbars and dockers on your laptop screen and do the editing work on the big monitor where you can see it better.

System memory or RAM

The system memory is another crucial factor to look for when you’re picking a laptop for graphic design work. Graphic design programs tend to use a lot of RAM and that can lead to poor system performance if the laptop is not prepared for such a task. The more RAM your laptop has, the better it will run in the grand scheme of things. A lot of RAM means the added ability to run several design programs at once and easily switch between them. The amount of system memory installed will also impact pretty much anything else you might be running on your computer, from movies, games, browsing or actual office work.

Now I know a lot of graphic designers and they tend to run a lot of programs all at once. Of course, their computers are configured with a ton of system memory which makes it easier for the computer to handle running Photoshop, Illustrator and other vector graphic design programs all at once. The thing to remember here is that the amount of system memory directly impacts overall system performance.

Your aim should be in the 4GB range minimum, and that’s just for starters. If you’re on a budget, this is your starting point and you should plan to add more memory modules in the future.

If you want to heavily multitask and run several programs aside from the graphic design ones, you should think about laptops with about 8GB of RAM installed. Several laptops available in the current market allow you to purchase the standard model, with about 4GB of RAM but they include the possibility of adding more via the open memory slots available.

Now if you go for an Apple laptop, you might want to take into account the extra charge you might come across if you intend to upgrade your current model with more RAM. Some vendors do this, and they charge extra if you want to upgrade your laptop. If you don’t mind getting your hands dirty, you should try to get the RAM modules online and install them yourself, rather than pay extra for really easy screwdriver work.

Laptop CPU – Central Processing Unit – Processor

The CPU, or processor in the laptop is the part that makes all the calculations. It’s an essential piece of vector based design programs, where there are a lot of parameters to take into account. A decent CPU should be another thing on your list of things which make up the best laptop for graphic design.

There are several possible choices to be made here. A good starting point is to aim for laptops carrying at least a dual-core processor. This will allow you to run applications a lot better so you won’t suffer from system halts or sloppy operation.

If you opt for a laptop with a quad-core processor, you should have no trouble running pretty much any graphic design program out there.

Just remember – more cores means better laptop performance.

Graphics or Video Card

If you truly want the best laptop for graphic design, you will most likely never choose one which comes with an integrated graphics card. This is because integrated GPUs (Graphics Processing Unit) uses the available RAM to output the image on the screen, whereas a dedicated graphics card has its own RAM, or VRAM.

You can lose a lot of RAM if your laptop has an integrated GPU, and system memory is very important in graphic design laptops.

Such systems will run slower since they will split up the available RAM for running the actual programs and the integrated graphics card. This should be another item on your list – get a laptop which has a dedicated graphics card.

Now if you were a gamer, you would be concerned with the type of graphics card installed, since this is an important aspect in gaming laptops. But since the laptop will be used for graphic design work, a mid-range video card will do just fine. If your work implies doing 3D graphics work as well, then a high-end graphics card is needed as well.

Current laptops in this niche have good graphics cards with about 1-2GB of dedicated memory. These are good for both graphics design and a bit of gaming as well when you’re not in the mood for work.

If you do intend to play a lot of games, or start doing 3D modelling and renders, then you should take a look at Alienware laptops or the Republic of Gamers series from Asus, since these are configured to play the latest games at the highest possible visual settings.

Laptops for graphic design will carry a dedicated graphics card which has its own memory or VRAM.

Portability – This is what you sacrifice

If you think you’ll be buying a very portable laptop then you might be mistaken.

The best laptops for graphic design have a lot of powerful components installed and this might make it a bit hard for the laptop battery to last more than a couple of hours. You sacrifice portability for performance when you choose a laptop for this type of work, but it’s well worth it.

In conclusion

The best laptops for graphic design are configured with a decent-sized screen which allows a good native resolution so you can fit in all those toolbars, dockers and still have enough screen left for the image that’s being edited. Also, there’s a hefty amount of RAM installed, a dedicated graphics card and at least a dual-core processor, if not a quad-core.

The Seven Deadly Sins of Bad Graphic Design: What You Don’t Know Can Hurt Your Business!

An advertisement for food that takes away your appetite. A commercial that leaves you wondering what the product actually is, and how you can avoid it. Whether it’s a billboard, a television commercial or a magazine advertisement, we’ve all seen bad ads and wondered, ‘What was that company thinking?!’ Yep, a graphic design disaster strikes again!

It’s true; nothing leads to bad advertising or wastes your marketing dollars faster than a graphic design disaster. From big corporations to small businesses, everyone has made a graphic design mistake. Big corporations, however, have big bucks to spend on advertising, so the huge chunk of change that a large company just blew on an ineffective Super Bowl ad doesn’t hurt their bottom line the way an advertising mistake can hurt a small business.

If you’ve never worked with a graphic design team before, or had a bad experience in the past (I’ve heard horror stories of small businesses being ignored or mistreated by large design firms), the world of graphic design may seem mysterious, complex and even a bit confusing. A professional sign or graphic shop is experienced in turning your ideas into reality, and understand every step in the graphic design process. I’m here to debunk the mysteries, answer some common questions, and ensure your small business gets the biggest bang for your advertising buck! Read on for the ‘seven deadly sins’ of graphic design, and learn how to avoid these common pitfalls.

Sin #1: Graphic design doesn’t matter.

I beg to differ. The goal of every marketing initiative is to clearly communicate your message. Good design is at the root of this communication. A good design visually implements your marketing strategy; poor design does not. Good design establishes your brand’s legitimacy; bad design undermines it. Even the most creative and innovative marketing idea will fall short if you fail to properly execute the design. Whether it’s driving sales, promoting a product or defining a brand, graphic design has a clear business purpose and a specific goal to accomplish.

Fundamentally, good graphic design should: (1) improve your image and strengthen your brand, (2) make your business stand out from your competitors’ and (3) convincingly sell your messages to customers with a strong emotional appeal. The best designs stimulate an emotional, subconscious reaction in the viewer. And this all adds up to one thing: a better small business.

Sin #2: Cheap designers are just as good as expensive designers.

You get what you pay for. This old adage is especially true in graphic design. Think of graphic design not as an expense, but as an investment in your company’s future. Would you hire your next-door neighbor to do your business taxes? Unless he’s a certified accountant, the answer is probably no. The same goes for graphic design.

If you aren’t a graphic designer, don’t try to create your own logo – and don’t hire a friend without design experience to do it either. Leave the logo and marketing materials to a professional design team. There is a fine line between getting the biggest bang for you buck and looking cheap. When you choose to advertise your small business, whether it’s with vehicle wraps or window perforations, your goal is to cut costs, not quality. From color disasters to font fiascos, don’t gamble your business’s brand away on sub-par design. Whatever your graphic needs, avoid a branding catastrophe and go with the professionals.

Sin #3: Learning the lingo is a waste of time.

In reality, learning some basic design lingo can go a long way to helping you understand the process and getting you the biggest bang for your buck. From vector images to pre-flight approval, graphic design terminology is unique, and I know it can be a bit confusing to someone not familiar with it. When we first started in the design business, we didn’t know all the right terms either! Below I’ve listed some common terms that will help you better understand the design process – and ensure you get the best end product.

Vector images – A vector image is one made from basic geometric shapes, such as rectangles, lines, circles, ellipses and polygons. Since a vector image is created from shapes, it does not use pixels, thus when the image is enlarged, the same high quality resolution is maintained. Vector images are important because they allow for easy manipulation during the design process. If you have a logo or an image, be sure to give us the file in vector format. We can also convert some graphic files to vector format, although this is a chargeable service.

Color matching – If you have already printed a logo or other advertising collateral, you will likely want to match the color of your existing material to your vehicle wrap or window lettering. In order to ensure an accurate color match, bring us a sample in person. Because color can vary from computer to computer based on a monitor, the only way to ensure an accurate color match is to view a sample in person. Understand how important color matching is for your brand, and make sure to get it right the first time.

Pre-flight – When a design is in its final stages prior to printing, it is in ‘pre-flight.’ That means a production team does a final check to confirm colors and dimensions are correct before printing. Once an image goes to pre-flight check, no major design edits can be made (otherwise, you’ll need to start over from the drafting process).

Sin #4: I never plan ahead.

The key to a successful design job is planning. If you have a great idea, tell it! A good design company will help you take your idea from concept to completion. The best way to do this is to go to the shop, view samples, and talk to them in person. If you want a custom vehicle wrap job, be sure to bring in your car. This way they can get accurate measurements and get a feel for what you want. We use computer templates as a starting point for every vehicle wrap, but specific measurements allow us to customize the templates and ensure the design will fit just right.

Sin #5: I need my rush job ASAP.

Custom work takes time. Every design team will do their best to accommodate your schedule, especially in the event of a last minute rush job. Deadlines change and ‘I need it next week’ suddenly becomes ‘I needed it yesterday.’ Keep in mind that a design shop can (unfortunately) only do so much. Your rush job still needs to be squeezed in to the regular production schedule. Quality work takes time, and rushed jobs tend to look like they were rushed.

Sin #6: I proof my work when I feel like it – whether that’s today or next week.

Prompt proofing speeds up the design process. A good design company will work with you on edits and revisions as many times as you need, but keep in mind that proofing and changes take time. I always tell customers to allow 2-5 days for proofing and review. This may seem like a long time, but I’ve learned from experience that the change process can move slowly.

So what can be done to speed this up? The design proofing process will go much faster if the customer gets back in a timely fashion. I know you’re busy, but when you get a proof, take a few minutes to review it right away. Try not to wait a day or two – by the time you send changes and the design shop gets back to you, a few days will have already passed.

Sin #7: There’s no need to pay for quality materials.

Cut costs, not quality. Vehicle advertising and window graphics are two cost-effective marketing techniques that generate thousands of impressions and are a great return on your investment. However, poorly designed, printed and applied graphics look cheap – and reflect poorly on your brand. Use professional lamination for outdoor signage to protect and seal your graphics from sun, dirt and the elements. This will keep your colors fresh and preserve the ink, ensuring your graphics remain vibrant. Finally, make sure the lamination is done by a machine that presses a clear layer of vinyl on top of the graphic. The alternative process, using liquid lamination that is painted on by hand, may cost less, but it is an inferior process that looks cheap and easily fades and peels. A reputable shop will have a lamination press. Ask to be shown the machine so that you know you’re dealing with a reputable shop!

And when you’re ready to take off the graphics or change out your look, don’t remove them yourself. Improper removal can damage your car. Bring your vehicle into a shop to take care of everything. They have the right tools to make removal easy and safe.

What Is Graphic Design: History And Origins

Graphic design is a profession whose business is the act of designing, programming, and create visual communications, generally produced by industrial means and intended to convey specific messages to specific social groups, with a clear purpose. This is the activity that enables graphically communicate ideas, facts and values processed and synthesized in terms of form and communication, social, cultural, economic, aesthetic and technological. Also known as visual communication design, because some associate the word figure only to the printing industry, and understand that visual messages are channeled through many media, not just print.

Given the massive and rapid growth in the exchange of information, the demand for graphic designers is greater than ever, particularly because of the development of new technologies and the need to pay attention to the human factors that are beyond the competence of engineers who develop them.

Some classifications are widely used graphic design: advertising design, editorial design, corporate identity design, web design, packaging design, typographic design, signage design, multimedia design, among others.

Graphic Design History

The definition of the graphic design profession is rather recent, in what concerns their preparation, their activities and goals. Although there is no consensus on the exact date of the birth of graphic design, some dating during the interwar period. Others understand that begins to identify as such to the late nineteenth century.

Arguably specific graphic communications purposes have their origin in Paleolithic cave paintings and the birth of written language in the third millennium BC. C. But the differences in working methods and training required auxiliary sciences are such that it is not possible to clearly identify the current graphic designer with prehistoric man, with xylograph fifteenth century or the lithographer 1890.

The diversity of opinion reflects the fact that some see as a product of graphic design and all other graphical demonstration only those that arise as a result of the application of a model of industrial production, those visual manifestations that have been “projected” contemplating needs of different types: productive symbolic ergonomic contextual etc.

Background

A page from the Book of Kells: Folio 114, with decorated text contains the Tunc dicit illis. An example of art and page layout of the Middle Ages.

The Book of Kells – A Bible handwritten richly illustrated by Irish monks in the ninth century CE-is for some a very beautiful and early example of graphic design concept. It is a graphic demonstration of great artistic value, high quality, and that even a model for learning to design-for even surpasses in quality to many of the current-editorial productions, and also from a functional point of view contemporary This graphic piece responds to all needs presented the team of people who made it, however others believe that it would be graphic design product, because they understand that their design is not adjusted to the idea of current graphic design project.

The history of typography-and by transitive, also the history of the book-is closely linked to graphic design, this may be because there are virtually no graphics designs that do not include such items graphics. Hence, when talking about the history of graphic design, typography also cited the Trajan column, medieval miniatures, Johannes Gutenberg’s printing press, the evolution of the book industry, the posters Parisian Arts Movement and Crafts (Arts and Crafts), William Morris, Bauhaus, etc.. “

The introduction of movable type by Johannes Gutenberg made books cheaper to produce, and facilitate their dissemination. The first printed books (incunabula) scored the role model to the twentieth century. Graphic design of this era has become known as Old Style (especially the typefaces which these early typographers used), or Humanist, due to the predominant philosophical school of the time.

After Gutenberg, no significant changes were seen until the late nineteenth century, particularly in Britain, there was an effort to create a clear division between the fine and applied arts.

In the 19th Century

First page of the book “The Nature of Gothic” by John Ruskin, published by the Kelmscott Press. The Arts and Crafts intended to revive the medieval art, inspiration in nature and manual labor.

During the nineteenth century visual message design was entrusted alternately two professionals: the artist or the publisher. The first was formed as an artist and the second as a craftsman, often both in the same schools of arts and crafts. For the printer as art was the use of ornaments and selecting fonts printed in his compositions. The artist saw typography as a child and paying more attention to ornamental and illustrative elements.

Between 1891 and 1896, the William Morris Kelmscott Press published some of the most significant graphic products Arts and Crafts Movement (Arts and Crafts), and established a lucrative business based on the design of books of great stylistic refinement and selling them to the upper classes as luxury items. Morris proved that a market existed for works of graphic design, establishing the separation of design from production and the fine arts. The work of the Kelmscott Press is characterized by its recreation of historic styles, especially medieval.

First Vanguards

Poster for the Moulin Rouge in Paris. Made by Henri de Toulouse-Lautrec with color lithography in 1891. Thanks to Art Nouveau, graphic design and visual clarity gained by the composition.

Isotype of the Bauhaus. Founded in 1919 by Walter Gropius, is considered the birthplace of the graphic design profession.

Given Poster for Matinée. Made by Theo van Doesburg in January 1923. The free font organization, expresses the spirit of the Dada movement, irrationality, for freedom and oppose the status quo and visual expressions of the time.

Corporate identity design for Lufthansa, by the Development Group 5 of the HFG Ulm. Ulm School was an inflection point in the history of design, since there is outlined the design profession through scientific methodology.

Current pictograms design for the National Park Service of the United States. The idea to simplify the symbols forms developed during the 1950s.

The design of the early twentieth century, as well as the fine arts of the same period, was a reaction against the decadence of typography and design of the late nineteenth century.

The interest in ornamentation and the proliferation of measurement changes and typographical style one piece design, synonymous with good design, it was an idea that was maintained until the late nineteenth century. The Art Nouveau, with its clear desire stylistic was a movement that contributed to higher order visual composition. While maintaining a high level of formal complexity, did so within a strong visual consistency, discarding the variation of typographic styles in one graphic piece.

Art movements of the second decade of the twentieth century and the political turmoil that accompanied them, generated dramatic changes in graphic design. The Dada, De Stijl, Suprematism, Cubism, Constructivism, Futurism, the Bauhaus and created a new vision that influenced all branches of the visual arts and design. All these movements opposed to the decorative arts and popular, as well as the Art Nouveau, which under the influence of the new interest in geometry evolved into the Art Deco. All these movements were a revisionist and transgressive spirit in all arts of the time. This period also publications and manifestos proliferated through which artists and educators expressed their opinions.

During the 1930s developed for the composition interesting aspects of graphic design. The graphic style change was significant because it shows a reaction against eclecticism ornamentalist organicism and the time and proposes a more stripped and geometric. This style, connected with Constructivism, Suprematism, Neoplasticism, De Stijl and Bauhaus exerted a lasting influence and inescapable in the development of twentieth century graphic design. Another important element in relation to professional practice, was the increasing use of visual form as communication element. This item appeared mostly in the designs produced by the Dada and De Stijl.

The symbol of modern typography is the sans serif font or serif, inspired by industrial types of the late nineteenth century. Highlights include Edward Johnston, author of the font for the London Underground, and Eric Gill.

Design Schools

Jan Tschichold embodied the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy presented in this book, calling it fascist, but remained very influential. Herbert Bayer, who dirigó from 1925-1928 the typography and advertising workshop at the Bauhaus, created the conditions for a new profession: the graphic designer. He put the subject “Advertising” in the education program including, among other things, the analysis of advertising media and the psychology of advertising. Notably, the first to define the term Graphic Design was the designer and typographer William Addison Dwiggins in 1922.

Thus Tschichold, Herbert Bayer, László Moholy-Nagy, and El Lissitzky became parents of graphic design as we know it today. They pioneered production techniques and styles that have been using later. Today, computers have dramatically altered production systems, but the approach that contributed to experimental design is more relevant than ever dynamism, experimentation and even very specific things like choosing fonts (Helvetica is a revival, originally a Typography design based on the nineteenth-century industrial) and orthogonal compositions.

In the years following the modern style gained acceptance, while stagnated. Notable names in modern design midcentury are Adrian Frutiger, designer of the typefaces Univers and Frutiger, and Josef Müller-Brockmann, large poster of the fifties and sixties.

The Hochschule für Gestaltung (HFG) in Ulm was another key institution in the development of the graphic design profession. Since its founding, the HFG distanced himself from a possible affiliation with advertising. At the beginning, the department concerned was called Visual Design, but it quickly became clear that his current goal was to solve design problems in the area of mass communication in the academic year 1956-1957 the name was changed to Department of Visual Communication, modeled Visual Communication Department at the New Bauhaus in Chicago.2 3 In the HFG Ulm, decided to work primarily in the area of persuasive communication in the fields such as traffic sign systems, plans for technical equipment, or visual translation of scientific content. Until that time were not systematically taught these areas in any other European school. In the early ’70s, members of the Bund Deutscher Grafik-Designer (Association of German graphic designers), unveiled several features of their professional identity, as in the case of Anton Stankowski among others. While in 1962 the official definition of the profession was directed almost exclusively to the advertising, now extended to include areas located under the rubric of communication visual.4 corporate images produced by the Development Group 5 of the HFG Ulm such as those created for the firm Braun or airline Lufthansa were also critical to this new professional identity.

Gui Bonsiepe and Tomas Maldonado were two of the first people who tried to apply the design ideas from semantics. In a seminar held at the HFG Ulm in 1956, Maldonado proposed modernizing rhetoric, classical art of persuasion. Maldonado Bonsiepe and then wrote several articles on semiotics and rhetoric for Uppercase English publication and Ulm magazine that would be an important resource for designers to that area. Bonsiepe suggested that it was necessary to have a modern system of rhetoric, semiotics updated as a tool to describe and analyze the phenomena of advertising. Using this terminology, could expose the “ubiquitous structure” of a message publicitario.5

The idea of simplicity and good design feature continued this for many years, not only in the design of alphabets but also in other areas. The tendency to simplify influenced all means at the forefront of design in the 1950s. At that time, developed a consensus that simple, not only was the equivalent of good, but was also more readable equivalent. One of the hardest hit areas was the design of symbols. The designers raised the question of how they could be simplified without destroying its informative function. However, recent investigations have shown that the shape simplification only one symbol does not necessarily increase readability.

Second Vanguards

Reaction to the sobriety growing graphic design was slow but inexorable. The origins of postmodern fonts back to the humanist movement of the fifties. In this group highlights Hermann Zapf, who designed two typefaces today ubiquitous Palatino (1948) and Best (1952). Blurring the line between serif fonts and sans serif and reintroducing organic lines in the lyrics, these designs served more to ratify the modern movement to rebel against him.

An important milestone was the publication of the Manifesto, first things first (1964), which was a call for a more radical form of graphic design, criticizing the idea of design in series worthless. He had a massive influence on a new generation of graphic designers, contributing to the emergence of publications such as Emigre magazine.

Another notable designer of the late twentieth century is Milton Glaser, who designed the unmistakable I Love NY campaign (1973), and a famous Bob Dylan poster (1968). Glaser took elements of the popular culture of the sixties and seventies.

The advances of the early twentieth century were strongly inspired by technological advances in photography and printing. In the last decade of the century, technology played a similar role, but this time it was computers. At first it was a step back. Zuzana Licko began using computers to compositions soon, when computer memory was measured in kilobytes and typefaces were created by dots. She and her husband, Rudy VanderLans, founded the pioneering Emigre magazine and type foundry of the same name. They played with the extraordinary limitations of computers, releasing a great creative power. Emigre magazine became the bible of digital design.

David Carson is the culmination of the movement against contrition sobriety and modern design. Some of his designs for Raygun magazine are intentionally illegible, designed to be more visual than literary experiences.

Present Times

Today, much of the work of graphic designers is assisted by digital tools. The graphic design has changed enormously because of computers. From 1984, with the appearance of the first desktop publishing systems, personal computers gradually replaced all analog in nature technical procedures for digital systems. Thus computers have become indispensable tools and, with the advent of hypertext and the web, its functions have been extended as a means of communication. In addition, the technology also has been noted with the rise of telecommuting and special crowd sourcing has begun to intervene in work arrangements. This change has increased the need to reflect on time, motion and interactivity. Even so, the professional practice of design has not been essential changes. While the forms of production have changed and communication channels have been extended, the fundamental concepts that allow us to understand human communication remain the same.

Job performance and skills

The ability to design is not innate, but acquired through practice and reflection. Still, it remains an option, one thing potentially. To exploit this power is necessary continuing education and practice, as it is very difficult to acquire by intuition. Creativity, innovation and lateral thinking are key skills for graphic designer job performance. Creativity in design exists within established frames of reference, but more than anything, is a cultivated skill to find unexpected solutions to seemingly intractable problems. This translates into design work of the highest level and quality. The creative act is the core of the design process manager but creativity itself is not an act of design. However, creativity is not exclusive graphics performance and no profession, although it is absolutely necessary for the proper performance of the design work.

The role that the graphic designer in the process of communication is the encoder or interpreter works in the interpretation, organization and presentation of visual messages. His sensitivity to the form must be parallel to its sensitivity to the content. This work deals with the planning and structuring of communications, with its production and evaluation. The design work is always based on customer demand, demand which eventually established linguistically, either orally or in writing. This means that the graphic design transforms a linguistic message in a visual demonstration.

The professional graphic design rarely works with nonverbal messages. At times the word appears briefly, and in other texts appears as complex. The editor is in many cases an essential member of the communications team.

The design activity often requires the participation of a team of professionals, such as photographers, illustrators, technical illustrators, including professionals with less related to visual message. The designer is often a coordinator of various disciplines that contribute to the production of the visual message. Thus, coordinates its research, design and production, making use of information or specialists in accordance with the requirements of different projects.

Graphic design is interdisciplinary and therefore the designer needs to have knowledge of other activities such as photography, freehand drawing, technical drawing, descriptive geometry, psychology of perception, Gestalt psychology, semiology, typography, technology and communication.

The professional graphic design is a visual communications specialist and his work is related to all steps of the communication process, in which context, the action of creating a visual object is only one aspect of that process. This process includes the following:

Defining the problem.

Targeting.

Conception of communication strategy.

Display.

Schedule Production.

Monitoring Production.

Evaluation.

This process requires the designer to possess an intimate knowledge of the areas of:

Visual communication.

Communication.

Visual Perception.

Management of financial and human resources.

Technology.

Media.

Assessment techniques.

The four guiding principles of graphic design are variables that graphic design professional should consider when facing a project, these are:

  • The Individual: conceived as ethical and aesthetic unit that integrates society which is part and to whom the visual space is uniform, continuous and connected.
  • The advantage: because it responds to a need for information and this is communication.
  • The atmosphere: because it requires knowledge of physical reality to contribute to the harmony of the habitat, and the reality of other contexts for understanding the structure and meaning of the human environment.
  • The economy: it encompasses all aspects related to the study of the cost and streamlining of processes and materials for the implementation of the elements.

Vehicle Graphics Design For Impact

Here are some of the basic “MUST’S OF VEHICLE GRAPHIC DESIGN”

Focus on ONE Person. Your ideal customer. Don’t try to appeal to the masses as this will dilute your message and appeal to NO one. Your ideal customer must feel like you are the perfect solution to their problem and you are communicating directly to them.

Create EMOTIONAL attachment by using powerful graphics. Different Graphics create different emotion in different individuals. The graphic of a mother cuddling a baby, will have the most impact on a new mother. Not only will you get their attention but you will establish credibility with them. This is extremely powerful since statistics show that most people buy on emotion and justify with logic.

Use a powerful slogan to position yourself in the mind of the customer. If your objective is to create mind share, you need to occupy a position in their minds so they instinctively associate you with a desired product, service of need.

For example, be the computer specialists that caters to the elderly, or the dry cleaner that offers free delivery, or the restaurant that kids eat for free, or the financial planner that specializes in services for young couples.

Being first is powerful, but being perceived as first is even more powerful. Being the only one, or specializing is also good. It creates positioning in the customer’s mind.

You are an expert, a consultant. Think of how you can accomplish this with your vehicle graphics slogan. If should be short and designed to be effective, for repetitive viewing.

The design of your graphics should be consistent with the style and type of vehicle for maximum impact. Remember that there are millions of dollars spent on extremely competent automobile designers by companies like Toyota, Honda, BMW, Nissan, Ford GM, and others to come up with designs that appeal to the masses.

Why not take advantage of their expertise, by enhancing the look rather than contradicting it. It will only stand to confuse your target customer and result in little or no emotional impact. I have seen many vehicles with elaborate graphics that simply do not work with the vehicle. I must confess that some of them have also been produced by us, but only because the customer insisted that this is what they wanted despite our recommendations.

I have also seen vehicles with very simple designs or very little graphic treatment that look extremely powerful and produce outstanding results. They also cost very little for the customer and were easy to create and install. Usually they were customers who had little if any preconceived ideal and simply said, “Here is what I want to accomplish, surprise me”.

LESS is MORE, design for a glance, but create lasting impression. Remember that your target customer is trying to navigate a vehicle, sometimes at high speeds and only two to three seconds to glance at your vehicle. If they are interested, based on the first glance, you may get a second glance and they might even slow down to memorize your URL.

You need to decide what information you would like them to remember most. The graphic, your caption or, your URL. Unfortunately, all of the above is not usually a reality, so at best two out of three is excellent.

Focus on the areas of most impact on the vehicle. The rear window and the sides over the rear wheel are the most powerful viewing areas while driving. Even though graphics look much cooler, and flows better on the sides of the vehicle. It is not very effective design strategy if you are focused on communicating to prospects while driving.

It’s difficult to look at a vehicle beside you for more that a second, without feeling like you are going to slam into it. Try it for yourself. It’s almost impossible to read anything on the sides unless it is over the rear wheels and you are behind the vehicle.

What about parked vehicles you ask? The sides are definitely a great resource as it allows for more and larger information, but graphics focused on the back and rear still work well if parked strategically. We do emphasize the sides more when designing for contractors as they spend a significant amount of time parked in neighborhood driveways, targeting cars and nosy neighbors driving by.

Control the flow of the reader. It is critical to control the three second glance from the reader so that they leave with maximum impact and information. The glance should first create interest or emotional attachment and make them feel like they want to know more. It should result in a second glance and leave with your URL or Phone number in memory.

The eyes will tend to go to a graphic first and then flow from left to right, so don’t put the graphic at the end of the caption and expect the customer to read the caption. This will only confuse them and they tune out.

Your Take-Away is the key to getting results. Remember that you want them to call you or visit your URL so make it easy for them to find it and remember it. The phone number or URL should flow naturally, as the third part of the three second glance.

Remember that you are designing for your ideal customer. What’s most important to them, your phone number or URL? If your current URL is long, then get a second one that is simple and easy to remember and have it linked to your current site.

It’s relatively easy to be successful with Vehicle Graphics… IF you understand Marketing.

The biggest obstacle is effectively communicating with your ideal target customer… The one that’s the best fit for your business and you for theirs.

It all boils down to the design and unfortunately its not always obvious.. even for an experienced designer…

Because the concept of an irregular three dimensional moving billboard is unique to most designers… most are used to working on a flat two dimensional pallet.

Here are some of the basic guidelines for YOU the Business Owner to help you achieve success with Vehicle Graphics Marketing

Here are some of the basic “MUST’S OF VEHICLE WRAP DESIGN”

Focus on ONE Person. Your ideal customer. Don’t try to appeal to the masses as this will dilute your message and appeal to NO one. Your ideal customer must feel like you are the perfect solution to their problem and you are communicating directly to them.

Create EMOTIONAL attachment by using powerful graphics. Different Graphics create different emotion in different individuals. The graphic of a mother cuddling a baby, will have the most impact to a new mother. You will get their attention but you will establish credibility with them. Statistics show that people buy on emotion and justify with logic

Use a powerful slogan to position yourself in the mind of the customer. Your objective is to create mind share so they instinctively associate you with the desired product, service or need.

For example… You must be the computer specialists that caters to the elderly, or the dry-cleaner that provides free delivery, or the restaurant that kids eat for free, or the financial planner that specializes in programs for young couples.

Being first is powerful but being seen as first is even more powerful. Being the only one, or specializing is very powerful. It creates positioning in the customer’s mind.

You are an expert or a consultant. Think of how you can accomplish this with your vehicle wrap slogan. If should be short and designed to be effective, for repetitive viewing.

The design of your graphics should be consistent with the style and type of vehicle for maximum impact. Remember that there are millions of dollars spent on designing vehicles by companies like Toyota, Honda, BMW, Nissan, Ford GM, and others to come up with designs that appeal to the masses.

Why not take advantage of their expertise, by enhancing the look rather than contradicting it. It will confuse your target customer and result little if any emotional impact. I’ve seen many vehicles with elaborate graphics that simply do not work with the vehicle. I must confess that some of them have also been designed by us, but only because the customer insisted that this is what they wanted despite our recommendations.

I have also seen vehicles with very simple designs or very little graphic that are extremely effective and produce outstanding results. They typically cost very little for the customer and were easy to create and install. Usually they were customers who had no preconceived idea and simply said, “Here is what I want to accomplish, surprise me”.

LESS is MORE, design for a glance, but create lasting impression. Remember that your target customer is trying to drive their vehicle, sometimes at high speeds and only two to three seconds to glance at your vehicle. If they are interested, based on the first glance, you may get a second glance and they might even slow down to memorize your URL.

You need to decide what you would like them to focus on. The graphic, your caption or, your URL. Unfortunately, all of the above is not usually a reality, so at best two out of three is excellent.

Focus on the areas of most impact on the vehicle. The rear window and the sides over the rear wheel are the most visible areas while driving. Even though graphics look much cooler, and flows better on the sides of the vehicle. It is not very effective vehicle graphics design strategy if you are focused on areas that are not visible while driving.

It’s very difficult to look at a vehicle that is driving beside you.. for more that a second, without feeling like you are going to crash into it. Try it for yourself. It’s almost impossible to read anything on the sides… unless it is over the rear wheels and you are behind the vehicle.

How about parked vehicles you ask? The sides are definitely a great resource as it allows for more and larger information, but graphics focused on the back and rear still work well if parked strategically. We do emphasize the sides more when designing for contractors, since spend a lot amount of time parked in neighborhood driveways, targeting cars and nosy neighbors driving by.

Control the flow of the information. The driver has less than three seconds to read the information. The glance should first create interest or emotional attachment and make them want to know more. It should result in a second glance and leave them with your URL or Phone number in memory.

The eyes will tend to go to a graphic first and then flow from left to right, so don’t put the graphic at the end of the caption otherwise they will not read it. This will only confuse them and they tune out.

Effective Targeted communication is the key to getting results. Remember that you want them to call you or visit your URL so make it easy for them to find and remember it. The phone number or URL should flow naturally.

Now I must confess that we are not always able to follow all of the guidelines above because of circumstances beyond our control, but we always use the guidelines above to check the final design. So if you are designing for results the above should be an integral part of your design process.

I wish you success with your vehicle graphics… now you are ready to choose a company to Design Your Vehicle Graphics.