Promotion design that works

Folio: The Magazine for Magazine Management, April, 1986 by Julie A. Laitin

6. Use reverse type sparingly

It's a fact: Reverse type is harder to read than black type on a white background. Research has consistently shown that reverse type--white type on a black background--is read at a 10 percent slower rate than black on white. Nevertheless, it does call our attention to the reversed-out area. Used in headlines or small blocks of copy, reverse type can be quite effective. When all the body copy is reversed, however, the results can be disastrous.

I always avoid reverse type for major body copy blocks. If you decide to use it for some part or panel of your brochure, be sure to make the type bigger and bolder than you would use if working on a white background. Otherwise, the ink tends to close up the letters, making them blurry.

The Geriatrics ad (Illustration 6) while beautiful, is set too small to read and forces the audience to strain in order to read the message. Although the headline and logo are easily readable, the facts and sales message are lost in the reverse-out.

7. Use clear, bright colors

Readers tend to notice and respond to vivid, bright colors that convey an exciting, upbeat feeling. Kelly green, reflex blue, bright red and yellow, for example, are more effective in capturing a reader's attention than olive, brick or ocher.

8. Leave plenty of white space

Too much information packed into too small a space will almost always discourage readership. Let the copy "breathe,' providing wide margins, good leading and plenty of white space all around.

If your brochure seems cramped, see if any copy can be cut. This is particularly important in an ad, where space is limited. If you are creating a brochure, you cen either go to a larger format or add another panel. It's far better to have an additional panel than to have a mailer so tightly packed that no one will read it.

It's Me (Illustration 8) created a promotional piece that was strong on copy and weak on design. The result looks more editorial than promotional. Had the designer omitted the illustrations, decreased the size of the headline, or added another panel, the effect would have been vastly improved and more powerful.

Compare the brochure from Medical Aspects of Human Sexuality (Illustration 8a), which tells the story in three panels--all with good, hard-selling headlines and plenty of white space. While a less competent designer might have tried to keep this to two panels, the designer expanded it into three-- all with large, readable type and a simple central chart in the middle.

Good design, like all creative work, should bear the distinctive mark of your magazine's individual personality and style. But it also has one major objective: getting the message across quickly, effectively and powerfully. With this in mind, you'll create stronger, more effective sales materials that produce results.

Photo: 1 In creating a powerful brochure, be sure the headline and illustration work together so each supports, expands and strengthens the other.

Photo: 3 Clear, benefit-oriented headlines and subheads (above) supported by large, readable type create a powerful and effective result.