brochur

e catalog

With your letterhead and business card, you first begin to build relationships with the people who will make your business a success. With a little creativity, you can turn these run of the mill materials into the kind of marketing tools that keep the mill running.

Establish your identity. Use the graphics and text on your letterhead and business cards to show and tell customers who you are. Because they will accompany many of your other materials, keep them as clean and simple as possible.

Create a logoless logo. If you don’t have the budget for a custom logo, catalog try representing the idea behind your business with a combination of two simple clip art symbols. Here, the sun and snowflake symbols represent hot and cold for a heating and air conditioning contractor.

Include a "benefits" tag line. A statement that explains what you do and how it benefits your customer keeps your business card working for you long after your first contact.

Turn your business card into a mini-brochure. Its simple, just add a headline and brief text to the other business card basics—your name, title, organization, phone, fax, office hours, and your on-line and mailing address.

Limit the number of fonts. Too many fonts make your materials visually confusing. The general rule is: don’t use more than one serif font and one sans serif font family per document (serif fonts have "feet," sans serif fonts do not). Use bold, capitalized, and italicized text sparingly and it will have a more pronounced effect catalog when you do.

Break the stranger barrier. A personal letter and a follow-up telephone call is a potent combination. By the time you have asked the person if they received and read your letter, you are no longer a stranger.

You wouldn’t dream of walking into the office of a potential customer and reading a litany of products, services, and prices. You introduce yourself, explore the customer’s needs, demonstrate how your product or service will meet those needs, and tell how you have produced results for others. Your brochure should do the same.

Don’t bury the benefits. No matter how compelling your message, few people will read every word. Be sure to include your most important points in the places most often read—the headlines, subheads, and captions.

Create a clear call to action. Don’t be subtle about the action you want the reader to take—invite them to place an order, attend an event, call for a consultation, etc.

Don’t assume your brochure will close the sale. In many cases, a brochure is better used to position your company and to prepare the customer to be sold. Follow up with a visit or a phone call within one week.

Take a real-world view of work in progress. If your project will be folded—print it out and fold it to get a better feel for the final effect. Trim pages to size. Print your project on the paper you will use to reproduce it. These physical changes can dramatically effect the look of the final piece.

Connect your messages. Use your marketing materials in concert—include an offer of a free brochure in your newsletter and vice versa. If you have them, include your fax back phone number and web site address in all your print materials and offer your print materials on-line.

Graduate to high resolution. If you plan to have your brochure reproduced on a commercial printing press, rather than printing the finished project on a laser printer, have it output to a high-resolution imagesetter (at 1200 dots per inch or higher). Your final brochure will be far more sharp and clear. Many commercial printers offer this service or can direct you to someone who does.

Mail it, hand it out, hang it up, leave it wherever prospects congregate—a flyer, printed on one side of a letter-sized sheet, is among the least expensive, easiest to produce, and hardest working marketing tools.

Use photographs to tell your story catalog. Show the benefit or the result of using your product or service in a photograph. You can scan your own photographs or buy stock photographs already in electronic form.

Use a delicate hand. People new to design tend to make text and graphics too big and/or too bold. Keep your layout simple. Limit yourself to two typefaces to minimize the visual confusion. Use illustrations that build on your message.

Don’t make unrealistic claims. Nothing turns off prospects quicker. Be enthusiastic, tell your story in a positive light, but don’t expect people to believe statements you would not believe yourself.

Organize your page with boxes and borders. You can include several different levels of information on a single page by enclosing separate material in a box or border.

Establish a center of attention. Decide which idea or image is most important on the page and make it the single most dominant visual element by playing up its size, position, or density.

Stick with it. Its easy to get bored with your marketing message and your visual identity. If your story is clearly and effectively told, don’t change it for change’s sake. To a new prospect, it is every bit as fresh as the first day you created it. To repeat customers, your message becomes increasingly familiar and secure in their minds.

catalog design

Illustration is more than ornamentation. At a minimum, a picture or graphic image should grab attention and draw your reader into the message. At its best, it will express something words can’t.

Good design doesn’t have to be complicated. This is a simple design using two typefaces. The illustrations are from a clip art collection. The final artwork is printed in black and white on rich-looking paper.

On one thing, the experts agree—follow-up is the single most important and least used marketing strategy. A promotional newsletter featuring trade news, customer success stories, and information about your products or services is an excellent way to establish and grow your relationship with customers.

Include meaningful information. Supplement promotional stories with a question and answers column, trends and statistics, how-to features, and technical advice.

Build on existing design ideas. If you don’t have the time or desire to create your own design use a template or borrow from an existing layout. This newsletter uses a nameplate, section headings, and the text size and style typically found in a full-sized newspaper.

Involve your audience. Ask for letters to the editor and story ideas, include a clip & return questionnaire, offer special pricing and coupons, a calendar of events, and plenty of alternatives for making contact—your phone and fax numbers and your mailing and on-line addresses.

State your mission. Add a tag line that explains who you are and what you do. Your publication will undoubtedly be passed on to the colleagues of readers who don’t know you—a valuable source of new prospects. catalog

A dollar saved is a dollar earned. Check into bulk mailing rates and requirements, eliminate the need for an envelope by including space for a mailing label, use one or two colors instead of four.

Use customers names and faces. Most people love to see their names, their ideas, and their pictures in print. Include stories about, and letters from, satisfied customers but be sure to get permission before you publish.

Keep it simple. Good design makes your message catalog more easily understood. Meaningless graphics, difficult to read text, too many fonts and visual elements on a page get between the reader and your message.

http://www.tobanelli.com

graphic design studio

graphic design firm

packaging design studio

catalogue design

A brand is a recognizable image of a company; it is born to be reproduced and widespread, hence the need to study its usage and its use in globally recalling to mind a specific image. A firm Brochure design through its brand is able to transmit catalogue design to the consumer a clear idea of its activity and its products.
Studio GT&P
Via Ariosto, 5
06034 Foligno Perugia, Italy
Tel. +39 0742 320372
Fax +39 0742 329827
e-mail: info@tobanelli.it

catalog design

On supermarket shelves a product fights against its neighbours to attract consumers’ attention. The catalogue designideal packaging should be attractive, practical, informative and raise a positive emotional response. It must say: "buy me".
It is our company’s care to combine creativity, information, pay great attention to the environment and to the choice of the various materials.
Communicating means knowing yourself and making other people know you. To develop an effective communication Brochure designstrategy it is necessary to know the market you operate in and emphasize the positive qualities and opportunities of your product.
In this field one must find the right words which capture and direct consumers’ choices, optimizing marketing strategies and investments.
Studio GT&P is a design firm founded by Gianluigi Tobanelli in 1985. Our strength lies in the capacity to find the right words to attract consumers’ attention and direct their choices, all this in collaboration with our clients, optimizing marketing strategies and investments.

print brochure design

brochure design

Studio GT&P can organize single marketing strategies or a whole campaign for any firm; that is a single catalogue, a packaging, a web-site or a corporate identity program
Studio GT&P can design web-sites of great visual impact.
We devote great attention to planning because a web-site can “stand out from the crowd” only if clear objectives and simplicity are used in its production.

Package design questionnaire
   In developing effective package design, the designer is not a magician pulling pretty pictures and words out of thin air. The package must be highly focused, it must communicate positively to the consumer and it must have impact at point of sale. And finally, it must be positioned catalogue design to meet specific needs of specific people.
   A new or revised package design should be based on the following:
* Marketing objective: Brochure design What is the product to achieve in terms of sales?
* Target market: What type of consumer is the package to attract? What are consumers currently buying?
* Positioning: What does the brand stand for? What are the specific brand attributes and benefits?
* Personality: What emotional character qualities are to be projected?
* Pricing: How will the price compare to other products?
* Sizes and flavor: How will the choices available be differentiated?
* Retail environment: Where and how will the product be sold?
   The better the homework, the more successful the package design. By combining marketing sensitivity with design creativity, packaged goods marketers will be able to meet head-on the demands of this decade with productive results and benefits for all consumers.
A Dictionary of Branding Terms

The dictionary of branding terms presented here is an excerpt from the proprietary , our comprehensive resource of core branding concepts.
Branding Dictionary which is listed below.
" Look and Feel"
The overall impression created and maintained over time by the consistent presentation of the brand in the prescribed manner and in appropriate contexts.
Brand
The sum of all the characteristics, tangible and intangible, that make the offer unique.
Brand Equity
The value of the brand in its holistic sense to its owners as a corporate asset.
Brand Essence
The distillation of a brand's intrinsic characteristics into a succinct core concept.
Brand Extension
A new product or service that is related to an existing brand, but that offers a different benefit and/or appeals to a different target segment.
Brochure design Brand Harmonization
The synchronization of all elements of brand identity, across a line of products or services and/or across geographic markets.
Brand Identity
The outward manifestation of the essence of a corporate brand, product brand, service brand or branded environment.
Brand Identity Equities
The value of specific elements of identification (e.g., name, symbol or colors) to the brands owners.
catalogue design Brand Positioning
The specific niche in which the brand defines itself as occupying in the competitive environment. Positioning addresses differentiating brand attributes, user benefits and target segments, singly or in combination.
Brand Revitalization
A major overhaul of a brand, starting with its positioning and proceeding through creative regeneration of the brand identity.
Branded Environment
The graphic system of identification as applied to three-dimensional physical space.
Branding
The process by which both a brand and brand identity are developed.
Co-Brand
Use of two or more strong brands in relation to a common offer. Typically, but not always, the brands are given equal emphasis. Examples: Chevron and McDonalds, Visa and Citibank.
Corporate Brand
The gestalt of the organization, including its philosophy and culture as well as its physical characteristics.
Corporate Image
Application of the term image to specific types of offers.
Descriptor
A term used with a brand name to communicate an informational attribute (e.g., variant, function, occasion or target segment) about a specific offer.
Digital Branding
Using digital media to create, build, manage and revitalize the relationships between a brand and its audiences.
Endorsement
Use of the parent brand identity to support and add credibility to an allied offer. Implies subordinate emphasis of the parent to a sub-brand, though relative emphasis will vary case-by-case.
Enhanced Descriptor
An evocative word that may or may not be trademarked, but which differentiates the offer in a proprietary way.
Generic Descriptor
A simple, descriptive term with clear meaning, and which can be executed in regional languages.
Identity
Two meanings, both valid: 1) The sum of all the characteristics, tangible and intangible, that make the offer unique. 2) The elements of brand identification (e.g., the name, symbol and colors) by which an offer can be identified.
Image
Perceptions of the features, tangible and intangible, that characterize a brand.
Information Architecture
The process of creating clarity and human understanding through the organization of information. From a software development point of view, Information Architecture is the organizational structure of the application and data as it is reflected in the user interface.
Ingredient Brand
A strong brand that is used and promoted as a key part of a host brand.
Interactive Branding
Process of developing Web sites and other interactive products, including strategy development, structural design and graphic design.
Line Extension
A new variation of a product or service sharing the same essential characteristics as the parent, but offering a new benefit, such as flavor, size, package type, etc.
Logo
The terms "mark", "logo" and "identifier" are general terms for a symbol or wordmark.
Nomenclature System
The names of individual entities within a group of companies (or families of products or services) organized systematically to reflect the relationships among the entities. The term "nomenclature system" encompasses modifiers, descriptors, endorsements, etc., as well as names.
Parent Brand
A strong brand that has the capacity to: 1) stand alone to represent a core product or service; 2) support allied products/services by sharing its brand identity, directly or through endorsement
Positioning Statement
A concise written statement of the positioning concept, conveying the essential features of the brand and its niche.
Product Brand
Two meanings, both valid: 1) The gestalt of the brand, including its emotional and cultural associations as well as its physical features. 2) The graphic system of identification as applied to a single product or service or a family of products/services.
Service Brand
A brand representing a specific service or family of services.
Sub-Brand
A product or service that has a persona and brand values that separate it from the parent brand. A product or service that has its own brand identity, which is proprietary and can be trademarked.
Symbol
A "symbol" is an abstract sign to represent the brand.
Typography
The typestyle specified for brand communications other than the basic brand signature. catalogue design Typography is often an existing font, but may also be a modified font or custom-designed font.
Verbal Identity
The brand name and other verbal elements (e.g., descriptor or tag-line) of the brand signature.
Visual Identity
The symbol, colors, formats and other visual elements of the brand signature.
Wordmark
A "wordmark" is the stylized treatment of the brand name and serves the same functional purpose as a symbol. logos