Document Design

Miles A. Kimball is an independent scholar whose publications have been important in defining the field of technical and professional communication. He is coeditor, with Ross and Hilary Sarat-St. Peter, of the SUNY series, Studies in Technical Communication. Derek G. Ross is the Hargis Professor of Writing Studies in the Master of Technical and Professional Communication Program at Auburn University. He is the editor of Topic-Driven Environmental Rhetoric.

• PrefaceUNIT 1: PRINCIPLESChapter 1. What Is Document Design?Society of the TextDocument Design as Information DesignThe Document in Document DesignFrom Document to DesignDocument Design as a RelationshipClientsUsersDesignersLevels of DesignDesign, Rhetoric, and EmotionVisual DesignExercisesReferences and Further ReadingChapter 2. Principles of DesignDesign Objects and Their CharacteristicsShapeOrientationTextureColorValueSizePositionSix Principles of DesignSimilarityEnclosureAlignmentContrastOrderProximityUsing Design PrinciplesExercisesReferences and Further ReadingChapter 3. Theories of DesignVisual PerceptionNeurophysiologyGestaltFigure-Ground DiscriminationGroupingGood FigureGestalt and Document DesignConstructivismEcological PerceptionTheories of Visual Perception Influence Document DesignVisual CultureVisual LanguageIntercultural CommunicationSemioticsVisual Culture and PowerVisual Culture and EthicsVisual RhetoricVisual Rhetoric as PersuasionVisual Rhetoric as User-Centered DesignFrom Theory to PracticeExercisesReferences and Further ReadingUNIT 2: PROCESSESChapter 4. The Whole DocumentThree Perspectives on the Whole DocumentPerceptionCultureRhetoricMaking Decisions about MediaConventionsHuman FactorsInteraction with Light: Reflective or TransmissiveResolution: High to LowTransmission and AccessTransformationCostSingle-Sourcing: Having It Both (or Many) WaysMaking Decisions about FormatConventions in FormatFormats in Print and ScreenVariables in Print FormatsPaperFoldsPage or Panel Shape and OrientationTrimsBindingsCombining the VariablesOne-Sheet FormatsOne Sheet, No FoldsOne Sheet, One Simple FoldOne Sheet, Two or More Simple FoldsOne Sheet, Complex FoldsMultiple-Sheet FormatsStacked Single SheetsGathered FoliosStacked SignaturesSpecial FeaturesSpecial TrimsPerforationsComposite FormatsExercisesReferences and Further ReadingChapter 5. PagesThree Perspectives on PagesPerceptionCultureRhetoricViewing PagesCreating Meaning with Page DesignConnectionHierarchySequencePatterningFocusingBalanceUsing Grids for Page DesignDesigning Grid SystemsDesigning Grids for ContentAssessing ContentText Size and Line LengthNegative Space: Margins and GuttersDesigning Grids for FormatDimensions and MeasurementsBreaking the GridExercisesReferences and Further ReadingChapter 6. TypeThree Perspectives on TypePerceptionCultureRhetoricLooking at TypeLetter FormsStrokesSerifsUppercase and LowercaseCounters and StressBaseline, X-Line, and Cap-LineMeasuring FontsTypeface CategoriesSerif vs. Sans Serif TypefacesRoman vs. Italic TypefacesMonospace vs. Proportional TypefacesDesigning Documents with TypeChoosing Type for Legibility, Readability, and UsabilityTypeface DesignFontX-Height to Cap-Height RatioMatching Type to Visual RhetoricCreating a Typographic SystemContrasts of SizeContrasts of ShapeContrasts of ValueContrasts of ColorSetting TypeVertical Spacing (Leading)Leading for ParagraphsLeading for HeadingsHorizontal SpacingLine LengthKerning, Letter Spacing, and LigaturesWord Spacing, Justification, and HyphenationIndentation and CenteringPunctuation and Special FeaturesPeriods, Commas, Semicolons, and ColonsHyphens and DashesQuotation Marks, Apostrophes, and PrimesEllipsis MarksSpecial TechniquesDiacritical MarksArabic NumeralsFractionsReverse TypeModifying Type for EmphasisBold and ItalicUnderliningAll Caps and Small CapsUsing Typographic StylesStyles on PaperParagraph StylesCharacter StylesStyles on Websites: CSSDigital TypePostScript and TrueTypeUnicodeASCII, RTF, and XMLType on the ScreenResolutionAntialiasingScreen Typefaces Font AvailabilityFont SubstitutionFont EmbeddingFont ImagesExercisesReferences and Further ReadingChapter 7. GraphicsThree Perspectives on GraphicsPerceptionCultureRhetoricGraphics and Principles of DesignGraphics and EthicsDistortionViewpointCopyrightWhy Use Graphics?Information GraphicsIllustrations: Showing How Something LooksPhotographsLine Art: Diagrams and DrawingsScientific IllustrationsScreenshotsMaps: Showing How Things Are Related in SpaceProcess Diagrams: Showing How Actions Are Related in TimeConcept Diagrams: Showing Ideas and Relationships VisuallyStatistical Charts: Showing Quantitative RelationshipsPictograms: Showing a Common Idea with a Simple MarkPromotion GraphicsLogos: Marking IdentityDecorative Graphics: Establishing a Visual ToneCreating and Modifying GraphicsBitmap Graphics vs. Vector GraphicsBitmapsVectorsWorking with Photographs and Other Bitmap GraphicsAcquiring Bitmap GraphicsEditing Bitmap GraphicsCreating Drawings, Diagrams, and Maps with Vector GraphicsDrawing Common ShapesGrouping ObjectsArranging ObjectsUsing Paths and TypeCreating Statistical GraphicsUsing Office SoftwareUsing Vector Graphics SoftwareUsing Diagramming ProgramsIncorporating Graphics into DocumentsUsing ProximityUsing Alignment and EnclosureUsing Explicit ReferencesMaking Graphics Self-SupportingExercisesReferences and Further ReadingChapter 8. ColorThree Perspectives on ColorPerceptionHueSaturationBrightnessOther Graphical Color ModelsSimultaneous ContrastColor Vision DeficiencyCultureRhetoricColor Can Convey MeaningColor Can Imply ValueColor Can Attract AttentionCreating Color on Screens and PaperColor on Screens: Additive Color (RGB)Making RGB ColorsSpecifying RGB for WebsitesColor on Paper: Subtractive Color (CMYK)Process ColorSpot ColorColor GamutDesigning with ColorColor Similarity and ContrastColor SchemesMonochromatic and AnalogousComplementary and Split-ComplementaryTriadic and TetradicDesigning with Limited ColorsDesigning with One ColorDesigning with Two ColorsWorking with Color on ComputersUsing Color PickersMatching ColorsCalibrating Your MonitorExercisesReferences and Further ReadingChapter 9. Lists, Tables, and FormsThree Perspectives on Lists, Tables, and FormsPerceptionCultureRhetoricListsList EntriesGlyphs and OrderingLists and AlignmentManaging Long ListsTablesComponents of TablesNecessary Parts of TablesOptional Parts of TablesDesigning TablesFit Content to Tables, and Fit Tables to ContentChoose Appropriate Typography for TablesOrder Tables Consistently and LogicallyUse Alignment to Increase UsabilityUse Proximity to Build Relationships between DataUse Enclosure for Clarity and EmphasisDesigning Tables for the ScreenFormsComponents of FormsForm AreasData FieldsAlphanumeric Entry FieldsOption FieldsDesigning FormsInclude Clearly Designed Information about the FormGroup Data Fields VisuallyUse Alignment to Encourage Consistent and Complete ResponsesDesign Response Spaces to Encourage Accurate ResponsesTest FormsDigital FormsExercisesReferences and Further ReadingUNIT 3: PRACTICESChapter 10. Project ManagementScenario Part 1: Getting Organized Project ManagementWorking with Design TeamsModels of Project ManagementThe Waterfall ModelThe Iterative ModelScenario Part 2: Meeting the ClientPlanned Iterations: A Mixed ApproachStage 1: ResearchClient ResearchUser ResearchWriting the Project Analysis ReportScenario Part 3: Initial PrototypingStage 2: Design PlanningStage 3: Iterative PrototypingCreating PrototypesHeuristic Analysis: Getting Expert Feedback on PrototypesScenario Part 4: PrototypingUsability Testing: Getting User Feedback on PrototypesWriting Prototype ReportsStage 4: SpecificationCreating a Style Sheet or TemplateCreating an Implementation ScheduleStage 5: ImplementationScenario Part 5: DeliverablesWriting the Completion ReportExercisesReferences and Further ReadingChapter 11. ProductionPrinting TechnologiesPrecursors: Intaglio and Relief PrintingLithographyPhotolithographyOffset LithographyFour-Color Process LithographyFurther Refinements in Lithography: Computer-to-Plate and Direct ImagingAdvantages and Disadvantages of LithographyReprographyThe Reprographic ProcessAdvantages and Disadvantages of ReprographyInkjet PrintingAdvantages and Disadvantages of Inkjet PrintingNew Printing TechnologiesPaperTypes of PaperCharacteristics of PaperSizeGrainWeightThicknessOpacityFinishBrightnessColorInkSpot and Process InksTotal InkVarnishingFrom Design to DocumentPlanning for Printing: Imposition and SignaturesFinishingScoring and PerforatingFolding and GatheringTrimming and BleedsBindingPreparing Designs for the PressCommunicating with PrintersGetting EstimatesDelivering Your Design to the PrinterFile FormatsLinked and Embedded ObjectsDrafts and Mock-UpsStorage MediaResponding to ProofsMaking CorrectionsConclusionExercisesReferences and Further ReadingIndex

"Document Design is the best intro to theory-informed practice in visual communication. This long-awaited refresh of a classic will help all instructors of visual communication breathe easier as we design courses aligned with its comprehensive contents. Don't try to teach visual communication without it!" — Kathryn Northcut, Missouri University of Science and Technology"This book would be best for undergraduate students who are seeking to learn visual design in technical communication. However, it can also be used in a graduate course where students are introduced to document design theories and are given assignments to apply those theories in specific contexts. I have been waiting for a book like this to use in my courses." — Jason Tham, Texas Tech University