SD Warren Catalog of Catalog Design

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THES. D. WARREN

CATALOG OF CATALOG DESIGN


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FOREWORDDear Catalog Marketer:S. D. Warren takes pride in presentingour "Catalog of Catalog Design" for yourenjoymen t. We are dedicated suppliersto the direct marketing industry andhave chosen to demonstrate our concernand support by producing a series ofinformational pieces directed exclusivelyto the talented people in catalogmarketing.This book on catalog design is the first inour planned series. Youll notice that it isproduced entirely in a catalog format,and even provides an order form foryou or your creative staff to use torequest subsequent issues and othe rrelated materials.Our premiere issue was writt en ,designed and produced by Jo-VonTucker, an internationally renownedcatalog consultant. We hope that youwill benefit from reading it, and fromsharing it with other members of yourcreative team .With best wishes,

S. D. Warren C ompanyA Division of Scott Paper Company


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CHAPTER ONEESTABLISHING IMAGE THROUGH DESIGN.Recent consumer research has proven that the design of a catalog plays an important role inoverall perception and positioning. Prospective customers will receive a message and astatement of philosophy based, to a large degree, on the way in wh ich a catalog is visuallypresented for consideration.This market-assigned priority requires that careful and expert judgment should be applied tocatalog design and graphic treatment. Design provides essential unity for all of the otherdiverse elements used in catalog m arketing. It is the frame for the picture, and should b eselected just as thoughtfully as the picture itself.Basic catalog design directions are provided within this book. It is our hope, however, thatthe techniques gathered from the outstanding designers chosen for inclusion will aid andinspire you to create your own catalog concepts, or perhaps to seek improvement inwhat you are currently p roducing. We encourage innovation and applaud designperfection and refinement.

DESIGNING A CATALOG.An essential guideline to remember in designing any kind of catalog is that consumers "see"catalogs in visual spreads as opposed to tw o facing pages. This fact works to the designer'sadvantage in that the entire space of the tw o facing pages may be co nsidered as a singlevisual unit for display. Much like a department store window, the combined space of thefacing pages should be w orked to m aximize the potential visual impact.The gutter of the catalog, whether it is bound horizontally or vertically, needs to beconsidered because of cross alignment and press approval of color, but it should not dictatethe design treatment nor necessarily restrict it. Delicate and critical alignmen ts (like faces, orintricate prints) can be avoided without giving up design flexibility.The most important role of design in catalog marketing is the function of combining all of theother elements in the presentation in a pleasing, considerate and persuasive fashion. Catalogdesign can become a distinctive, recognizeable signature, and can contribute heavily inattaining the desired credibility from the consumers.

ELEMENTS OFCATALOG DESIGN PHOTOGRAPHY...The most dramatic portrayal ofmerchandise. DESCRIPTIVE CO PY...

Informational words used to describethe products and/or services, and toclose the sale. HEADLINES...Explanatory, attention-getting wordsused to point o ut themes or specialgroupings of items. PAPER SPACE...The "w hite space" that provides the

blank canvas on w hich to create thedesign display. Company Logo... Toll Free Telephone Number andAttention Device.

DIRECT YO UR CATALOG PAPER INQUIRIESTO YOUR LOCALS.D. WARREN PAPER ME RCH ANT(Please see listing on back.)


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Thumbnail sketches can be used effectivelyto transfer conceptual thoughts to a morevisual form.

These simplified drawings should beaccurate in scale to the proposedcatalog format.

While developing a concept, try to plan theproduct depictions in varying sizes an dshapes for maximum visual interest.

CONCEPTUALIZATION.The explanation of concep tualization is simpler than the word itself implies...It is the mental(or thinking) process that should take place before pencil is set to layout pad. This "upfrontthinking time" is vital to the flow of the catalog, and can help to insure that the presentationreflects a point of v iew and a personality. Thoroughly conceptualizing a catalog wil l providethose important small touches that will identify a catalog to the consumer, either in theplanned use of subtle props and accessories, or in the selection of specific backdrops forphotography, or even in the application o f a sense of humor to the pages of the "paper store/'During the schedule of production o f a catalog, ample time should be bu ilt in forconceptua lizing. The designer or layout artist should not be expe cted to immediately sitdow n at the drawing board and start cranking out pages of format. Upfront thinking timeusually saves more time in the long run , and provides the o pportun ity for creative designto flow.A g ood w ay to begin the conceptualizing process is by writin g notes on a yellow legal pad.The words on paper seem to help designers (wh o are visually oriented in the first place) tolock in on the priorities to be considered, i.e. the merchandise, specific objectives of thecatalog, target market information, lifestyle notations, timing or theme, etc.The next step in conce ptualizing is to begin the thoug ht process, planning the catalogmentally. With the objectives in m ind, simply allow ideas to flo w Think about the productsand ho w to show them to their best advantage. Elaborate m entally on the chosen theme orseasonal possibilities, and begin to tie in color treatment and specific background ideas.A graphic format will begin to take shape in your min d. At this point in the development ofthe concept, it's a good time to jot dow n words or phrases that reflect your thoughts.Translating ideas to paper can be effectively done with the use of thumbnail sketches. As theterm implies, these rough drawings are usually quite sma ll. You can create a fairly accurateperception of a catalog spread wit h a thumbnail sketch no larger than about 2 " in height.


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And you need not be an accomplished artist to make use of thumbnails for conceptdevelopment. Their main contribution is in helping you transfer thoughts to a more visualform. Notes of explanation beside the rough drawings will serve to capture specialtechniques that you may think of, like lighting for the photography of your merchandise.Thumbnail sketches also aid in communicating design ideas to the merchandising staff or toother layout artists that youll be working with during catalog execution. But one of the majorbenefits of using this technique of concept development is that, by thinking the catalogthrough from cover to cover, an important thread of continuity w ill evolve. This wi ll help toavoid a schizophrenic look to your book because your graphics and other visual treatmentswill merge and flow as a well thought out presentation.

TIFFANY & Co.

A glance at a series of thumbnailsketches will provide an overallperception of catalog design flow.

Thumbnails will also give you astrong indication of the pacing of thebook; i.e., how long youll be able tohold attention on each spread.


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WILLIAMS-SONOMAA CATALOG FOR COOKS fHOLIDAY 1984

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WH ITE SPACE AS A POSITIVE ELEMENTCatalog designers should consider the paper pages as a positive element of the available graphics.The blank w hite paper of a catalog spread is like the untouched canvas of a painter. The p otentialfor design impact lies within the physical confinements of the dimensions of the paper pages.If you have ever done a painting yourself, yo ul l know that, regardless of whether you are wo rkingin oils, watercolors or acrylics, the entire space is roughly blocked in first. Composition is the firstarea of concentration.The same principle should be app lied to catalog spread layout. Working the facing pages as asingle visual unit, the diverse graphic elements need to be planned for their com bination. Thearrangement of photographs, descriptive selling copy and headlines takes the form of plannedcompo sition. Even this stage of format development should be done wi th the consumer inmind. Consideration should be given to the effect of catalog graphics on the customer's eyes andin their min d.The wh ite space of the paper can provide the cleanest, most dramatic frame for the four-colorphotography. It is also easy on the eyes of the reader. Focus group studies of catalog customershave provided us with input that reflects a liking of white space in their responses. Theyappreciate the clarity of presentation w hen items are allowed to breathe wit h some respite ofspace around them .In designing a catalog to best utilize available space, it doesn't matter whether the paper is leftwhite, or whe ther you choose to cover the paper surface with a rich, glossy lay of ink . The spaceitself should still be co nsidered as a positive e lemen t, rather than as a negative one . The use ofthis space is a vital ingredient in the development and execution of a persuasive catalog format.


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It is a challenge to the catalog designer to be able to free upspace, as opposed to filling the available space. Generally, theless constrained the elements are on the page or spread, themore dramatic the merchandise depictions can b e. The whitespace of the paper can provide the simplest, yet mosteffective, unifying element of presentation. It can be the " tiethat binds."

The Williams-Sonoma Catalog shown here is a digest-size (5%' x 8Ys)book. The designers, Carolyn Andres an d Peggy Hidell, make maximumuse of a smaller amount of display space by designing in visual spreads.Background colors across facing pages are coordinated and strictlymonochromatic. The white space of the paper is used cleanly to frame therich four-color images and to provide a pure space for black-on-whitetypography.

DIRECT YO UR CATALOG PAPER INQUIRIESTO YOUR LOCALS.D. WARREN PAPER ME RCHA NT(Please see listing on back.)

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THE PRODUCTIS THESTAR.A rule of thumb to guide all catalog designers... Allowthe merchandise to be the star of the entire prod uction!The product depiction should get the most attention ofanything shown on the spread. The design, any specialgraphic treatments, the copy and the headlines shouldall be secondary to the depiction of the merchandise.The reason for this is that catalogs are primarily aphotographic medium of selling. It is the ph otographthat must capture consumer attention for the products.Photography as a medium provides us withremarkable flexibility for product display in catalogs.We have the technology of lighting to work with, opento as many interpretations and techniques as thecreative mind will allow. Light is there to be bent,shaped, defined and refracted to help spotlight ourmerchandise and refine its portrayal.Photography captures the details of items, picking upfor the customer's benefit such important sellingfeatures as texture, color and design. An d goodproduct photography allows us to achieve fidelity ofreproduction, another vitally important element ofcatalog marketing. High quality reproduction, both incolor separations and in printing, help the cataloger toattain credibility from the consumer, and continue tohelp maintain credibility when the merchandise isreceived looking exactly as it was portrayed on thepages o f the catalog.


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In order to insure that the product will always be the star, art directors and designersmust be careful never to let the background overpow er the merchandise.Photographic backdrops that are busy in content may pull attention away from theitems shown for sale. Backgrounds are there to enhance, not to compete. The same istrue wit h props and accessories in a shot; they should only be used to explain usage,to scale, or to amuse and entertain, but never to take away from the impact of themerchandise itself.The product should also be the star in the subject of space allotment. Rarely, if ever,should the descriptive copy be given m ore space prominence than the photography.Customers wil l look at the photographs if they are appealing and interesting. Theymust usually be brought into the copy by the strength and appeal of the photog raph.And we should not presume that consumers w ill take the time to read long copy in acatalog. Wh ile it is true that certain kinds of products require longer copy than others,it is still safe to assume that the balance of space allotment is the same, and that theitem dep iction should be larger than the copy space. If it requires more words toexplain, chances are that it also requires a larger photograph to show its merits.Tiffany & Co. presents a square format catalog that is perfect for a very focused merchandise display.The book is perfect-bound and measures 6 " x 6%'. The designer, Bert Abbott, chose to pace thisoutstanding catalog with the technique of alternating dense black backgrounds with light white orgrey ones. Spice and punctuation are added by the use of a spread of bright red placed strategicallythroughout. The beautiful merchandise is allowed to star in the presentation.


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Special graphics can enhance a catalogpresentaiton, but if overused, or usedunnecessarily, can divert too muchattention from the merchandise.Some simple guidelines can help youdetermine whether or not the use ofspecial graphics should be considered.

If ten or more items are to be shownon a spread, avoid the use of swashcap lead-ins to your copy. They w illrequire too much visual attention fromthe consumer.If grid-system design is used, wherefour photographs are clumpedtogether in a box shape, considerusing white rules to separate thephotos for a clean, organizedpresentation.A simple border can be used goingacross a spread or dow n the side of apage to unify diverse elements ofphotography and copy.Ask yourself if call-outs are reallynecessary to explain the merchandise.If not, eliminate them to simplify thepresentation.In fact (and in judgme nt), are anyspecial graphics needed? If their usewil l a dd personality to the display,use them carefully and consistently.

USE OF BORDERS, TYPETREATMENTS, SPECIAL GRAPHICS.The catalog designer has many different special effects available. There are rules, fancyborders, plain borders, cap and swash lead-ins, reverses, cartouches, typ e treatments likeflush right/ragged left, etc. The question is usually when and where (or whether) to use them.It requires good design judgment to use them at all, and even then the usage should becarefully, consistently and discreetly don e.Borders and rules, for exam ple, may help to tie in the elements of a busy spread. They canactually help to hold the graphics together. If a spread has an unusually high num ber of itemsto be depicted, delicate rules or thin borders may provide the visual unity needed. However,if the border chosen is bold and strong, it may just compete for attention and further confusethe issue. We've chosen to use simple, thin rules throughout the S. D. Warren Catalog ofCatalog Design to provide design continuity for the many elements of our presentation, andto give us a clean frame, along with the white space and composition, for the editorialcontent.Cartouche treatment is an effective w ay to set off editorial copy, or to avoid the use of reversetype out of photography. A cartouche is a ruled or bordered box that provides a clean, classicframe for copy content, usually with the photographic background dropped out. Too muchreverse copy can be hard to read, and can create confusion and frustration on the part of thecustomer. Reverse copy can be dramatic if used sparingly, but it should not be overdon e.Special typography treatments can be attention-getting and can enhance a themed spread.Sometimes a hand-lettered or specific caligraphic headline can b e just the ticket to punctuatethe graphic format. Or perhaps wrap-around copy is selected to use with silhouette productdepictions. There is an infinite variety of choices at our design disposal, but w e shouldcaution ourselves w hen making use of these graphic gym nastics. Are they really necessary?Do they add to the impact of the visuals witho ut taking away from the merchandise offerings?Does their use accomplish continuity? Have we used them consistently or inconsistently?Just as merchandise is measured by selection criteria for inclusion in a catalog, so shouldthese special design techniques be considered. Analyz e their use during theconceptualization stage. That way, if you p lan to include the m, they w ill have a role to playfrom the beginning, and your development plan w ill have a place for them.


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The Horchow Collection, that now-famous innovatorin upscale catalog marketing, presents several typesof special graphics in their Summer Book. CreativeDirector Vona MacDonald combines silhouettes withsquare-finished photographs and punctuates themwith splashes of color and border treatments.Headlines an d sub-heads considerately tip theconsumer to the reason wh y these products wereplaced together.By varying the depiction sizes of the merchandise,the Horchow Collection adds visual interest an dimpact on the spread. Special graphics are utilizeddiscretely, and never overwhelm the product display.


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In design, this is accomplished by the com position of the photographsand copy. One d epiction is usually larger than the others on the page,and could be called a feature or a m ini-feature. This provides astarting p oint for the reader's perusal of the spread. Then, whether theeyes are led from left to right or from right to left, there is a logicaland directional visual guide to encompass every depiction.The direction can be circular in shape, or it can curve around thespread in a swee p. The important thing is for each piece ofmerchandise to have a chance to be seen. The wh ite space of thepaper can also play a role in eye movement direction. If the frame ofthe paper is strong and directional, itwill aid in helping to direct thecustomer's atttention.

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EYE MOVEMENTDIRECTION,ContinuMan y times the merchandise itself may be directional in shape, as in the case ofshoes. Because of their shape, shoes can function almost like a visual arrow. O therproducts are equally directional in shape; bottles are distinctly vertical, leading theeye straight up or dow n; the spout of a teapot, pointed in the right direction, canlead directly into the next depiction; the belt of a microfazer can act like a visualslide from one photograph to another, if composed properly.Models should be used to help contain the reader's attention within the spread. Ifthey are located on the far outside edges of the spread, they should be facing intothe center of the book, at least withthe attitude of their body and withtheir glance. Wh en the models are

facing out of the book instead oftoward the gutter or even straightahead, attention is led off of the page.With little encouragement, intendedor not, the consumer is quick to flip tothe next pa ge, and the chance of asale on the previous pages was lost.Silhouette, or ou tlined, photographscan also be used directionallySilhouette photos on catalog pagesare most effective and believablewhen a soft drop-shadow is used.This should be planned for in


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photography shooting, using a white no-seam background andlighting accordingly to get a shadow of grey. The shadow addsdimension to the depiction of an outline shot. Without a shadow,the effect is like a flat paper doll that has been pasted on thepage.Props can help direct the eye from one shot to another, just as themerchandise and the models can. A flowe r laid beside a pictureframe not only scales the frame for size, but also leads the eye bythe direction o f its stem and leaves. Cookies laid beside a cookiejar can direct attention dow n into the next shot. A pen beside adesk agenda directs the eye into the pages of the agendacalendar, as well as on to the next photograph or dow n into thedescriptive copy.The com position o f the tw o spreads used here to describe eyemovement direction also illustrates the theory. In addition to thesamples chosen to show its use, study the way in which thegraphic elements are combined, providing directional flow andguidance for the eyes.Saks Fifth Avenue's SFA TODAY Catalog utilizes ey emovem ent direction beautifully in the attitudes of themodels. Starting on the front cover, the directionalityof the pose of the model (and the direction of theglance other eyes) leads the reader right into thepages of the book. Th e use of tightly cropped close-ups adds drama to the presentation an d holdsinterest on the spread.

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GUIDELINES FORPAGINATING ACATALOG Give your catalog some air (andbreathing room to your customers) byvarying the numbers of items on

each spread. You can "heavy up" onone spread in order to "lighten up"on another. If items are paginated along alifestyle theme , be consistent to thattheme and don't force a product injust because it fits in the space. Logic or use may dictate pagination.Items for a certain room (bedroom,

bath, kitchen) m ay be groupedtogether, as can related products oraccessories for the office . Fashiongarments that mix and match, alongwith appropriate accessoriescombine to create a logical,useful pagination. Choose merchandise for feature slotsthat are unique, either because ofdesign, exclusivity, price point or

topicality. Paginate considerately, with theconsumer in mind.

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CHAPTER TWOPACING AND PAGINATION.Just as with eye movement direction you can guide the catalog customer's eyes around aspread, with pacing and pagination it is possible to control (to some degree) the speed atwh ich a person browses through the bo ok. Feature pages and m ini-features can func tion likepunctuation in a paragraph of words. Interesting treatment of merchandise can slow or stopthe readers' attention as they go through the pages.Space allotment has a lot to do w ith pacing and its potential impa ct upon the consumer. Bygiving an item an important space assignment, either in size or position on the page, you aremaking a statement as to the importance o f the prod uct. Your inherent authority as themerchant is accorded to you by the consumer. If you say that an item is important, by yourdepiction and attention, customers are prepared to accept that implication and then toconsider it long enough to make their ow n judgm ent.That is why feature pages with one or two items on them can reflect as much bottom-line asa page w ith ten items on it. Your treatment of the merchandise says that it is importan t.Additionally, these kinds of big statements wil l hold a ttention for a longer span of time thanan average size pho tograph.Pagination is the assignment of items to a spread. Frequently this is done by the buyers ormerchants, but may also be the responsibility of the creative team. The choice, or m ix, ofitems m ight be determ ined b y a special theme, or by lifestyle interest or use, or even bycolors of the products. The grouping of merchandise is important in catalog marketingbecause it lends interest and, again, helps in pacing. By slowing the reader down as theybrowse through the catalog, each item is given a chance for consideration.

DIRECT YO UR CATALOG PAPER INQUIRIESTO YOUR LOCALS.D. WARREN PAPER MERC HANT.(Please see listing on back.)


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The designer has pacing and pagination to wo rk w ith as elements of design, just ashe or she has the graphics. Pacing and pagination are, however, psychologicalelements as opposed to positive elements. But they are nevertheless as importantto the overall personality and identity of the catalog.Prime selling spaces in a catalog should be considered w hen paginating. The " ho t"spots are generally considered to be the front and back covers, inside front andback covers (or opening and closing spreads), upper left hand corner of a left page,upper right hand corner of a right page, and , of course, the center spread. Whenchoosing space for a feature or mini-features on any spread, the positions justdescribed will enhance the importance placed on items in those locations.However, feature shots and mini-features can enlighten and strengthen the pull ofany page.Pacing and pagination as techniques should be thou ghtfully plan ned, wi th theentire book in mind. The pagination or grouping of products can be logical orsimply entertaining. Pacing should be planned in the most interesting way, spacedwith important statements throughout.

Winnebago's American Adventure Catalog shows the importance of pacing through design.Consume r interest is held from spread to spread because of the visual surprises revealed as thepages are turned. There is a distinctive surge and flow of presentation, with each spreadworking effectively to entice the reader to linger.

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Th e Winnebago American Adventure Catalog demonstrates a unique style of design and pacing that wasconceptualized to enhance credibility for Winnebago as an authority on outdoor activities. Every otherspread is editorial in content, showing merchandise in use in a nature setting, accompanied by purelyeditorial copy to enhance the ambiance of an outdoor lifestyle. Each spread that follows an editorialdepiction shows the same products in focused, individual selling mode. These merchandised spreads areopen and light, with descriptive selling copy used in cut fashion. The entire catalog was photographed onlocation in Beavers Bend State Park in Broken Bow, Oklahoma by Th e Photographers, Inc.

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CHAPTER THREEA COMPARISON OFDESIGN TECHNIQUES.Although there are endless interpretations ofcatalog design techniques, there are basicallytwo major categories: free flowing design andgrid system des ign. These two techniques mayeven be used in combination.Free flowing design is looser and lessstructured than the grid system, and usuallymore creative. It is done on a spread byspread basis, although it is desirable to useformats, even for this free-wheeling approachto catalog design. Free flowing design isgenerally favored and used by the moreupscale catalogs. There does appear to bea connection between application ofcreativity in catalog marketing and resultantsales and persuasiveness.Grid system design, just as the name implies,is a m atter of dividing the space of the pagesinto grids. The sizes of the photographs canstill vary, but w ill va ry mechanically, usuallyfrom y8 page to 14 page to Vi page to a fullpage depiction . The format is quite tight, andmay be considered restrictive by designers.

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The art director for My Child's Destiny achieved great rapport with the children who weremodelling. Nothing is more charming or persuasive in a catalog than a graphic rendition ofchildren being children. Good design simply has to allow that m agic to happen.

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The Le w Magram Catalog illustrates classic design with maximum simplicity. A digest-sizedbook, the LM approach is one of presenting the fashion products in a straightforward wayon appealing, sassy-looking models. Backgrounds are primarily no-seams. Thinly ruled blackborders are used to an chor the light-tone photographic backgrounds on the page.

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The use of stylish, oversized cap lead-ins workwell for Lew Magram in directing attention tothe descriptive copy.Columnar copy treatmentprovides a solid foundation of productinformation without detracting visually fromthe photography

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M RAPHIC ARTS SET A _ , S T R I K IN G T O N E .^ W 1 6 A . I n mu l t i - c o l o r e d^^tmrnf^ a p p l i q u e s t h a t a d dimpact to the eapelei d e t a i l s o n t h i sfabulous si lk s h u t . C o l o r is W H I T E .E v e n s i z e s 4 t o 14. I mp o r t e d . $ 1 4 0 .16B. P U R E SILK P A N T S . . .C R O P P E D A N D C U F F E D . A d d o u rfabu lous si lk sh ir t (sec a b o v e ) a n dy o u h a v e a s ma s h i n g o u t f i t . P l e a t e dto f lat ter , two p o c k e t s a d d t o t h e e a s eo f t h e s e wear-with-evervthing p a n t s .I n W H I T E . E v e n s i z e s 4 t o 1 4 .I mp o r t e d . $ 8 8 .1 7 A . O U R " F O U R S E A S O N S "C A R D I G A N . H a n d - k n i t w i t h t r u ew i t b y f a s h i o n a r t i s a n s in U r u g u a y ,leat t i run ; in t r icate detai l (fron t andb a c k ) t h a t p o r t r a y s t h e s y mb o l s o f t h es e a s o n s i n a m a n n e r t h a t ' s a b s o l u t e l yirresist ib le. In coo ! 100"., co t ton . Ourh a n d - k n i t " t a n k " ( s e e b e l o w )e n h a n c e s this'marvolous work-of-art. S i z e s : S(4 -6 ) , M ( 8 - 1 0 ) , L 0 2 - 1 4 ) .S2H).

1INC I IE LOOK Fs l e e v e l e s s s w e a t e r w h i c h r e v e r s e sfrom PINK t o B L U E t o c h a n ge t h elook or c r e a t e a n e w mo o d . 1 0 0 %c o t t o n . S i z e s : S(4 -6 ) , M(8-10) ,L ( 1 2 -1 4 ) . I mp o r t e d . $72 .I 7 C . S K I R T I N G T H E I S S U E w i t ho u r n e w d r o p - p l e a t e d s k i r t i n a ne l e ga n t b l e n d of f i n e F r e n c h hbra nner a y o n a n d si lk . S i d e b u t t o n d e t a i l s -add to i t s gracefu l ease. Fu l ly l ined,in WHITE! Even sizes 4 to 14 .American ma d e . $ 1 1 0 .1 7 D , G E N U I N E P A S T E L A G A T ES T O N E N E C K L A C E c o mp l e t e s thelook . $29 .95 .17E, T H E S P R I N G " P R O F I L E " H A T .F i n e i mp o r t e d s t r a w , h a t i s ma d e tnA me r i c a . In W h i t e w i t h p l e a t e d bandt r i m . B y Betrnar. O ne size f i t s al l .$29 .95 . '

lew magram * 16

"Body-English" helps hold the reader's attention oneach spread. The models' poses are well selected todirect the eyes of the cus tomer around the pages ofthe Lew Magram book.

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DETERMININGFORMAT. Test the flexibility of your format byturning the tissue tracing over. This willallow you to see if the layout will workwell when flopped. Establish your cover format by thinkingahead to the next series of catalogs.Can you depict seasonal changeswithin the framework? Will it becomea recognized look for you? Does itreflect the personality of the catalog? Try to avoid getting locked into a gridsystem format. W hile there is somedegree of flexibility you are still morerestricted design-wise than in a free-flowing format. Have you allowed for incorporation ofthe logo on some of the spreads? An dfor the toll free order number?

22

CHAPTER FOURCATALOG FORMATS.Established formats lend catalogs identity and continuity. Their use becom esrecognizeable t o c onsumers, and helps to establish credibility as well as personality. It isimportant to be able to conceptualize a format that works well for your catalog and foryour customer, witho ut sacrificing design flexibility.Formats should be loose enough to provide general design guidelines with fewrestrictions. Thumbnail sketches are helpful in determining an overall direction fo r form at,at the same time providing a good feeling of the flow and impact of the entire book.Four basic spread designs should be enough to establish form at fo r a 32 or 36 pagecatalog. The four selected spread designs can be diversified throughout the catalog byflopping (or reversing) the composition. They may even be turned upside down foradditional flexibility, and still will blend into the rest of the bo ok .Whether the design technique opted for is free-flowing or grid system, a format shouldbe used for all catalogs. In order to continually reaffirm positioning, the format should beroughly adhered to for all subsequent issues. Subtle changes can be made w itho utabandoning an established form at.The key to finding a successful graphic format is to work with your specific requirementsfor merchandise and copy. A special approach that "fits" well with your objectives will bethe one that best allows you th e flexibility, access to dramatic presentation, and a u niquevisual personality.


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5 ^f PETER BARTON'S SPECIALTY THE SWEATER THAIS WELL-BRED BUT NEVER DULLWITNESS HIS EASY-SHAPE PULLOVER IN A RAISED BASKET-SIIICHTHAI MESHES OLIVE WITHBLACKMARVELOUSLY. ITALIAN. IN A BUOYANT WOOL'MOHAIR BLEND SIZES S~MLXLS2&2 foQ PETER'S AMIABLE AMBLERSOLIVEGREEN COTTON CANVAS PANTS.IREA1ED I O SUED A MONSOON. OR, AT LEAST, LIGHT RAIN. PLEATED, COIION-UNEDWITHAPAH) Of TLAPPED WATCH POCKET S. SM-L SI M fe | THE KIDDY-CATS MEOWTWO HAND'LO OMED SWEATERS IOINED TOMAKE A TERRIFIC IOASTY1ACKEI ONE IS NAVYZINGED WITH BRIGHT COLOURS AND PARADES Of WHITE PUSSIES. IHE REVERSE SWEATER ISSAMPLER'SinCHED AND MAINLY RED. RED RIBBING BANDS THE PAIR TOGETHER. HOODED,WIIH ZIPPED FRONTANDMA1CHING WHEN MITTENS. WARVt, WONDERFUL MACHINE*WASHABLE 100% ACRYLIC. SIZES 2-4, $68. 6-8, S/2

SUPERFINE WOOL HALE MOHAIRIN A SUPER-SIZED HERRINGBONEPATTERN. BLACK/BLUE, BLACK/SCARUEI OR BLACK/ NATURAL WITHSHAGGY FRINGES, li ft LARGEECONOMY S I Z E I * * X 75* $7

Henri Bendel's catalog, Bendel's-By-Mail, is designed with a flexible,attractive format which allows the merchandise to shine! A full pagefeature shot can fall either on a right or left-hand page, flanked with asquare-cut mini-feature an d a refreshing silhouette. The models arebeautiful with a pensive mood reflected.23


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CATALOG FORMATS,ContinuedThe examples show n on these tw o spreads show h ow form at canwork effectively. You can also visualize how the formats showncould be flopp ed or slightly altered for interest and diversity. Thefeature pages could, for example, appear on the opposite side.Cover form ats are especially imp ortant as far as customerrecognition is concerned. Front and back cover formats shouldbe developed for your boo k, providing a consistent and expectedgreeting for the recipient. Cover formats will quickly becomerecognizeable from issue to issue. Customers will rec ognize thelook, and welcome it. Chosen formats for covers should presentthe logotype consistently, but can offer great flexibility oftreatment for each individual mailing. Colors can be changed,textures can vary and subject matter can be very seasonal. Butthe image and identity of the catalog remain solidly in place in theconsumer's mind, attaining positioning for the company.Choices of treatments for the covers include institutional (purelyimage-prom oting), editorial (usually merchandised, bu t in a non-selling kind of statement), and merchandised (straightforwarddepictions of a product or selection of products from within thebook).The M arshall Fields' Catalog shown at left is a successful grid-system design. The feature page floats from right to left, and thesmaller shots are presented in an organized look on theopposite side.

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Gump's achieves a distinctive look for their catalog by insettingphotos onto photos. Clean white reverse rules separate the shotsand actually allow for larger depictions by using the display spaceso effectively.

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CHAPTER FIVECOMPREHENSIVE LAYOUTS.A question that always comes up in discussions of catalog graphics is... How tightly must a layout be rendered?Since catalog production schedules are notoriously tight, and since layouts in any finished form require a goodsegment of production time, it is generally recommended that semi-comprehensive layouts be consideredadequate. They should be done to size, but they need not be rendered with tight-comp merchandise indications.Accuracy of sizing is important, so that the photographer w ill have correct wind ow s to shootcatalog shots, with the exception of fashion shots, should be photographed to reproductionSemi-comp layouts w ill allow some creative license for the photographer to w ork wi th. Manybetter angle is apparent for a product on ly wh en the item is placed in fron t of the camera.Whether or not tomunication that acases, color ren-1a very long time towould prefer tocoloring time.

work in color for layouts depends upon the understandingdesigner has wit h the people w ho w ill be approving layouts,derings are required only for the covers and a spread or tw o.render layouts in color, especially in a tight comprehensive form. Most catalogers

to fit. A llsize.times aand com-In mostIt takes

have their designer's think ing time asNotes can be made on black and white layouts that will fully explaincolor for backgrounds, or specific props andaccessories. M erchandiserendered so as to be recognizeable without having to be finishedor backdrops can be communicated with notations or verbalsolid trust factor between designer and merchant will save wastedThu mbnail sketches wo rk ve ry we ll as a preliminary approva l step to be sure that the creative staff understands theobjectives and is on the right presentation path. Merchants are creative and visually oriented, and are quick to graspdirection from rough thumbna il sketches. Once an approval is obtained on basic direction from thum bnails, theactual to-size layouts wil l go m uch m ore quickly and sm oothly.

opposed to theirthe planned use ofcan be looselyillustrations. Themesexplanations. An d atime.

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COMPREHENSIVELAYOUTS,Continued.The thumbnail sketches should be done proportionately correct, and may be photostated up to size for even fasterlayout refinement. Tracing paper over the stats provides a short-cut to the required f ull size layout renderings.good enough to shoot from. Too much responsibility is placed on therole of art directo r if the layouts are too loose. Semi-comps are a stepcomprehensives, and work very well in catalog production.

accurately sized and are rendered tightly eno ugh for the view er toshown. On e of the most imp ortant design steps is the actual planning ofidentification; i.e. company logo, which shouldOther elements for inclusion are toll freefeatures should be planned for durin g the execu-the design of the b ook and won't be overlooked

Rough layouts are notphotographer to fill thebetween roughs and tightSemi-comp layouts areunderstand what is beinguse and placement of the vital elements ofbe placed periodically throughout the catalog.telephone number and guarantee policy. Thesetion of the layouts. In this way, they have a place inor require changes to accomm odate them.Even relatively rough renderings of the products shou ld take into co nsideration the shape of the actualmerchandise. If the item to be shown is a strong vertical in shape and p roportion , the space allocated for displayshould be complimentary. Layout planning to accommod ate shape of product w ill avoid wasted display space.Indicate the merchandise to its best advantage, even if it means having to compromise elsewhere. Ifprops are required for scaling or explanation, plan for them in advance and indicate their use on thecomp layouts.

The comprehensive layouts should reflect the thinking process that is done on the catalog at conceptstage. Well thought out themes wi ll be readily identifiable, as denoted by selection of backgrounds forphotography, color schemes, use of texturessories. The "l o o k" of the catalog should flow ,personality. The graphics must work in com-and shapes, and selected props and acces-smoothly and visually, to achieve a distinctivebination to "presen t face" for a catalog.

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Eddie Bauer's Winter '84 Catalog was selected toshow interesting design solutions to multipleproducts. At a glance you can see how the catalog'spersonality comes through. The spreads are busywith merchandise, but are well planned toaccomplish outdoors showmanship consistency. Th epace is varied by the free-flowing design and with theoccasional use of a decorative border across thetop. The spreads work well as visual units, using theentire 2-page display space effectively. Eddie Bauer'sinstitutional cover form at is recognizable withoutstanding nature photographs each issue.

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CREDITSWILLIAMS-SONOMA HOLIDAY '84 CATALOG:Designers: Hidell-Andres StudioCarolyn Andres and Peggy Hidell

MY CHILD'S DESTINY CATALOG:Creative Director: Jo-Von TuckerArt Director: Martha Barrett

TIFFANY CATALOG:Director of Publications: Yone AkiyamaDesigner: Bert Abb ott

LEW MAG RAM CATALOG:Designer: Tom Lennon & Associates

THE HORCHOW COLLECTION:Creative Director: Vona McDonald

HENRI BENDEL CATALOG :Designer/Art Director: Susan Slover

BANANA REPUBLIC CATALOG:Designer: Patricia ZieglerArt Director: Terry Stelling

THE AN N TAYLOR CATALOG:Creative Director: Sonny Jaen

MARSHALL FIELD'S CATALOG:Designer/Art Director: Michael Burch

GUMP'S CATALOG:Designer: Marlon Ma lcolm

SAKS FIFTH AVENUE/SFA TODAY :Saks Fifth Avenue Creative Staff

EDDIE BAUER WINTER 1984 CATALOG:Director of Advertising: Abbie A ndersonDesigner: Firi Dutro and Tamm y Fujihara

WINNE BAGO AMERICAN ADVENTURE CATALOG :Creative Director: Jo-Von TuckerArt Director: Martha Barrett

WALT DISNEY PRODUCTIONS CATALOG:Creative Director: Jo-Von TuckerArt Director: Joe Takahashi

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WARRENS. D. Warren C ompanyA Division of Scott Paper Company225 Franklin StreetBoston, Massachusetts 02101

U.S. POSTAGEPAIDS. D. WARRENCOMPANY

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THES. D. WARREN

CATALOG OF CATALOG DESIGN 1986, S.D. Wa rren Com pany, A Division of Scott Paper Company. Printed in U.S.A. on WarrenfloCover-7 pt., Somerset Gloss-60 lb. and Somerset Matte -50 lb. 86-6


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A . HOW TO PLAN PRINTING.Providing basic technical information thatwill be helpful in convert ing raw copy andillustrations to the finished printed piece.

How to Plan Printing

B. PAPER SURFACECOMPARISON GUIDE.A gu ide to help you select theproper paper surface for yourprinting nee ds: comparisons o fprinted reproduction onuncoated, matte, dull, gloss andcast coated stocks.

PAPER SURFACE COMPARISON GUIDE

m

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NAME.TITIFCOMPANYADDRESSCITYTELEPHONE

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STATF 7 IP

S. D. WARREN C OMPANYA DIVISION OF SCOTT PAPER COMPANYORDER FORM225 FRANKLIN STREETBOSTON, MASSACHUSETTS 02101

PLEASE CHARGE TO MY CO NT IN UIN G INTERESTIN CATALOG MARKETING.Signature:

Dear S. D. Warren Company:Please send me the fo l low in g informa tional pieces on the fascinating subjects of paper andpr int ing. . .(See opp osite side of this order form.)

A. How to Plan Printing B. Paper Surface Comparison GuideDIRECT CATALOG PAPER INQUIRIES TO YOU RLOCAL S.D. WARREN PAPER MERCHANT.(Please see listing on back.)

I enjoyed receiving the premier issue of the S. D. Warren Catalog of Catalog Design. Please keepme o n yo ur m ail ing l ist for subsequent issues specif ical ly directed to the interests of catalogmarket ing. I would l i ke to suggest the fo l lo w in g subjects as considerations for fol low -u p issues:

Please send a co py of the S. D. Warren Catalog of Catalog Design to my fr iends listed be low.They will enjoy i t , too!

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