- As I discussed in the Foundation course,
whenever I can avoid it, I don't use an 8-1/2-by-11 format.
Yes, it's the size of a letter
and the size of paper for the printer,
but it's so ubiquitous that I don't think people notice it.
The letter size feels like a piece of business information
or worse, a bill.
Finding an alternative size or kind of format
gives the composition an added something more.
Physical objects are artifacts.
People like to have things, and a unique size is noticed
and hopefully saved.
If I'm pressed into this format for logistical needs,
I try at least to switch to an A4 size.
This is a European size sheet based on the golden rectangle.
Or I'll turn the page sideways to create a double spread
of a booklet that is 22 inches wide.
This gives me a landscape that allows the elements
to be more dynamic and expressive.
It allows the designer to organize information
in multiple columns rather than one long one.
This is easier to read and aesthetically more pleasing.
A double-spread image can be dramatic
when it's 22 inches long.
Another option for a dynamic format is to work with scale.
Take the content typically placed on a letter-size booklet.
Now scale the format up to newspaper size.
The message changes.
This is unique and immediate.
The content is important and worth exploring,
and of course, people like big things.
The opposite works just as well.
Reduce the size to a five-by-seven booklet.
This increases the amount of pages
to accommodate the content.
The result is a publication that feels precious
and personal and more book-like.
People save these types of publications,
as we've all been trained to not throw away
or destroy books.
The cost for producing a smaller book
with more pages doesn't change.
It's the same amount of paper simply trimmed smaller,
creating a thicker publication.
I like to play with expectations of format.
If the audience expects a postcard invitation,
change it to a cheap newsprint poster.
It can still be folded down and mailed,
but has more impact than any other catalog in the mailbox.
I also like to work with unexpected materials.
These don't need to be expensive and tricky.
I love looking through industrial materials online
to find the right bag or box.
Using a generic electronics envelope in a different context
can solve the functional issues and save money.
I'm not a huge fan of complex folding.
The viewer just gets frustrated when a piece becomes
impossible to handle or understand how to refold.
I've received far too many wedding invitations
that are trying to be clever with origami-like folds.
If it takes longer than a few minutes to unravel, I give up.
But odd formats with a simple folding structure work.
I like an extra-long size that folds like an accordion
or a poster that is rolled and mailed in a tube.
It might cost more in postage, but will have more impact
than a traditional five-by-seven invitation.
The format is as changeable as the design of the piece.
The composition can go from ordinary to extraordinary
with a slight shift in thinking.
The next time you start a project
and immediately set up a letter-size file in InDesign, stop.
Think about any different type of format
that could be more fun to get in the mail.