Michigan State University Extension
Tourism Educational Materials - 33720002
06/06/02
Developing Effective Brochures
Source: Illinois
Author: Riggs, Nancy
ID: IL-IN-SG-95-8
Introduction
Tourism is an increasingly important contributor to
coastal economies. This tip sheet has been developed for
small businesses to provide a brief, informal
introduction to developing low-cost, effective brochures
and posters. The following key points will be addressed.
* Audience
* Purpose
* Message
* Graphics
* Rough Copy/Layout
* One, Two and Four Color
* Posters
* Printer Talk
In the print communications world, brochures are defined
as collateral pieces, pieces that can stand alone.
Sometimes terms are confusing, so you may call them
fliers (usually one flat sheet), pamphlets (usually
several pages) or booklets (more pages), but the idea
remains the same: an abbreviated message intended
to.arouse interest. Many of the concepts we'll discuss
also apply to posters.
Technically, a brochure is a piece of print.ed material,
folded to a convenient size. Folds create panels - a
two-fold has six panels, a three-fold, eight panels.
Although brochures may be any size usual practice is to
have all panels equal, with 8 1/2 x I 1 or 8 1/2 x 14
paper most common. Each panel may stand alone ... or be
part of a continuing text.
Brochures Defined
You should define your audience, the group to whom you
expect to inform, to sell, to draw, to your business or
event. An appropriately written brochure targeted to
retired couples will be different from one directed to
young families. If you are targeting an interest-specific
audience --people interested in handcrafted items, for
example, you may want to use relevant graphics to
initially get their attention. If you plan to market
internationally, keep in mind cultural differences when
designing your brochure.
Audience
In advertising, an AIDA formula is sometimes used: get
Attention; create Interest; generation Desire that leads
to Action.
The same AIDA formula works in brochure and poster
design.
Purpose
Many types of brochures exist to accomplish a wide range
of purposes. We'll address the promotional brochure,
designed to inform and sell... your products, services or
events.
Message
Some definite patterns are recommended to present
information on the various panels of your brochure. The
first panel draws readers' interest and may or may not
have information on it.
Sometimes a graphic with just a brief title to tell the
reader what's inside is all that's needed.
The second panel is usually copy heavy and serves to
build interest while panels three, four and five provide
more detailed information. Panel six can be used for
specialty information including mailing labels.
Naturally, your brochure should include your business
name, address and phone.
Paper and Ink
Weight and texture of paper affect cost. Paper weight
selection should be based on whether or not your brochure
will have one-time or repeat use. One or two-color
printing will be significantly less expensive than a
four-color process. Colored paper with colored ink,
screens and reverse types can enhance appearance and
allow you to keep costs down. Keep in mind that photos
reproduced in colors others than black will have varying
results. Talk with your printer about your ink choices in
photos.
Graphics
Graphics are tools to enhance your brochure's message.
Photos, line art drawings, boxes, reverse types, bullets
and type style all fall under graphics.
Photos add interest to your-brochures. Here are some DOs
and DON'TS.
* Do select good quality, black-and-white photos, with
medium contrast.
* Do select uncluttered photos
* Do use professional photos whenever possible.
* Do limit the number of photos you use in your brochure.
* Don't take color prints to your printer. Have a film
processor print your color shot on black and white paper.
* Don't use photos that will quickly date your brochure.
* If shooting your own photos, shoot a 36-exposure roll
at bracketed exposures - one stop up and down and select
sharpest photo.
Line Art can be very effective. Don't forget maps!
Starting from a main highway---include easy-to-follow
directions---a map sketch, plus text instructions will be
helpful. Make directions easy to read---clear type, large
enough so see. Remember, visitors probably will be in
cars, in poor light and/or over 40 and not wearing their
glasses! Boxed text and reverses, light color text on
dark background, can be used for emphasis. Talk to your
printer and use sparingly. Bullets, dots, or other points
that highlight specifics add to the effectiveness.
Screens, usually ranging between 10 and 90 percent of ink
color, can set off segments of your text and can give a
one- or two-color print job the look of more colors.
Type style and size can significantly affect the
appearance of your brochure. Serif, letters that have
little cross-strokes at the ends, and sans serif -
without cross-strokes---are the two primary type styles,
with innumerable variations. Serif is generally
considered easier to read, partly because most it's the
type style most of us learned to read. Sans serif makes
good headlines, subheads, or other attention-getters.
Type size of the text should never be less than 10 point
(type size is measured in points) and larger for emphasis
and easier readability.
Copy and Rough Layout
Although, in theory, you may simply take copy to your
printer for your brochure or poster, preparing a rough
layout, panel by panel, is a safer way to go. The rough
can be anything from a simple pencil sketch layout to a
word processor/computer graphic piece. This rough can
prevent misunderstandings between you and your printer on
the brochure layout.
Posters
Most of the previously discussed points and the Printer
Talk section that follows apply to poster development.
Messages on posters must be brief, and lettering must be
large enough for easy reading. Although posters may be
any size, 11 x 17 or larger sizes are most common. Larger
sized posters will be more costly because larger presses
must be used for printing. Size an quantity, and your
printer's equipment, will significantly affect your
per-piece cost. Before designing a poster, talk with your
printer about costs of various sizes.
Printer Talk
Once you have your message written and your graphics
collected, it's time to meet with your printer to
finalize your order. Before setting that meeting, try to
find examples of brochures and posters you like---and
some you don't like. You're not collecting these to copy,
but rather, to give your printer a visual idea of the
finished product you want to achieve. Write down features
you like and don't like and your reasons for likes and
dislikes.
Ask your printer to suggest ways to get similar effects
AND to lower your cost. Printers have different
capabilities, depending on their equipment and services.
Remember, your savings are in volume---but if your
brochure has a limited shelf life, and you have 5,000 of
your 10,000 summer.brochures left when November rolls
around, the lower cost per item isn't a savings. The same
holds true for posters---don't order twice the quantity
you need just to lower your per-piece cost on a one-time
item.
Various type styles may be available from your printer.
If you prepare camera-ready copy on your word processor,
you will be limited to the fonts and sizes available on
your printer.
Understanding the following terms will help in initial
discussions with your printer.
Bleed - inked area of photo that runs off sides of paper
(can increase costs)
Body copy - main text
Box - special section of text placed inside lines or box
Camera ready - material in final form for printer to copy
Flush right or left - lines that begin at right or left
margin (flush left is normal copy, with right margin
uneven, or ragged
Font - typeface and size of characters
Galley - typeset text (you'll be more concerned with
proof)
Leading - space between lines of type (pronounced
LED-ING)
Pasteup or Mechanical - pasteup sheet to be photographed
Point - indicates type size
Proof - final copy for your approval before printing
(normally, if you make changes here, you'll pay extra;
check carefully for printers' errors)
Reverse type - reversing normal type (light letters on
dark background)
Sans Serif - type styles with no strokes on end
Screens - dot formation creating percentages of a ink
Serifs - small cross-stroke on end of letters (often
considered easier to read)
References:
Bivins, Thomas. "Handbook for Public Relations Writing.
Lincolnwood: NTC, 1989
Breneman, Don, Barbara; Koth, Barbara; and Kreag, Glenn.
"Tourism Brochures to Boost Business." University of
Minnesota, 1987.
Espeseth, Robert. "Developing a Brochure to Boost
Business." Illinois Bed and Breakfast Association.
Carlyle, 15 March 1993.
Leffel, Linda. "Designing Brochures for Results."
Manhattan: LERN, 1983.
Zieman, John R. "Brochure Graphics." Manhattan: LERN,
1987.
Designers: Larry Ecker, Tyler Munson Resource
specialists: Ann Bergeron, Grace Delcano, Joan Zagorski,
University of Illinois; David McDaniel Crouse Printing
Publication No. IL-IN-SG-95-8
For additional copies, contact Nancy Riggs 217-333-8055
The Leading Edge Tip Sheet Series is produced by the
Illinois-Indiana Sea Grant Program, Phillip E. Pope,
Director. Illinois-Indiana Sea Grant is a joint federal
and state program of Purdue University, West Lafayette,
Indiana, and the University of Illinois at Urbana-
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