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Exploring the Creative Processes: Part Three...
Visual Proofreading
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We hear a lot about proofreading. And, although it is a vital part of any publication, there's another kind of proofreading that can make as much (if not more) difference in the success of your publication.
... Note: This is part four in a continuing series about the creative processes involved in designing a publication. I was prompted to begin this series by the discussions and questions asked by attendees of my Newsletter Design workshop recently in Dallas. Part One gave an introduction and revolved around getting fresh ideas. Part Two dealt with the "Window of Approach." Part Three introduced axis, and reader eyeflow. If you have not yet read the Parts 1, 2, and 3, go ahead and do so. (See DT&G issues #9608, 09, and 10) This material will be much more meaningful to you after reading the others.

10 Rules of Visual Proofreading

1. Is the layout simple?
What elements you can remove without losing the message?
... Systematically remove visual elements from your layout, one by one, and evaluate. Start with the more insignificant ones like borders, rules or drop caps.
... Does it still work?

2. Does the layout hold together?
Test your layout by squinting at it.
... Is the layout seen and perceived as a single, unified whole? Are there things that just don't feel right?

3. Does the most important element dominate?
Is there a single visual element that commands the first attention.
... Hand it to a fellow worker, or a friend. Ask them what was their first visual impression.

4. Is there an obvious and logical visual flow?
Does the visual flow work with gravity? Or against it?
Does the eye flow from one element to the next the way you want it to?
Count the steps it takes to get to the message. Are there more than two?
... In "flash-card" fashion, show the layout (quickly) to an unsuspecting viewer... what's the first thing they saw. Next? Next? Is that what you intended?
... Does it reinforce your copy line?

5. Are all the graphic elements visually balanced?
Where is it heavy? Where is it light?

Now, go back and evaluate your answers.
You'll learn a lot about your design.

Next we'll complete steps 6 through 10.

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