How to design your eye-caching flyers?


Weeks ago an artist friend, Kathryn, asked me to pop over and have a look at her homemade flyer design.  She wanted me to use my designers’ eyes to scan her flyer and approve her final draft before committing to print.
A couple of days later THM was commissioned to undertake another poster design.
So I am gathering some thoughts on good flyer design in the hope it will be helpful for you when designing your attention grabbing flyers posters or Christmas cards.


On using beautiful AND meaningful images


“A picture is worth a thousand words” is most especially true in our current overloaded world.
A flyer should grab your audience’s attention in less than that second before they bin it or click onto the next screen.
Choosing an image which is both attention-catching and relevant to your key message is the fundamental foundation of good design. 

Clear and Concise…

We all have much more that we want to say and many more than one image we like, but the golden rule about design is to keep it clear and simple and it won’t go far wrong.
Even at your first try.


and Consistent 

If you have already established your brand, pick the style of the image, colour scheme and fonts, which are consistent with your brand – consistency creates real impact (by avoiding ‘brain clutter’ and confusion)

Build hierarchy of the message



Once you decide your key message, build a hierarchy of content, which should lead the readers’ eyes (and attention) along the logical path.
Make your core message bigger and stronger and let the rest of the additional text be smaller – relative font sizes and positions are key elements in the art of persuasion (much more so than pointers, arrows, stars, quirky fonts and a whole palette of colour).

Call to ACTION

You almost always need to lead the viewer to DO the action you want them to take.

Design for distribution

Remember to design your flyer for the medium and printing method available. You might chose digital presses to print or even your printer at home depends on the budget and speed required. Bear in mind to understand the limitations of the printers that will be using. It is crucial to generate your flyer file into PDF with high press quality. 

Ask for professional’s help


If you are busy and would like professionals to take care of your design, THM is always pleased to help. Our expertise in design and good commercial common sense will maximise the impact -and the results.  
Please free to contact us for a quote or chat
THM Design 

P/ 0750 310 8535



The Hepworth, Wakefield

I had been contemplating to visit the award winning Hepworth Gallery in Wakefield Gallery for ages.

I love visiting galleries and museums and, as an architecture and urban designer, I draw inspiration from paintings, sculptures and installations – and most are free entry. And my little one can always have safe, spacious and stimulating places to explore.

The Hepworth had been on my visiting list for long time, not because of it is named after, and houses much work of, the late English artist Barbara Hepworth or that it has a really good collection of Henry Moore’s sketches and bronze sculptures but because it is one of David Chipperfield’s most outstanding buildings (albeit with a £35m price tag).

As is my wont, I slept though most of the car journey so when we had already arrived in the town centre and were almost there, my eyes opened.

To be frank, the townscape of Wakefield really isn’t that pretty. It appears to be a typical post-industrial town characterised by the dominant form of last century bridges and a series of meaningless, low rise and more often than is comfortable, abandoned buildings.
We found the visitor’s car park over the (minor) road from the gallery by following the somewhat erratic signage.

On exiting the car we simply crossed the road and were guided across a long, modern footbridge towards the gallery with ever-increasing excitement! 

The View from North West / photo by Tia Tian
The Footbridge Over the River / photo by Tia Tian

And here it is; the scale of the building is warm and comfortable and, even though it is accentuated by the use of coloured in-situ concrete, you really don’t catch the coldness.

The building is exposed on all sides without being defined by road or river and the building form is without any dominant façade.

The View From Foot Bridge / photo by Tia Tian

The Site Plan /  photo from

The composition is a tightly integrated – expressed through various irregular blocks – and the forms are driven by the internal layout of the gallery spaces.  Their volumes are unique and together they coalesce as if a single space.

The Courtyard View from Foot Bridge / Photo Credit Jonathan Ladd

The View to the Entry / photo by Jonathan Ladd

Bird Eye View from North / photo from

Building Study Model  

The building is in two stories. The first floor is primarily for exhibitions, both fixed and peripatetic.  The reception level (ground/entry level) contains the shop, cafeteria, auditorium and learning studio as well as offices and back-of-house areas including the archive, storage and loading bay.

Building Ground  and First Floor Plan / photo from

The Exhibition Area at First Floor / photo from

Entering the building I was pleased by the use of the natural light and the framing of the windows on the upper floor.

The architectural/design ambience does not impact at all on what is displayed inside. And the eight irregular block-forms create a very natural and peaceful space for the works and for the visitor to wander (and wonder) around.

  The Exhibition Area at First Floor / photo by Tia Tian


 The Art Work / photo by Tia Tian


                   An old warehouse over the canal to the North West / photo by Tia Tian


The Children’s Playground / photo by Tia Tian

An (anti-sculpture) Toy Doll over the canal / photo by Tia Tian

Tom Stuart-Smith’s proposal for the Gallery’s Garden