A good page is respectable; a great page memorable. A good page reaffirms reader's expectation; a great page churns out surprises. A good page is achieved by mixing the right ingredients; a great page by reinventing the formula. Yes, good is not bad, but it's not as good as great. A good page is the marriage of content and form. So does a great page. But how do you tell one from the other?

1. GOOD
VS.
GREAT
speaker: adonis durado
@adonisdurado
snd foundation syracuse student symposium
3 february 2012 / S.I. Newhouse School of Public Communications
New York, USA

2. GOOD
IS NOT
GREAT.

3. In a professional environment,
it is expected that designers produce
at least good, decent pages.

4. A good page is
a marriage of
content and form.

5. The formula of a good page is:

6. The formula of a good page is:
GOOD GOOD
CONTENT + DESIGN

7. GOOD
DESIGN

8. GOOD
HEADLINE
GOOD
DESIGN

9. GOOD
HEADLINE
GOOD
+ DESIGN

10. GOOD
HEADLINE
GOOD
+ DESIGN
GOOD
ART

11. GOOD
HEADLINE
GOOD
+ = DESIGN
GOOD
ART

14. GOOD PAGES...

15. GOOD PAGES... but are these GREAT?

17. Does this page
instantly grab
your attention?

18. Does this page
instantly grab
your attention?
Does this page
excite you?

19. Does this page
instantly grab
your attention?
Does this page
excite you?
Does this engage
you to read on?

21. Does this page
instantly grab
your attention?

22. Does this page
instantly grab
your attention?
Does this page
excite you?

23. Does this page
instantly grab
your attention?
Does this page
excite you?
Does this engage
you to read on?

25. I used to think that there is
a thin line dividing
a good page and a great page.

26. But compelling evidence
shows that there is more to it
than meets the eye.

27. A GREAT PAGE
IS A WOW PAGE.

28. Design is visual manipulation.
And a great designer
is a great manipulator.

33. HOW TO SPOT
A SPINNING
BLACK HOLE?

36. Great design is not boring.
A great designer embraces
eclectic visual treatment.

42. There are many ways to skin a cat.

43. And a great designer knows
when to exercise restraint.

48. A GREAT PAGE
IS FULL OF CONCEIT.

49. In literature, conceit is defined
as an extended metaphor with
a complex logic that governs
a poetic passage or entire poem,
by juxtaposing, usurping, manipulating
images and ideas in surprising ways.

50. Visual conceit is a method of
dressing up, enriching, adding layers
or dimension to a story.

51. TYPES OF CONCEIT

52. TYPES OF CONCEIT
Conceptual conceit

53. TYPES OF CONCEIT
Conceptual conceit
Stylistic conceit

54. Conceptual conceit

55. Conceptual conceit
Concept as controlling metaphor

57. America is
entangled by
debt crisis

58. America is CONCEIT:
entangled by Using the thread
debt crisis in the illustration

60. When financial
adviser becomes
ineffective

62. Getting rich
by legal means

63. Stylistic conceit

64. Stylistic conceit
Visual style as the dominant force

66. Retro-looking
page design

68. An illustration
that imitates
a graphic

70. Headline
as illustration

71. To design with conceit gives
added value to its textual form.

78. It gives context and allows
easy association
to better understand the story.

83. A GREAT PAGE
EMBODIES ORGANIC
AND ARCHITECTONIC
QUALITIES.

84. Design is not just a vessel or container.
It is the physical shape of the story.

86. STUTTERING
IS IN THE GENES,
NOT HEAD

88. HOW SECRECY
UNDERMINES
CREDIT REFORM

92. Designing is storytelling.

111. Nothing
should be there
that does not contribute
to the page.

113. THE END
OF DVD ERA

114. SAY IT IN YOUR
LANGUAGE!

120. CRAFTSMANSHIP
Execution is critical.
Concept alone is not enough.
Style alone is not enough.

121. RESOURCES
coverjunkie.com
behance.net
visualize.us
dailypoetics.com
booooooom.com
illustrationmundo.com
illustrophile.com
designobserver.com

122. RESOURCES
THE FIVE OBSTRUCTIONS
(2003)
Director:
Lars Von Trier
and Jorgen Leth

123. THANK YOU!
adonisdurado@gmail.com
behance.net/adonisdurado
linkedin.com/in/adonisdurado
facebook.com/adurado
@adonisdurado